di Francesco Barresi ( ruutura@hotmail.it) “A me piacciono i dipinti che mi fanno desiderare di passeggiarvi dentro, di rappresentarne paesaggi, di accarezzarli se rappresentano donne” Renoir
Pierre-Auguste Renoir è uno degli artisti più amati del XIX secolo. Anche se visse in un’epoca travagliata e soffrì a lungo per gravi problemi di salute, manifestò sempre un grande ottimismo esaltando in tutta la sua opera la bellezza del mondo e la gioia di vivere. Renoir era di umili origini and early - like other Impressionists - struggled hard to earn a living, but from 40 years his business began to prosper so that in later years had become famous and appreciated all over the world. Despite the success, however, was always humble and modest, even when he was old and suffering from rheumatism, he continued to work to satisfy his innate love of art. In Renoir's early work was inspired by Parisian life, showing young people happy and carefree, while in recent years evoked a kind of earthly paradise, painting voluptuous nudes in unspoilt countryside, warmed by the Mediterranean sun. The
Renoir's long career can be divided into several phases. The first corresponds to the activity of porcelain decorator. Renoir gained a remarkable ability to "trade" that still instils in many later works, from the purely ornamental. After meeting with Impressionism, Renoir began to feel the fascination and importance of light and this characterizes all the pictures he painted after the mid-1870. On returning from a trip to Italy, in the eighties of the nineteenth century, he focused more on defining the shapes. In the last period, when he moved to Provence, his style became freer and more stroke indefinite.
Renoir determines a seminal change in the course of European painting, revealing a new way of seeing and depicting nature, increasing our knowledge of reality. Can be considered a naturalist outright for his need to physically feel the presence of life and what he painted for his direct and immediate encounter with the real natural, and there is no violent act or taking possession of reality (as in Gustave Courbet), but a gentle caress, lyrical and sensual because Renoir loves all living things on earth. The report establishes that the painting is done with joy and pleasure, is an artist who loves what he lives, pulsing and throbbing ago, the feeling is fun for him. In the representation of a flower, for example, depict the life inherent in the nature of the sap that makes things grow and blossom, the simple and eternal beauty of the world locked in its most infinitesimal fragment, feels things as participating in an indissoluble unity , a union of light and air, is now integrated into the mainstream of life, in a pantheistic conception of the world that translates into his paintings in a continuing revelation of color and light. Objects Renoir shows are fascinating beauty, which are manifest in a real joy to live in the brighter tones and light, delicate and exquisite a grace, we perceive the warmth of the artist and a feeling sweet, dreamy, lyrical stretch toward reality.
In his works it becomes clear that Renoir always try to model the shape of the light entering the volume of objects in a fluid, diaphanous, is a vibrant harmony in which light and dark sides come together in the softness gradations in extremely agile and light brush strokes. Renoir paints an idyllic fantasy world that is in reality without resorting to mythology paintings that have as a young person on a swing, a woman lying down reading a newspaper, a dance to the festive Moulin de la Galette, intimate family gatherings and nude bathers. His painting is spontaneous and spontaneity of a source to be a happy conquest found after a long period of labor and research, the result of ongoing experimentation. Use of traditional design methods in the width of drafts and in the fullness of matter (hence the influence of Courbet). The observation of reality is optical, atmospheric, pre-Impressionist. Renoir often changes its stylistic devices, the dialectical style that animates his career is in flux, taking place between the terms of color and form and provides an atmospheric optical performance of the real, tactile, plastic. In his paintings there is a choice of absolute and exclusive, there is an attempt to get closer to the truth of vision, the emotional truth of the atmosphere. Even after the lessons of Jean-Auguste-Dominique Ingres (other than Eugene Delacroix) feels he has to learn a lot technically. In the works en plein-air are vibrations of light, and sparkles with an almost fluffy revealing the obvious reasons of Impressionism, and all these details, however, missing scenes, and portraits of interiors because the form is more plastic and the color is more often. It is also important to remember the friendship and communion of life he had with the Impressionists is determined by the growth of Renoir's admiration for Courbet and Edouard Manet. The impression is not a school, but a natural community of artists eager to renew a lapsed tradition; Renoir stands for the free disposal of human face and warmth to any issue of participation in the contemporary world. His closest friends are Monet, Camille Pissarro, Alfred Sisley, but differs from them for participation in a warmer and more emotional plea to the sumptuousness of color. The optical truth in the depiction of reality is crucial, both for the Impressionists Renoir, being coupled with a feeling that reinvests lyrically and filter images of the same reality is an agreement between the eye and emotion, observation and transfiguration.
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