Renoir, Impressionism, and the Full-length Painting Colin B. Bailey

Throughout his long working life, Pierre-Auguste Renoir (1841-1919) produced large-format portraits and subject pictures. From the mid-1870s to the mid-1880s - the decade of Impressionism - his vertical, grand-scale canvases were among the artist's most daring and ambitious presentations of contemporary life and fashion. Today they rank among the masterpieces of Impressionism.

This stunning book offers fresh insights into Renoir's complex ambitions as a young artist, when he submitted works to both the avant-garde impressionist exhibitions and the official Salon. While painting in the new impressionist style, Renoir remained committed to the full-length format, which was eschewed by most of his fellow impressionists as too traditional. This format afforded Renoir the opportunity to devote himself to the heroic painting of everyday life, and also to linger on the finest details of his figures' fashionable costumes and accessories. Ten iconic canvases display the rich variety of this artist's painterly technique. They reveal the sheer virtuosity of his brushwork in creating silk, lace, mink, and taffeta for shimmering ball gowns, sumptuous furs, chic Parisian day dresses, and glamorous theatrical costumes. These paintings capture the faces and fashions of Renoir's Paris.

Extensively illustrated, this catalogue draws upon contemporary criticism, literature, and archival documents to explore the motivation behind Renoir's full-length figure paintings as well as their reception. Technical studies of the canvases shed new light on the artist's working methods, while the juxtaposition of these ten full-length portraits will bring the glamour of the Belle Epoque vividly to life.

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The exhibition 'Renoir, Impressionism, and the Full-length Painting', will be showing at the Frick Collection from February 7 until May 13, 2012

Colin B. Bailey is the deputy director and Peter Jay Sharp Chief Curator at The Frick Collection, New York.

"A catalogue as deft and readable as it is useful and important."—Patrick McCaughey, Times Literary Supplement

"[The catalogue], a mix of art history, social history and conservation research, should become a standard source in the field of Impressionist studies." Martha Lucy, Burlington Magazine

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