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- While maintaining a Paris studio, Renoir traveled a great deal, staying in rural spots where living was cheaper - Essoyes, La Rochelle, La Roche- Guyon, Wargemont.16 These peaceful country settings inspired the landscape and stream in the Bathers and in several of the preparatory drawings. Because he was a sociable artist who liked to work with colleagues, Renoir missed the old community of painters. In May, 1884, he drafted a program for "La Socidtd des Irregularistes" that was partly motivated by a desire to re-establish an artistic fellowship. To his disappointment, the society was never formed.
- it seems that 1884-87 was a period of experimentation which culminated in the large Bathers. During these years Renoir may have been guided by a theoretical idea of irregularity which contributed to the stylistic diversity of the painting.
- Several writers in the literary and musical world are likely to have encouraged Renoirs classicism. Among them, Mallarme was the most notable. In the mid-188os Mallarmd and Renoir became acquainted at Morisots Thursday evening dinners. Morisots correspondence reveals their friendship.
- Ingress classical influence can be seen in the structural clarity that Renoir has given to the monumental closed forms in the foreground of The Bathers. His ordering of forms reads as both a bas-relief and a pyramid; triangles relate the two girls at the left as well as the three foreground girls in a relationship of glances, gestures, and leg movements.
10) According to the author, why was Renoir vulnerable to the popular taste of the wealthy class? Which artists did Renoir, essentially, look to in an attempt to “sell out”? How did Renoir try to improve his financial situation? How did his peers respond to this shift and what was the end result? (pp. 121-125)
Renoirs vulnerability to haut bourgeois taste was necessarily a function of his financial situation. In 1886 and 1887,
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