The Thyssen of Madrid rediscover “the joy of living” and the “sensuality” of the painting Pierre-Auguste Renoir (1841-1919) in a retrospective that brings together some of his impressionist works most emblematic along to its abundant production as a portraitist and painter of intimate scenes.
Curated by Guillermo Solana, artistic director of the Thyssen museum, the exhibition, presented at a press conference, is an adjustment of the accounts of the museum, for the past Monet, Sisley Van Gogh or Gauguin, “the impressionist most unknown and misunderstood”.
“Apart from four or five icons, is a painter who has not completed reaching the public,” said Solana. “It is the most elusive of the impressionists, so it arrives late.”
Renoir is the painter of the fluidity and the senses, an “anti-intellectual”.
“I Thought that the intellectuals were a few morons, unable to see, touch, or taste, in short, that they functioned the senses”, he recalled Solana.
Although there has been a tendency to identify impressionism with his version “more retinal”, represented by Monet, and its mosaics of flat spots of colors, the director of the Thyssen stressed that “not all the impressionism shares that ambition” and that for Renoir “every view is linked to a body sensation”.
The exhibition is composed of 78 plays from museums and collections around the world, such as the Marmottan Monet Paris, Art Institute Chicago, the Pushkin Museum of Moscow, the J. Paul Getty Los Angeles, National Gallery of London or the Metropolitan New York.
The title, “Intimacy” evokes the desire of the artist to establish a relationship of proximity with what is portrayed, whether they be people, landscapes or objects.
The exhibition will be in Madrid until January 22, is divided into six sections.
The stage-impressionist (1869-1880) occupies the first two rooms and brings together icons of Renoir as “After lunch”, “Lunch at the restaurant Fournaise” or “bathing in the Seine” (La Grenouillère).
as of 1881, the painter becomes the look to the classical tradition, without abandoning all the impressionistic language. Throughout that decade, Renoir acquired reputation as a portrait artist custom, a facet that occupies the second section of the sample.
We follow the “everyday pleasures”, with scenes on all of women in interiors, abstracted in different activities; “landscapes” of the normandy coast and surrounding areas; “scenes of family and domestic” and, finally, a section on the “bathers”.
Despite the ongoing pain that he suffered, in his maturity, the fruit of a rheumatoid arthritis, Renoir did not paint that “joy of living”.
“we Tend to celebrate the painting’s tragic -Van Gogh, Munch – as the most heroic, but there may be more heroic to keep that spirit of celebration, considering that Renoir is not always what went well and sometimes went badly,” said Solana.
Alongside the exhibition, the museum has programmed a film cycle related to the painting of Renoir, and a monographic course on the representation of intimacy in the painting of the late NINETEENTH century and early TWENTIETH century from a gender perspective.
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