French Sculpture Census

crédits photo : Davis Museum and Cultural Center, Wellesley College 2010
© 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

Jugement de Pâris
The Judgment of Paris

1914
bronze

relief
73,7 x 90,8
signé et daté 1914
moulé : V.1

N° d'inv. : 1981.46
Credit Line : Gift of Dr. Ruth Morris Bakwin (Class of 1919)

Wellesley, Massachusetts, Davis Museum and Cultural Center

www.davismuseum.wellesley.edu

Historique

  • 1927, Berlin, Justin Thannhauser
  • 1981, don de Dr. Ruth Morris Bakwin (promotion de 1919)

Bibliographie

  • Museum's website, January 20, 2013
  • 1981-1982 Wellesley
    "Renoir Sculpture Among Gifts to Museum", Friends of Art Newsletter, Wellesley College Museum, no. 17, 1981-1982, p. 1, repr.

Exposition

  • 1947 New York
    New York, The Metropolitan Museum of Art, 1947
  • 1958 New York
    New York, Wildenstein & Co., 1958
  • 1958 New York
    New York, Charles Slatkin Galleries, 1958
  • 1967 New York
    New York, Wildenstein & Co., October 4-November 4, 1967, no. 79
  • 1991 Portland
    Impressionism and Post-Impressionism: The Collector's Passion, Portland, Museum of Art, August 1-October 20, 1991, edited by Megan Thorn, no. 35, p. 68-70, p. 69, repr.

Commentaire



Museum's label text, 2011:
Renoir is primarily known for his paintings. Like his fellow Impressionists Edgar Degas and Berthe Morisot, however, he did occasionally turn his attention to sculpture. Here he treats a scene from Greek mythology in which the three goddesses Aphrodite, Athena, and Hera ask the shepherd Paris to judge which of them is the most beautiful. In this later work, Renoir often represented sensuously full female nudes, most of them in settings that were arcadian if not mythological. He was among many French artists in the first decades of the twentieth century, Matisse for instance, to recast the traditional theme of the idyllic nude in modern styles. In this way they claimed a place for avant-garde painting and sculpture in a lineage of European high art.