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  • Pierre Auguste Renoir The Rower's lunch
  • Pierre Auguste Renoir The Rower's lunch
  • Pierre Auguste Renoir The Rower's lunch
  • Pierre Auguste Renoir The Rower's lunch
Pierre Auguste Renoir The Rower's lunch

The Rower's lunch

The original work is dated 1875 and is kept at The Art Institute of Chicago, USA. Renoir paints three subjects, two men and a woman who, sitting under a pergola, have lunch near a river.
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P-123

Data sheet

1 - Characteristics and Properties
MDF frame with edges of cm. 2,2 thickness
2 - Characteristics and Properties
Ready to hang
3 - Characteristics and Properties
Edges are finished on the sides
4 - Characteristics and Properties
Full HD print on washable, UV-resistant canvas
Remarks
Imported product

Specific References

ean13
8052745675731
The original work is dated 1875 and is kept at The Art Institute of Chicago, USA. Renoir paints three subjects, two men and a woman who, sitting under a pergola, have lunch near a river. The two male figures are sportingly dressed and are probably resting after a tiring canoe race. The man on the right is intent on smoking a cigar and has a relaxed and poorly composed position; the other, on the left, identified as Mr. de Lauradour, a friend of the painter who posed for him on several occasions, has a serene and relaxed air. The woman at the table with them is wrapped in a long blue dress and has a composed and polite attitude. Being depicted on the back, it is not clear whether his gaze turns towards the environment in front of her or whether she is conversing with Lauradour. Small moving boats can be seen in the background, while sunlight filters through the leaves on the restaurant terrace. The pergola creates a sort of perspective box in which the protagonists of the scene are "contained": through the holes of the pergola, the external light penetrates and spreads into the environment. Here the light literally stains the clothes, the tablecloth and the faces, transmitting all the atmosphere and the pleasure of a warm and lush spring day. The slit in the centre of the painting offers the observer a comparison between two opposing light situations: the internal one with a soft and dense light of colour and the external one, very clear and almost blinding.

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