When did Renoir paint Spring Bouquet?

ELITEART- Spring Bouquet, 1866 Painting by Pierre Auguste Renoir Oil Painting Reproduction Giclee Wall Art Canvas Prints-Framed Size:29" x23 1/2"

Where is the springtime painting?

Pierre-Auguste Cot | Springtime | The Metropolitan Museum of Art .

When did Renoir stop painting?

At the end of his life, French impressionist master Pierre-Auguste Renoir continued painting — using a brush tied to his arthritic hand. "I am just learning how to paint," Pierre-Auguste Renoir said in 1913 — six years before he died . The French master painted right up to the end of his life; he died in 1919 at age 78.

Did Monet and Renoir paint together?

Among the Impressionists, Monet and Renoir share the largest number of overlapping motifs; Barbara Ehrlich White has listed 29 works representing the same subject, including 11 by Monet and 18 by Renoir. The two artists no longer painted together after 1875 but remained very close friends until Renoir's death in 1919.

Where is Pygmalion and Galatea painting?

New York . The Metropolitan Museum of Art. "The Taste of the Seventies," April 2–September 10, 1946, no. 110 (as "Pygmalion and Galatea").

What is the famous painting called Spring?

Sandro Botticelli (Florence 1445 -1510) This painting, usually known as the Primavera [or 'Spring'] shows nine figures from classic mythology advancing over a flowery lawn in a grove of orange and laurel trees.

Who painted one spring?

This watercolour was created by Karl Bodek and Kurt Conrad Löw at Gurs Concentration Camp, France in 1941. The artists collaborated on many works and signed them jointly. Karl Bodek fled Bukovina, Romania, after the Soviet occupation in 1940.

When was spring bouquet painted?

The Spring Bouquet is signed and dated 1866 . This makes it an early Renoir, done before he took to Impressionism, returned to Classicism, then went back to Impressionism.

When was the arrival of spring painted?

The Arrival of Spring in 2011 was originally intended to be a single work of art, including one monumental oil painting and 51 of the iPad drawings as prints. These were later split to form 49 prints at a smaller size in an edition of 25 and a group of 12 in a larger size in an edition of 10.

When did Hockney paint the arrival of spring?

Hockney's Perpetual Spring: The Embrace of Digital Tools The Arrival of Spring, Normandy, 2020 marks his third series documenting the blossoming of spring, having done his first in 2011 and the second in 2013.

Spring Bouquet | Harvard Art Museums (2024)

Citation

Gallery Text

For many French artists during the 1860s, the floral still life persisted as a test of pure painterly ability. This exuberant bouquet in a Japanese vase from early in Renoir’s career attests to the artist’s engagement with past art historical traditions. He addresses the ennobled Dutch practice of still life through the large scale of his canvas, while his attention to the textures and colors of the arrangement evokes the work of early eighteenth-century French painters like Antoine Watteau and François Boucher— artists he had studied as a teenager while working as a porcelain painter. The painting also demonstrates Renoir’s development as an artist. Instead of applying the paint with a palette knife— a technique he borrowed from artists such as Courbet— Renoir adopted a freer and thinner stroke using solely a brush.

Identification and Creation

Object Number: 1943.277
People: Pierre-Auguste Renoir, French (Limoges 1841 - 1919 Cagnes)
Title: Spring Bouquet
Classification: Paintings
Work Type: painting
Date: 1866
Culture: French
Persistent Link: https://hvrd.art/o/303729

Location

Location: Level 2, Room 2100, European and American Art, 17th–19th century, Centuries of Tradition, Changing Times: Art for an Uncertain Age
View this object's location on our interactive map

Physical Descriptions

Medium

Oil on canvas

Dimensions

104.8 x 80.3 cm (41 1/4 x 31 5/8 in.)
framed: 131.5 x 106.8 x 11.5 cm (51 3/4 x 42 1/16 x 4 1/2 in.)

Inscriptions and Marks

Signed: l.r.: A. Renoir 1866
label: verso of frame, bottom, printed text, serrated edges: 14
inscription: verso of frame, left side, black crayon: X79
inscription: verso of frame, white chalk: 5-1
inscription: verso, top strainer, pen: 2365
inscription: verso, top of frame, graphite: [illegible]

Provenance

Recorded Ownership History: Charles Le Coeur, Paris, 1866. Private Collector, Detroit, MI, sold; to [Wildenstein & Company, New York, NY], sold; to Grenville L. Winthrop, June 11, 1942, New York, NY, bequest; to Fogg Art Museum, 1943.

