Short answers - Book Report/Review Example

Short Answers Q They suggest that Renoir must have designed preparatory drawings that remain equivalent to them in the form. Renoir may also have probably used tracing paper in transferring the final drawings to the canvas. Renoir’s other artistic works in mid-1880s explored the use of anti-impressionist techniques (107). Q 2 The author disputes Vollard’s assertion mainly because of the presence of technical examination of surfaces and the reverse of the Bathers that showed Renoir never used a white plaster coat including gesso.

According to the author, other individuals including Theodor Siegl asserts that Renoir placed white lead ground below the oils. Siegel believes that Renoir added impressionist landscape after painting smooth porcelain flesh of nudes.Q 3 Bathers are aesthetically incongruous because it lacks unity, for example, in composition and brushstrokes on both its sides. Left side of the composition remains dominant within the painting occupying about two-thirds of the canvas. In addition, composition on the left is intricate in the perceived complex relationship between contours of two nudes.

On the contrary, organization to the right of bathers remains casual in composition with a deep and airy space. Two bathers on the left remain executed with flat, glossy, or smooth technique that lacks visible brushstrokes. Lack of consistency and unity in the painting detracts harmony of theme of nudes bathing. Q 4 The art is a large painting of Diana completed in 1867. Q 5 Split among impressionist caused Renoir isolation and loneliness from his fellow painters. In addition, the split resulted into financial shortage that greatly affected Renoir.

Renoir preferred working with his old community of painters that included Monet. However, the split influenced Monet who preferred to work alone. He could not receive enough money from his dealers. Q 6 Renoir’s attention to bathers shifted and he devoted his time to Aline and Pierre. Change of focus remained evident mainly from the paintings including Mme that depicted Renoir nursing Pierre. Change of attention from Bathers to the family affected the former because Renoir devoted his studies and paintings to his family.

Q 7 Renoir conducted preparatory studies of his painting and carried out experiments using different techniques, postures, and arrangements that would eliminate irregularities. Renoir also wrote letters that expressed his desire to establish artistic progress and find solutions to irregularities in paintings. Q 8 Contemporary writers including Mallarme, editors Wyzewa and Dujardin positively influenced Renoir’s divergence from naturalism to classicism. Mallarme influenced change mainly because he was an exponent of idealistic aesthetic and consequently had to support classicism.

In addition, Weyzewa also influenced Renoir’s change to classicism mainly because he admired the lattters’ paintings and praised the beauty of bathers. Dujardin also promoted Renoir’s change by honoring the latter when he included him in the list of Wagnerian printers. Q 9 Influence of tradition made Renoir admire artists including Ingres, who maintained classical ideals without sacrificing their originality. Renoir shifted to due to eagerness and aim of assuring himself that he can maintain the ranks of tradition (White 121).

Q 10 Renoir becomes vulnerable to popular taste of the wealthy class due to his desire to acquire appreciation and financial need. For instance, family responsibilities and extreme poverty increased vulnerability of Renoir to Ingres-Bouguereau whom he hoped will solve the financial requirements. Renoir essentially looked at artists including Boldini, Raffaelli, Besnard, and Monet in an attempt to ‘ sell out’. Renoir’s tried to improve his financial situation by attending display shows and associating with fellow artists including Monet, who would inspire him.

Renoir’s peers including Berthe Morisot admired his work and positively influenced his thinking. Renoir’s persistence in Petit’s organized shows helped him realize increased sales of his paintings and consequent change in financial status. Work CitedWhite, Barbara Ehrlich. "The Bathers of 1887 and Renoirs Anti-Impressionism." The Art Bulletin 55.1 (1973): 106-126.