19th Century European Art – Renoir’s Washerwomen Essay Example

Renoir became dissatisfied with the limitations Impressionism placed on his style, prompting him to journey to Italy. There, he found inspiration in Italian art, particularly ancient Roman and Renaissance works. Seeking to acquire a sense of "grandeur and simplicity," he adopted a softer style that juxtaposed lively brushstrokes with a newfound emphasis on line and form. This shift in approach led him to completely transform both his painting technique and subject matter, adopting a more linear style reminiscent of the Old Masters during the mid-1880s. His visit to Italy proved instrumental in shaping his artistic evolution.

Renoir's departure from the "fluttering and irregular edges" of his figures in the 1870s towards firmer contours is evident in The Bathers (1887). This change in style marked the end of his 'Ingres' period, which lasted until the late 1880s. In Washerwomen (1888), Renoir moved away from clearly outlined figures, integrating them into their surroundings through brushwork and palette choice. Similarly, Little girl carrying flowers, painted earlier that year, reveals Renoir's shift in style from the rigid lines of his Ingres period. Maryanne Stevens describes these paintings, particularly Washerwomen, as having a "chalky, dry, tautly handled" appearance, suggesting the artist faced challenges in creating a successful composition. To save costs and explore different subject matter, Renoir left Paris and went to Champagne to paint peasant women. Critics have drawn connections between Renoir's Washerwomen and other artists' works, including Gauguin's Vision after the Sermon (1888).According to reports, Renoir created the artwork Washerwomen around the same time Gauguin finished his famous Post-Impressionist painting. Critics would dub both pieces as "decorative" due to their utilization of vibrant colors and contrasting primary tones. Later

on, artists like Matisse and the Fauves drew inspiration from both these paintings.

In contrast to Gauguin, Renoir's work had a greater sense of depth and did not have the same "flat areas" as his contemporary. According to Herbert, Renoir's art is "relatively shallow" compared to traditional art. This painting demonstrates Renoir's departure from the sharp and rigid outlines of his Ingres period. His brushstrokes become more loose, as seen in the fluid lines flowing from the figures to the surroundings. Additionally, Renoir shares a common subject matter with another contemporary artist, Millet.

The previous year, Millet received a "major retrospective" [13], which brought a lot of positive recognition. Renoir's Washerwomen also depicts peasants engaged in manual labor, similar to Millet's work. Herbert notes that Renoir intentionally returned to his earlier, lighter style [14] for his outdoor subjects. In 1887, Renoir painted one of his most famous pieces, The Bathers, which displayed his "Ingres style" and captured the gentle curves of the female body. The soft lines and blended strokes in this piece align with Renoir's Post-Impressionist period.

The year following the creation of The Bathers, Renoir produced Little girl carrying flowers (1888) and Washerwomen (c. 1888). Little girl carrying flowers marked Renoir's initial departure from his Renaissance and Old Masters style, taking his first steps towards a new direction. The artwork shares resemblances with Washerwomen, displaying feathery brushstrokes and fragmented paint. The little girl's skin maintains the soft style found in Ingres' works but incorporates distinct elements of the Impressionist period.

In the same year, Renoir painted Washerwomen, which bears a significant resemblance to the style and technique of his painting Little girl. In 1912, Renoir completed

another painting featuring washerwomen titled Washerwomen at Cagnes (1912), showcasing his admiration for painting women in natural settings. Tamar Garb suggests that the artist aimed to capture an "image of harmonious communion with nature" and create a vision of natural unity. The painting Washerwomen at Cagnes exhibits a softer and smoother style with elements that seamlessly blend the women with their natural surroundings.

Renoir, known for his love for women, held the belief that they were better suited for scrubbing floors and performing laborious tasks. When someone once commented on the beauty of his work, Renoir responded with his famous words, "Why shouldn't art be pretty? There are enough unpleasant things in the world." Prior to his Washerwomen piece, Renoir's style seemed to change periodically, making it difficult to comprehend. Specifically in this artwork, he employs distinct, feathery brushstrokes alongside more refined shading and blending. The use of watercolor pencils is evident through the small and individual strokes. The figures' skin and clothing display smoother blending compared to the less formulaic depiction of nature in the surrounding. Garb notes that the figures in Washerwomen are portrayed as being in union with nature through the flowing rhythms of their bent bodies. However, the child in the painting appears disproportionate to the other women and tends to distract rather than enhance the overall composition.

In comparison to the surrounding grass, trees, and bushes, the contours of the figures in this painting are very gentle. These natural elements are mixed together, only giving a "general" idea of the existence of each object in the artwork. Critics may refer to this painting as "dry" due to the contrasts of style

evident within it. Renoir created this piece during an intermediate period in his career, between his classical period (also known as the Ingres period) and his "sour" period characterized by odd proportions in nude figures and looser stroke work. As a reflection of this intermediate period, the painting incorporates elements from both periods.

The child positioned off-center on the canvas directs attention towards the right side. If not for the notable red socks against the brown grass, the child's presence might not be significant. However, the striking socks become a focal point, capturing the viewer's gaze. This then leads to the standing woman who is adjusting her dress sleeves. Positioned in a path that leads to a house or building in the background, the connection between the child and woman remains uncertain and defies complete analysis.

The child is being ignored by the two women washing clothes, who have turned their backs on him/her. A troublesome aspect of the artwork is the kneeling position of the two washerwomen by the river or lake. The water seems shallow, at the same level as the women, yet they remain dry. It would be more realistic if they were at a higher level than the water. Additionally, the bushes and trees are depicted in messy blobs of paint, which sharply contrasts with the smooth, soft, and orderly appearance of the figures.

He may have wanted to distinguish his women figures from the background, as seen in this painting and others throughout his career. Renoir frequently adjusted his style and technique to redefine himself and how his work is perceived. Washerwomen was created after the end of his Ingres period, so

traces of that technique are still evident to those familiar with it. This artwork falls between two significant periods in Renoir's life, incorporating various styles and making it difficult to classify. [1][2][3][4][5][6][7][8][9][10][11][12][13][14][15][16]