User:Viriditas/Lise sources


 * Cooper 1959, p. 166.
 * Image of Dans la forêt de Fontainebleau (1866)


 * Cooper 1959, p. 167.
 * "Both of these pictures were painted, I suspect, at Chantilly, where Renoir was working in August 1867, and not, as Vollard makes him say, in the Fontainebleau area."


 * Duret 1910, "Chapter XI. Last Years", p. 93.
 * "Owing to their practice of always working face to face with nature, the Impressionists had learned to catch all its multitudinous aspects, and thus recorded on their canvases certain unsuspected effects. For instance they perceived that in winter sunshine the shadows thrown upon the snow appear to be blue, and they painted them blue accordingly.  They had also discovered that in summer the light under the trees gives the ground a violet tinge, and therefore in painting woods they made the ground violet.  Renoir in particular had painted a ball at Montmartre, Moulin de la galette, and a picture of a swing, Balançoire, in which the figures underneath sunlit trees are dappled with splashes of light, and the whole canvas is conceived in a general violet tone...The novelty of blue and violet shadows had produced a great outcry.  Nobody seriously inquired whether in bright sunlight the shadows on the snow and under the trees might not actually possess the colors which the Impressionists had given them.  The fact that such effects had never been seen in pictures before was sufficient to lead the conservative prejudices of the beholders to reject them with contempt."


 * Duret 1910, p. 111.
 * "In the Salon of 1868 the future Impressionists, Pissarro, Monet, Sisley, Renoir, had all been represented. Renoir had sent a particularly important canvas, Lise, painted in the open air and already, for that period, bright in color; but as it was still based on Courbet's technique, it provoked no definite opposition. During these early years, the most venturesome canvases had come from Monet, who had at once begun to paint most daringly in the open air in bold and luminous tones."


 * Duret 1910, "Chapter XVI. Renoir", p. 160.
 * "He sent a picture to the Salon for the first time in 1863, but it was rejected. Conceived in the romantic manner, it represented a nude woman lying on a bed, and near her a dwarf playing a guitar.  He repeated the attempt in 1864, sending another romantic picture, which this time was accepted.  The subject was Victor Hugo's heroine, Esmeralda, dancing at night in the Place de Grève, with the towers of Notre-Dame in the background.  Renoir destroyed these first two pictures when he afterwards began to paint in a more naturalistic manner.  This happy change took place in 1865, when he sent to the Salon two canvases, painted directly from life, both of which were accepted--Le Portrait de Mme. W. S. and Une Soirée d'été."


 * Duret 1910, "Chapter XVI. Renoir", p. 162-163.
 * "Renoir's Lise of the Salon of 1868 was his first rendering of a figure placed underneath foliage pentrated by rays of light. This arrangement was repeated in La Balançoire and Moulin de la galette of the 1877 exhibition.  Here were seen figures in the open air, grouped under sunlit trees, with splashes of light diffused over the ground and on the figures.  But in the interval between 1868 and 1877, Renoir's assiduous work in the open air had enabled him to penetrate more closely into the secret of the play of light and the colour effects of nature; and, in fact, the coloration of his sunlit foliage now appeared quite different from that of 1868.  In his picture of 1868, his foliage was of that bright green which had been adopted as a fixed and invariable shade by painters of landscape, and his luminous patches were of that kind of yellow uniformly employed to represent those parts directly illumined by the sun, in opposition to the parts in shadow..."


 * Feist 1987, p. 8.
 * "Renoir only spent four years as a porcelain painter. The industrial revolution made an immediate and irreversible impact on his life: a machine for printing pictures on china had been invented, which made him and many other porcelain painters redundant. He now turned to painting ladies' fans and then church banners which were used by missionaries overseas.  Thus he acquired a certain [skillfulness] and swiftness in using the paint brush."


 * Jewell 1944, p. 36.
 * "It is amusing to note that if it had not been for the unhappy invention of machine printing on porcelain, Renoir would have remained a decorator of china vases to the end of his days."


