Word: renoirs
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Dates: during 1980-1989
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...hard to read Renoir: His Life...
Letters (Abrams; 311 pages; $67.50). That is not the fault of Barbara Ehrlich White, a Renoir expert who has written a thorough and commendably lucid biography of the great French painter. The problem stems from the size of this magnificent book, which is every bit as big and heavy as it has to be to accommodate hundreds of sumptuous reproductions. They too, of course, distract attention from the text: voluptuous nudes, enchanted gardens, glittering portraits and skies filled to the brim with sunlight. Dedicated readers will learn that Renoir's long life was not as serene and untroubled...
...very, very bad" at drawing and says that "talent, unfortunately, is not hereditary." Nevertheless, Sophie Renoir, 20, a great-granddaughter of French Impressionist Painter Pierre Auguste Renoir, is determined to express herself. Her chosen medium is film acting (well, her great-uncle is Film Maker Jean Renoir), and her credits include The Children Are Watching, with French Heartthrob Alain Delon and a planned film this spring with Burt Lancaster. Renoir just visited New York City to preview a limited edition of 318 bronzes (initial asking price: $15,000 each) that went on sale last week after being cast from great...
...cultures. Six of the 21 features he directed were based on works by American writers, from Cornell Woolrich (The Bride Wore Black) to Henry James (The Green Room), yet they were unmistakably French in atmosphere and obsessions. In Truffaut's pantheon of directors, Hitchcock rubbed shoulders with Jean Renoir, and his own films sizzled with the tension between Hitchcock's manipulative elegance and Renoir's sharp-eyed humanism. The French title of Day for Night, the 1973 valentine to film making in which Truffaut plays a director, is La Nuit Américaine. So it seems sadly...
...there is another reason to connect Watteau with impressionism: the colloquial, almost chatty strand of improvisation that purls along the surface of his art without distracting from its depths. As with Renoir, his models were his friends. He drew them incessantly, in fine-pointed chalks -a red, a white and a black, the famous trois crayons -whose use he had learned from Rubens. Their faces and poses, rendered in that wiry, atmospheric line, became a collection of types, single figures like the Seated Woman that he would combine for his finished compositions...