Barbara Ehrlich White began collecting Renoir’s letters in1961 and has amassed some 3000 of them. Some are by, some to and others about him, but the story they have to tell and the character they reveal underpin the “intimate” claim of the title of this really rather revelatory book.
Renoir evoked and still evokes strong feelings. You might think that the riot that accompanied the first Impressionists exhibition revealed passions of the past, but there was a mass demonstration outside an exhibition of Renoir’s work at the Boston Museum of Fine Arts in 2015. The protestors’ objection was to the artist’s “indefensible swathes of poorly rendered treacle”. Renoir himself admitted that his professors found his work execrable.
This is not, however, so much an analysis of Renoir’s artistic legacy as of his character and his relationship with his contemporaries: other artists, dealers, models and his son, the film director Jean Renoir. Starting in poverty, Renoir eventually achieved success, but then stopped exhibiting with his friends as the association would devalue his own works. With success, however, came physical afflictions and he suffered from rheumatoid arthritis that made painting difficult and painful. It is something of a miracle that he continued and is, perhaps, a tribute to the creative drive that marks out the great artist in any field.
Most artistic studies are made from the outside, looking in. This contribution to the literature of a much-observed figure provides a sense of looking outwards from the point of view of the man himself.
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