Diana - Pierre-Auguste Renoir
Archival giclée
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Description
An early work by Pierre-Auguste Renoir, this 1867 painting depicts the goddess Diana in a naturalistic setting, reflecting the artist's transition toward Impressionism.
Painted in 1867, Diana represents an early attempt by Pierre-Auguste Renoir to engage with the traditions of the Paris Salon. At this stage in his career, Renoir sought to reconcile his training in the studio of Charles Gleyre with the emerging influence of Gustave Courbet and the Barbizon school. The work depicts the Roman goddess of the hunt, Diana, seated upon a rock with her bow and a fallen stag at her feet.
Renoir utilised Lise Tréhot, his companion and primary model during this period, to portray the goddess. The composition reflects a deliberate effort to master the nude figure within a natural setting, a subject that remained a constant interest throughout his career. Unlike his later, more fluid Impressionist works, this painting displays a tighter, more controlled application of paint. The treatment of the foliage and the rocky terrain shows the influence of his contemporaries who preferred painting directly from nature.
Despite his efforts to align with the expectations of the Salon jury, the work was rejected in 1867. This rejection contributed to the growing frustration among the group of artists who would soon form the Impressionist movement. The painting provides a clear view into Renoir's technical development, showing his transition from the rigid structures of academic painting toward the softer, light-filled style that defined his later output. The palette remains grounded in earthy tones, with the figure of Diana illuminated by a cool, diffused light that contrasts with the darker, textured background of the forest floor. It is a work that captures a specific moment of transition, documenting the artist's struggle to balance classical subject matter with a modern, observational approach to the natural world.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
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- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
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To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Diana - Pierre-Auguste Renoir
Artist Biography
Pierre Auguste Renoir
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.
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