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Lot Essay
This painting will be included in the forthcoming Renoir catalogue critique being prepared by the Wildenstein Institute and established from the archive funds of François Daulte, Durand-Ruel, Venturi, Vollard and Wildenstein.
We are grateful to Guy-Patrice and Michel Dauberville for confirming that this picture is included in their Bernheim-Jeune archives as an authentic work.
The simple setting and informal composition of Nature morte aux citrons et oranges can be compared to that of Oignons (fig 1) of the same date in the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. Oignons was painted during Renoir's stay in Naples late in 1881 and in all likelyhood the present work was probably painted on the same trip. These two paintings reflect a personal sense of release for Renoir, who had for the past three years been dependent on the patronage of wealthy collectors, but now he was his own master on a long Italian tour. The southern Italian light inspired a fresh and vibrant palette. The lemons and oranges are richly coloured and the soft and varied diagonal brushstrokes animate the entire composition. The energy of Nature morte au citrons et oranges is further enhanced by the vivid sky blue which borders the white tablecloth.
The first owner of Nature morte au citrons et oranges was Edouard Vuillard, who was probably gifted the work by the artist. The painting can be seen on the wall in a photograph taken of Lulu Hessel by Vuillard in his apartment at Place Vintimille in 1937 (fig. 2).
We are grateful to Guy-Patrice and Michel Dauberville for confirming that this picture is included in their Bernheim-Jeune archives as an authentic work.
The simple setting and informal composition of Nature morte aux citrons et oranges can be compared to that of Oignons (fig 1) of the same date in the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. Oignons was painted during Renoir's stay in Naples late in 1881 and in all likelyhood the present work was probably painted on the same trip. These two paintings reflect a personal sense of release for Renoir, who had for the past three years been dependent on the patronage of wealthy collectors, but now he was his own master on a long Italian tour. The southern Italian light inspired a fresh and vibrant palette. The lemons and oranges are richly coloured and the soft and varied diagonal brushstrokes animate the entire composition. The energy of Nature morte au citrons et oranges is further enhanced by the vivid sky blue which borders the white tablecloth.
The first owner of Nature morte au citrons et oranges was Edouard Vuillard, who was probably gifted the work by the artist. The painting can be seen on the wall in a photograph taken of Lulu Hessel by Vuillard in his apartment at Place Vintimille in 1937 (fig. 2).