Acquisition and Rights

Credit Line

Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop

Accession Year

1943

Object Number

1943.277

Division

European and American Art

Contact

am_europeanamerican@harvard.edu

Permissions

THIS WORK MAY NOT BE LENT BY THE TERMS OF ITS ACQUISITION TO THE HARVARD ART MUSEUMS.

The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. To request a higher resolution file of this image, please submit an online request.

Publication History

Paul Dumas, "Quinze Tableaux inédits de Renoir", La Renaissance de l'art français (July 1924), vol. VII, repr. p. 364
[Reproduction only], "French Painting", Bulletin of the Fogg Art Museum, Fogg Art Museum (Cambridge, MA, November 1943)., repr. in b/w p. 59
Chinese Sculpture, Bronzes, Jades, Paintings and Drawings, Egyptian and Persian sculpture, Pre-Columbian art; selected from the collection of Grenville Lindall Winthrop, exh. cat., Fogg Art Museum (Cambridge, MA, 1943), p. 7
John Rewald, The History of Impressionism [1st ed.], The Museum of Modern Art (New York, NY, 1946), pp. 144, 147; repr. p. 145
Walter Pach, ed., Pierre Auguste Renoir, Harry N. Abrams, Inc. (New York, NY, 1950), repr. opposite p. 34
Jean Cassou, Die Impressionisten und ihre Zeit (Lucerne, Switzerland, 1953), repr. as pl. 33
Milton S. Fox, Pierre Auguste Renoir, Harry N. Abrams, Inc. (New York, NY, 1953), repr. p. 9
Germain Bazin, Das Blumenbouquet: Gemälde grosser Meister, Kindler Verlag (Munich, Germany, c. 1959), repr.
Enciclopedia Universale dell'Arte (Rome, Italy, c. 1960), repr.
William Gaunt, Renoir, Phaidon Press (London, England, 1962), repr. in color no. 1
Beverley Nichols, The Art of Flower Arrangement, George Rainbird (London, England, 1967), repr. in color p. 111
Dorothy W. Gillerman, ed., Grenville L. Winthrop: Retrospective for a Collector, exh. cat., Fogg Art Museum (Cambridge, 1969), no. 91, repr.
Agnes Mongan, "Renoir's Spring Bouquet", Nihon Keizai Shimbun (Tokyo, Japan, September 1970), repr. in color p. 21
Pierre Cabanne, Renoir, Réalités-Hachette (Paris, France, 1970), repr. in color p. 46
Elda Fezzi, L'Opera Completa di Renoir nel periodo impressionista, 1869-1883, Rizzoli Editore (Milan, Italy, 1972), p. 90, repr. in b/w; color plate 12, p. 89
Masakazu Yamazaki and Hideo Tomiyama, Renoir, ed. Toshio Nishimura, Japan Art Center (Tokyo, Japan, 1972), repr. p. 112; color plate 17
James N. Carpenter, Color in Art: A Tribute to Arthur Pope, exh. cat., Fogg Art Museum (Cambridge, MA, 1974), p. 89, cat. 45, ill.
Diane Kelder, The Great Book of French Impressionism, Abbeville Press (New York, NY, 1980), repr. in b/w p. 227
Barbara Ehrlich White, Renoir: His Life, Art, and Letters, Harry N. Abrams, Inc. (New York, NY, 1984), repr. in color p. 12
The Impressionists (Japan, c. 1990), repr. in color p. 40
Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums and Abbeville Press (Cambridge and New York, 1986), no. 214, p. 188, repr. in color
Kimio Nakayama, Runowaru [Renoir] (Tokyo, Japan, 1986), p. 6, repr.
Bruce Bernard, ed., The Impressionist Revolution, Orbis Publishing Ltd. (London, England, 1986), repr. in color p. 171, p. 258
Horst Keller, Auguste Renoir, Bruckmann Verlag (Munich, Germany, 1987), repr. in color pl. 14, p. 21
Nicholas Wadley, ed., Renoir: A Retrospective, Hugh Lauter Levin Associates, Inc. (New York, NY, 1987), repr. in color, pl. 4, p. 20
"Renoir", Asahi Graph, Orion Press (Tokyo, Japan, 1989), repr. in color no. 2
Anne Distel, Les Collectionneurs des Impressionistes: Amateurs et marchands, La Bibliothèque des Arts (Paris, France, 1989), repr. in color p. 17, no. 10, repr in b/w
Edgar Peters Bowron, European Paintings Before 1900 in the Fogg Art Museum: A Summary Catalogue including Paintings in the Busch-Reisinger Museum, Harvard University Art Museums (Cambridge, MA, 1990), p. 91, color plate; pp. 126, 253, repr. b/w cat. no. 378
Pierre-Auguste Renoir, Renoir by Renoir, ed. Rachel Barnes, Webb and Bower (Exeter, England, 1990), repr. in color p. 23; text p. 22
Violette de Mazia, "Form and Matter: the Form of Renoir's Color", Vistas (1991), vol. V, no. 2, repr. in b/w pl. 2
Nobuo Abe, Great History of Art: Koki inshoha to seikimatsu no miroyoku (Kyoto, Japan, 1991), p. 40, repr.
Bernard Denvir, Impressionism, the Painters and the Paintings, Studio Editions (London, England, 1991), repr. in color, pl. 64
Anne Distel, Renoir il faut embellir, Réunion des Musées Nationaux / Editions Gallimard (Paris, France, 1993), repr. in color p. 12
Masterpieces of world art : Fogg Art Museum, Arthur M. Sackler Museum, Busch-Reisinger Museum, 1997
Chikashi Kitazaki and Mina Oya, ed., Between Reality and Dreams: Nineteenth Century British and French Art from the Winthrop Collection of the Fogg Art Museum, exh. cat., National Museum of Western Art (Ueno, 2002), p. 30, repr. as fig. 22
Stephan Wolohojian, ed., A Private Passion: 19th-Century Paintings and Drawings from the Grenville L. Winthrop Collection, Harvard University, exh. cat., The Metropolitan Museum of Art and Yale University Press (U.S.) (New York, 2003), no. 110, pp. 274-276, repr. in color
Christopher Riopelle, Harvard's Winthrop Collection: Nineteenth-Century Paintings and Drawings from the Grenville L. Winthrop Collection, exh. cat., National Gallery Company Limited (London, 2003), p. 37, cat. 24, ill.
Stephan Wolohojian, Ingres, Burne-Jones, Whistler, Renoir... La Collection Grenville L. Winthrop, exh. cat., Musée des Beaux-Arts de Lyon and Réunion des Musées Nationaux (Paris, France, 2003), no. 110, pp. 285-286, repr. in color
Kyoko Kagawa, Pierre-Auguste Renoir, Shogakukan Inc. (Tokyo, Japan, 2006), pp. 92-93, repr. in color
Guy-Patrice Dauberville and Michel Dauberville, Renoir 1858-1881, Editions Bernheim-Jeune (Paris, 2007), p. 120, ill. as no. 21
Bernhard Mendes Bürgi and Michael F. Zimmerman, Renoir Between Bohemia and Bourgeoisie. The Early Years, exh. cat., ed. Nina Zimmer, Kunstmuseum Basel (Basel, Switzerland, 2012), repr. p. 232, fig. 40.

