How the lush moods and easy conviviality of the Rococo permeated Renoir's sensual paintings

More than any other Impressionist, Pierre-Auguste Renoir defined the

treatment of the human figure for his generation, while also portraying the emergent Parisian bourgeois way of life. In this volume, Renoir's painting After the Luncheon, which depicts three bourgeois figures enjoying tea, liquor and cigarettes after a meal in a restaurant, serves as the jumping-off point for a far-reaching examination

of an important source of inspiration for the painter throughout his life: the Rococo. Considered trivial after the French Revolution, this style of painting, developed over the course of the 18th century, was typified by frivolous gatherings of beautiful, upper-class subjects in pastoral settings and lascivious boudoir scenes.

The Rococo style experienced a renaissance in the 19th century and was widely celebrated during Renoir's lifetime.

Published on the occasion of the Städel Museum's major exhibition, this beautiful clothbound volume, containing over 300 color images, explores Renoir's multifaceted connection to a once reviled tradition through illuminating juxtapositions of his art with the 18th-century works of such renowned masters as Antoine Watteau, François Boucher, Jean-Baptiste-Siméon Chardin, Jean-Honoré Fragonard and others.

Pierre-Auguste Renoir (1841–1919) was a founder of the style that became known

as Impressionism, and one of the movement's most prolific members. Described by Herbert Read as “the final representative of a tradition which runs directly from Rubens to Watteau,” Renoir was a connoisseur and champion of feminine beauty. Surviving most of his contemporaries, Renoir lived to see his paintings hung at the Louvre alongside the Old Masters he so revered.

洛可可风格的浓郁情调和轻松愉快的氛围是如何渗透到雷诺阿的感性绘画中的？

皮埃尔-奥古斯特·雷诺阿（Pierre-Auguste Renoir）比任何其他印象派画家都更能定义他那一代人对人物的处理，同时也描绘了新兴的巴黎资产阶级的生活方式。在这一卷中，雷诺阿的画作《午宴之后》描绘了三个资产阶级人物在餐厅用餐后享受茶、酒和香烟的情景。本书以此为出发点，对画家一生中重要的灵感来源——洛可可风格进行了深远的研究。这种绘画风格在法国大革命之后被认为是无足轻重，它是在18世纪发展起来的，其典型特征是美丽的上层阶级主体在田园风光和闺房场景中的悠闲聚会。洛可可风格在19世纪经历了一次复兴，并受到了雷诺阿一生的赞誉。

这本精美的布装书是在施泰德博物馆的大型展览之际出版的，包含300多张彩色图片，通过将雷诺阿的艺术与安托万·瓦托（Antoine Watteau）、弗朗索瓦·布歇（François Boucher）、让-巴蒂斯特-西梅昂·夏尔丹（Jean-Baptiste-Siméon Chardin）、让-霍诺雷·弗拉戈纳尔（Jean-Honoré Fragonard）等知名大师的18世纪作品并置，启发探讨了雷诺阿与洛可可风格的多方面联系。

皮埃尔-奥古斯特·雷诺阿（1841-1919）是印象派运动创始人之一，也是该运动最多产的成员之一。雷诺阿被赫伯特·雷德（Herbert Read）描述为“直接从鲁本斯到华托的传统的最后代表人物”，他是一个鉴赏家和女性美的倡导者。在他同时代的大多数人中，雷诺阿属于有生之年就看到自己的作品被悬挂在卢浮宫的大师之一。