Collection
Pierre Auguste Renoir
Explore curated art prints selected for distinctive homes and considered interiors.
Suggested filters
-
The Pinned Hat - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
Claude Renoir, three-quarters right - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
Zittende naakte vrouw (Seated Nude) - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
Conversation - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
Woman with a Hat - Pierre-Auguste Renoir
Print · Framed
Regular price From $120.00 NZDSale price From $120.00 NZD Regular price -
The Cup of Tea - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
The Large Bathers - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
The Judgement of Paris - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
By the Seashore - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
The Blonde Bather (Blonde Bather II) - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
Dance at Le Moulin de la Galette - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
Roses - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
Still Life with Pears and Grapes - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
The Banks of the Seine at Argenteuil - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
Gladioli - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
Vase of Peonies - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
Still Life with Melon - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
The Banks of the Seine - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
The Luncheon - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
Young Woman Sewing - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
Dahlias in a Vase - Pierre-Auguste Renoir
Print · Framed
Regular price From $120.00 NZDSale price From $120.00 NZD Regular price -
Paysage aux Arbres (Landscape with Trees) - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price -
Still Life with Apples - Pierre-Auguste Renoir
Framed
Regular price From $220.00 NZDSale price From $220.00 NZD Regular price
Artist Biography
Pierre Auguste Renoir
Renoir painted porcelain before he painted canvases. He was born in 1841 in Limoges, the porcelain capital of France, and his family moved to Paris when he was three. At thirteen, financial difficulties ended his schooling, and he was apprenticed to a porcelain factory. His drawing ability got him chosen to paint designs on fine china. The training in decorative colour and surface stayed with him for life.
He met Monet, Sisley, and Bazille at Charles Gleyre's studio in the early 1860s. In 1869, he and Monet painted side by side at La Grenouillere, a bathing spot on the Seine, producing some of the earliest distinctly Impressionist work. They co-founded the first Impressionist exhibition in April 1874 with Pissarro and others. Of the group, Renoir was the one most drawn to people. His subjects are eating, dancing, talking, sitting in the sun, doing very little. The paint itself seems warm.
Luncheon of the Boating Party, painted in 1881, includes his future wife Aline Charigot as the woman on the left playing with a small dog. She was a dressmaker, twenty years his junior. They married in 1890. The model Suzanne Valadon, later a significant painter in her own right, posed for several of his works during this period.
Rheumatoid arthritis set in around 1892 and progressively crippled his hands. In 1907 he moved south to Cagnes-sur-Mer, near the Mediterranean, seeking warmer air. The commonly repeated story is that brushes were strapped to his paralysed fingers. The reality is more precise: he could still grip a brush, but an assistant had to place it in his permanently clenched hand. Bandages visible in late photographs prevented skin irritation rather than holding brushes in place. Film footage from 1915 shows the seventy-four-year-old painting at his easel while his fourteen-year-old son Claude arranged the palette and placed brushes in his hand.
He kept painting until the day he died, in December 1919, at seventy-eight.
He met Monet, Sisley, and Bazille at Charles Gleyre's studio in the early 1860s. In 1869, he and Monet painted side by side at La Grenouillere, a bathing spot on the Seine, producing some of the earliest distinctly Impressionist work. They co-founded the first Impressionist exhibition in April 1874 with Pissarro and others. Of the group, Renoir was the one most drawn to people. His subjects are eating, dancing, talking, sitting in the sun, doing very little. The paint itself seems warm.
Luncheon of the Boating Party, painted in 1881, includes his future wife Aline Charigot as the woman on the left playing with a small dog. She was a dressmaker, twenty years his junior. They married in 1890. The model Suzanne Valadon, later a significant painter in her own right, posed for several of his works during this period.
Rheumatoid arthritis set in around 1892 and progressively crippled his hands. In 1907 he moved south to Cagnes-sur-Mer, near the Mediterranean, seeking warmer air. The commonly repeated story is that brushes were strapped to his paralysed fingers. The reality is more precise: he could still grip a brush, but an assistant had to place it in his permanently clenched hand. Bandages visible in late photographs prevented skin irritation rather than holding brushes in place. Film footage from 1915 shows the seventy-four-year-old painting at his easel while his fourteen-year-old son Claude arranged the palette and placed brushes in his hand.
He kept painting until the day he died, in December 1919, at seventy-eight.
Why Choose Us ?