 * Loyrette 1994, p. 210.
 * "Many contemporaries were struck by the kinship of these figures and recognized in them the distinctive mark of a new school. In 1868, Zacharie Astruc saw Renoir's Lise (fig. 176) as the last figure in a "bizarre trinity, begun by the highly curious and powerfully expressive Olympia of tempestuous memory.  Some time later, in Manet's wake, Monet created his Camille...the beauty wearing a green dress and slipping on her gloves...And now, here is Lise, the most restrained of all".


 * Lucy & House 2012, p. 1.
 * "As a teenager, his precocious artistic skills led him to train as a painter on porcelain and to be employed to paint decorative designs on fans and ornamental blinds; this was artisanal work But at the same time he took free evening classes in drawing; in 1860, he registered to study and make copies in the Louvre; around 1861 he enrolled in the studio of the Swiss academic painter Charles Gleyre, and in 1862 he was admitted to the state art school, the École des Beaux-Arts, where he studied for two years...from 1864 onward, he submitted a sequence of ambitious canvases to the Salon jury."


 * Meier-Graefe 1920, p. 12.
 * "Duret bot 1200 Frs. dafür, eine für die Zeit exorbitante Summe, die Renoir mit Freuden annahm."


 * Tinterow 1994a, p. 140.
 * "Even if Renoir largely worked on the painting in the studio--we do not know enough about his practice in the 1860s--he presented his subject as plein air painting. He did not take the compromise Bazille developed and place his figure in an even shadow, he took a more adventurous position and cast Lise's face in darkness while allowing the sun to bounce brightly off the white summer dress. This dramatic contrast was the salient feature of the painting, the point that was caught by the caricaturists (fig. 177)."


 * Tinterow 1994a, p. 141.
 * "Even Renoir's painting method had changed, Bazille's friend Edmond Maitre saw Renoir in summer 1867, when he was working on Lise, and reported, "The painter Renoir is in Chantilly at the moment. Last time I saw him in Paris, he was painting strange canvases, having  traded turpentine for an infamous sulfate and using, instead of a knife, the little syringe that you know."


 * Whitmore 2014, pp. 346-347; 359.


 * "Gallery six, adjacent to “At the Milliners”, was a small transitional space with a single painting, Lise—The Woman with the Umbrella (1867, Museum Folkwang, Essen), and another curved glass display case showcasing an exquisite white muslin gown and a black lace parasol similar to the one in Renoir’s canvas (figs. 15 and 16.) As with The Shop Girl, the size of this six foot high canvas created a sense of immediacy and reality, as if the viewer had simply stepped outdoors for a stroll with a woman from 1860s Paris. Renoir exhibited Lise at the Paris Salon in 1868 in the hopes of establishing a mainstream career path in the years before the young Realists began exhibiting independently as the Impressionists. However, the critical reaction was mixed, with some commentators describing the canvas as the “sister” to Monet’s The Woman in a Green Dress from 1866. As then, the identity of the model was obscured by the artist’s emphasis on the fashionable day dress and the extraordinary silk lace parasol; the quality and elegance of this ensemble was impossible for Salon visitors to overlook. In her catalogue chapter on “Fashion en Plein Air”, Birgit Haase explained the Salon context clearly:“. . . this full-length portrait exemplified a type of modern woman, not the woman herself” (94). Outside of the Salon, however, Lise Tréhot, may well have been an active participant in establishing the mise-en-scene for Renoir’s composition; a recognized dressmaker in her own right, it seems probable that she designed this gown for herself, perhaps even in collaboration with Renoir’s plans for future paintings. Variations on this same dress appear in several of the artist’s works with minor changes to the color of the sash or the accessories...Other examples of Lise Tréhot in very similar gowns include Portrait of Lise (Lise tenant un bouquet de fleurs des champs) 1867 and Femme à l'ombrelle assise dans le jardin (Lise Tréhot), 1872. Both are included in the catalogue raisonné of Renoir’s work. See F. Daulte, Auguste Renoir, catalogue raisonné de l'oeuvre peint, vol. I, Les figures (1860–1890), (Lausanne, 1971), no. 32 and 80 (illustrated)."