Exhibition History

Chinese sculpture, bronzes, jades, paintings and drawings, Egyptian and Persian sculpture, Pre-Columbian art : selected from the collection of Grenville Lindall Winthrop, Fogg Art Museum, Cambridge, 10/01/1943 - 02/28/1944
Grenville L. Winthrop: Retrospective for a Collector, Fogg Art Museum, Cambridge, 01/23/1969 - 03/31/1969
Color in Art: A Tribute to Arthur Pope, Fogg Art Museum, Cambridge, 04/25/1974 - 06/16/1974
Master Paintings from the Fogg Collection, Fogg Art Museum, Cambridge, 04/13/1977 - 08/31/1977
A Private Passion: 19th-Century Paintings and Drawings from the Grenville L. Winthrop Collection, Harvard University, Musée des Beaux-Arts de Lyon, Lyon, 03/15/2003 - 05/26/2003; National Gallery, London, 06/25/2003 - 09/14/2003; The Metropolitan Museum of Art, New York, 10/23/2003 - 01/25/2004
For Students of Art and Lovers of Beauty: Highlights from the Collection of Grenville L. Winthrop, Harvard University Art Museums, Fogg Art Museum, Cambridge, 04/16/2004
32Q: 2100 19th Century, Harvard Art Museums, Cambridge, 11/16/2014 - 01/01/2050

Subjects and Contexts

Google Art Project

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at am_europeanamerican@harvard.edu