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Luncheon of the Boating Party, c.1881
24" x 18" Fine Art Print
+ Multiple Sizes
Price: $210.99
Bathing on the Seine
21" x 16" Fine Art Print
+ Multiple Sizes
Price: $161.99
The Esterel Mountains
28" x 22" Fine Art Print
+ Multiple Sizes
Price: $248.99
Le Moulin de la Galette a Montmartre
24" x 20" Fine Art Print
+ Multiple Sizes
Price: $222.99
Chestnut Tree in Bloom
30" x 22" Fine Art Print
+ Multiple Sizes
Price: $267.99
The Lesson, 1906
21" x 16" Fine Art Print
+ Multiple Sizes
Price: $158.99
The Road to Essoyes, 1901
18" x 16" Fine Art Print
+ Multiple Sizes
Price: $141.99
Yvonne and Christine Lerolle at the piano, 1897
20" x 16" Fine Art Print
+ Multiple Sizes
Price: $156.99
Spring at Chatou
19" x 16" Fine Art Print
+ Multiple Sizes
Price: $145.99
Barges on the Seine, c.1869
22" x 16" Fine Art Print
+ Multiple Sizes
Price: $162.99
Luncheon of the Boating Party, c.1881
10" x 7" Fine Art Print
+ Multiple Sizes
Price: $79.99
Garden Scene in Brittany, c. 1886
10" x 8" Fine Art Print
+ Multiple Sizes
Price: $82.99
Oarsmen at Chatou
11" x 9" Fine Art Print
+ Multiple Sizes
Price: $90.99
Large Nude, 1907
22" x 10" Fine Art Print
+ Multiple Sizes
Price: $136.99
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The French Impressionist ideals of outdoor scenes depicted with sparkling color and light are embodied in the early works of Renoir (25 February 1841 – 3 December 1919) who began his career as a painter in a porcelain factory. His later works, particularly his formal figure paintings of women, show a more disciplined approach and a break from contemporary themes to more timeless subjects.
In 1862, he entered the studio of Gleyre and formed lasting friendships with other Impressionists, particularly Claude Monet. He endured much hardship early in his career but achieved success as a portraitist in the late 1870s. After visiting Italy in 1881-82, he abandoned the Impressionist ideal and developed a softer and more supple kind of handling which is evident in his pictures of young girls in softly colored settings.
He is perhaps the best-loved of all the Impressionists for his cheerful subject matter - pretty children, flowers, lovely women - and their instant appeal. He once wrote, "Why shouldn't art be pretty? There are enough unpleasant things in the world." As a great worshiper of the female form, he mused, "I never think I have finished a nude until I think I could pinch it."