Pierre-Auguste Renoir, ‘LE CHAPEAU EPINGLE, 2E PLANCHE’, ca. 1898, Christopher-Clark Fine Art

Collections in which impressions of this lithograph can be found: Cabinet des Estampes, Paris; Art Institute of Chicago, Chicago, Illinois; Brooklyn Museum, Brooklyn, New York; Sterlinng and Francine Clark Institute, Williamstown, Massachusetts; Museum of Fine Arts, Boston, Massachusetts; Metropolitan Museum of Art, New York; The Museum of Modern Art, Lillie P. Bliss Collection, New York; National Gallery of Art, Lessing J. Rosenwald Collection, Washington D.C.; New York Public Library, New York.

Signature: Signed on the stone within the image lower right, also bearing a second signature printed from the stone in the margin lower left.

A. Hyatt Mayor, Prints & People: A Social History of Printed Pictures, The Metropolitan Museum of Art, New York, 1971, no. 718 (ill.);
Roger Passeron, Impressionist Prints, The Wellfleet Press, New Jersey, 1974, p. 125 (ill.);
Herman J. Sechsler, Great Prints & Printmakers, Leon Amiel, New York, 1977, p. 153, plate 57 (ill.);
Una E. Johnson, Ambroise Vollard Editeur: Prints, Books, Bronzes, The Museum of Modern Art, New York, 1977, no. 108, p. 98 (ill.);
Domenico Porzio, editor, Lithography: 200 Years of Art, History & Technique, The Wellfleet Press, New Jersey, 1982, p. 97 (ill.);
Michel Melot, The Impressionist Print, Yale University Press, New Haven & London, 1994, p. 269, no. 308 (ill.)

About Pierre-Auguste Renoir

Best known for portraiture, figurative work, and his series of voluptuous bathing women, Pierre-Auguste Renoir was among the first group of French Impressionist painters. In the 1860s, he painted en plein air with Claude Monet, Frédéric Bazille, and Alfred Sisley in the forest of Fontainebleau. Rejecting traditional methods of building paintings with layers of thin glazes, the Impressionists worked spontaneously to capture the fleeting effects of light using bright pigments, large brushstrokes, and thick impasto. By the late 1870s, dissatisfied with the spontaneity of Impressionism, Renoir moved toward a more traditional, less experimental approach. By the 1890s, Renoir’s paintings recall the rich color of Titian and Rubens and the sensual beauty of 18th-century French art. Renoir was celebrated in the early 20th century as one of the greatest modern French painters.

French, 1841-1919, Limoges, France, based in Paris, France

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