French Sculpture Census

crédits photo : Chrysler Museum of Art, Norfolk
© artiste : Fair Use (Section 107, Copyright Act, 1976) | For the works by Renoir alone: public domain

RENOIR, Pierre-Auguste
Limoges, Haute-Vienne 1841 - Cagnes-sur-Mer, Alpes-Maritimes 1919

GUINO, Richard
Gérone, Espagne 1890 - Antony, Hauts-de-Seine 1973

Auguste Rodin
Auguste Rodin


diam. : 68,6
signé au-dessus de son épaule gauche : Renoir
inscrit sur le fond : AUGUSTE / RODIN

N° d'inv. : 71.2046D
Credit Line : Gift of Walter P. Chrysler, Jr.

Norfolk, Virginia, Chrysler Museum of Art


  • 1971, don de Walter P. Chrysler, Jr.


  • Museum's website, 7 December 2011
  • 2008 Adler
    Kathleen Adler, et .al., Renoir: La maturitá tra classic e moderno, exh. cat., Complesso del Vittoriano, Rome, Itlay, 2008, 324-329 ISBN: 9788861306189


  • 2005-2006 Norfolk
    Behind the Seen: The Chrysler's Hidden Museum, Norfolk, VA, Large Changing Gallery, Chrysler Museum of Art, October 21, 2005 - February 19, 2006
  • 2008 Rome
    Renoir: La maturitá tra classic e moderno, Rome, Italy, Complesso del Vittoriano, March 7 - June 29, 2008

Oeuvres en rapport

Voir aussi les 5 autres médaillons de la série dans le même musée.


Museum's website, 7 December 2011:
Toward the end of his life, the Impressionist painter Renoir collaborated with Richard Guino in the production of a small number of bronze sculptures. The two were introduced by Renoir's dealer Ambrose Vollard. Vollard suggested that the painter, then seventy-one years old and confined to a wheelchair, create designs which Guino would translate into plaster and Vollard would cast in bronze. Among the fruits of their four-year association (1913-17) was a set of six bronze portrait medallions celebrating those French artists Renoir believed to be the finest of his era: Jean Auguste Dominique Ingres, Eugène Delacroix, Camille Corot, Claude Monet, Paul Cézanne, and Auguste Rodin. Each of the artists had an impact on Renoir's art. The great painter Ingres, for example, had been a beacon for Renoir in the 1880s, when he labored to discipline the improvisational painting technique of Impressionism with a more controlled, classically-ordered approach to the human form. And in the revolutionary color theories of the Romantic painter Delacroix, Renoir saw the intellectual foundation for the brilliant, rainbow palette used by him and his fellow Impressionists.