By Sarah Avery

This shows a fair bit about how much of an out-of-doors artist he was. His brother Edmond later recounted in an interview how Renoir had gotten permission from an owner to use an upper floor of a café for a day to paint this famous bridge as he saw it, and had Edmond delay passerby until Renoir could record them.
The lighting in this is very impressionistic and the sense of "au plein air" is very prominent. The texture is created by tiny blotches of color. This was painted in the garden of Renoir's new studio in Montmartre. His friend George Rivière remembered how Renoir was charmed by the view of this garden, which he said looked like a beautiful abandoned park.
Pay attention to the use of light behind her, and notice how the title is Summer, not her. The girl looks somewhat spanish influenced, and her skirt looks a little bit japonese
This seems unusual for a man to paint. It appears to be more like something a woman would paint, for example how Berthe Morisot would paint subject matter similar to this
This painting didn't focus on all of the issues going on at the time, and it is a idealized version of the time period. It seems very happy, which is interesting considering what was going on then.
Renoir did many sketches, which was rather unusual for this period. This was a lithograph on paper, and it is very interesting how this work is undated. It could have been in June 1906, when Rodin visited Renoir in studio in Montmartre. To make this print, Renoir drew with a lithographic crayon on a piece of paper that was then transferred to a lithographic stone. The texture of the transfer paper can be seen in the crayon lines, which wouldn't be able to be seen if he had drawn it directly on the stone.
Renoir really liked to portay people dancing. He later used this sketch to create "Danse à la Campagne"(The Dance in the Country), and very similar to that is "Danse à la Ville" (Dance in the City).
This is a print, which is different from the typical impressionist works. Also, the man on the right is cut in half, and it seems like we're really there watching from behind the man's back.
This painting has a very intense use of light, and you can see how it sort of looks like she's blending into the background.
The brush stroke and light here are very impressionistic, and so are the people being portrayed in the painting as well as the seashore behind and around them.
This painting made it into the Salon, which shows that by this time the Salon had kind of given up on rejecting the same types of pieces they had previously been rejecting.
Renoir did a lot of portraits, similar to Ingres. However, Renoir's were not as refined. For example, this portrait looks slightly similar to "Madame Moitessier" by Ingres, yet they are very stylistically different.
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