Renoir, Luncheon of the Boating Party발음듣기
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Renoir, Luncheon of the Boating Party
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(piano music intro) [Voiceover] We're in the Phillips Collection in Washington D.C., and we're looking at one of Renoir's largest paintings.발음듣기
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[Voiceover] This dates to 1880, 1881, so we're now about seven years or so after the first Impressionist Exhibition of 1874, 발음듣기
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We are in the suburbs, about a half-hour train ride from the city of Paris, at a restaurant which you could approach by boat, and so this is literally a boating party that has stopped for lunch.발음듣기
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If you think about Renoir's earlier work, like the "Moulin de la Galette," that is a scene of leisure, but in the city, painted in a very different way.발음듣기
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The "Moulin de la Galette" has very open brushwork and it's very difficult to find the edges or contours of forms.발음듣기
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And here, we have forms that seems much more three-dimensional, where the forms really do have contours and there's a real sense of mass to the figures.발음듣기
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You can see that especially in the bare arms of the two men that are close to the foreground.발음듣기
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The other man, in the straw hat, that's the artist Caillebotte, who is one of the great Impressionist painters, who focused on both the city and the suburbs.발음듣기
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We're looking at a group of pretty well-to-do city people, who've come to go boating, and are now taking a break and having lunch with their friends.발음듣기
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And these are friends of the artist and in fact, the young woman who's playing with that cute little dog in the lower left corner is Renoir's girlfriend.발음듣기
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We have a sense of sociability, of flirting, of delicious food and wine and of enjoying a pipe, of enjoying a lovely summer's day, of the breeze, of the water, of the outdoors, and life is good.발음듣기
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Look at the way that the figures lean around each other, lean back, lean forward, and they're steadied by each other.발음듣기
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And glancing and counter-glancing. The male figure in the upper right in the striped jacket who leans forward, looks down at this young woman, 발음듣기
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but she looks at the man across the table from her, and he looks at the young woman playing with the dog.발음듣기
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This painting is wildly colorful, and against all these rich greens and blues, and the whites of the tablecloth really shimmer in the light of the day.발음듣기
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I can hear the china, I can hear the clinking of glasses, I can hear the rustle of the leaves in the wind.발음듣기
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This is a large painting, probably largely painted out of doors, with more than a dozen figures, many of whom Renoir knew, who had to sit for him outside so he could capture that sense of outdoor light.발음듣기
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We think it was probably completed in the studio, but when artists paint out of doors, a smaller painting is usually preferable, and easier to deal with.발음듣기
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And I think that's beautifully picked up in the way that the masts of the sailboats are tilted this way and that.발음듣기
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Or look at the edging of the awning, and the way the wind has pulled some of those little lobes in towards us, and some out away from us.발음듣기
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We can see that movement back and forth in the figure in the front, who leans back toward us and pokes his elbow into our space, and opposite him, the figure leans back on his arm.발음듣기
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But what I sense throughout all of this is Renoir's interest in the three-dimensionality of the figures.발음듣기
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We're losing the flatness that was created by those very choppy brushstrokes in the "Moulin de la Galette."발음듣기
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It's interesting because I see that increasing sense of solidity, especially in the figures, but much less in the things around the figures.발음듣기
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And we see that, too, in the background, where we have the sketchy greenery around the river that we see in the background, with the boats in it.발음듣기
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If you follow the railing from the lower left towards the center of the painting, you have one side of that pyramid and then if you follow the hand of the woman in blue past her shoulder, 발음듣기
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you get the other edge of that pyramid, and it really does recall the kind of Classicism that harks back to a Renaissance painting.발음듣기
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Right, we have the sense of the creation of an illusion of space, something that was not important in the beginnings of Impressionism.발음듣기
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The other issue is that we have no direct sunlight on these figures, except perhaps the figures at the very edge, like the woman who's leaning over the railing, where you can see perhaps a little bit of direct sun on her hat, maybe on her hand.발음듣기
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Because all the other figures are safely tucked under this beautiful awning, which is creating this emphasis on the pinks and the blues, and it's enriching this internal atmosphere, even though they're outside.발음듣기
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