Renoir the Spanish way
Renoir seated in his atelier in ParisPhoto © Musée d'Orsay, Dist. RMN-Grand Palais / Patrice Schmidt
Catalogue of the exhibition, cover and flyleaf
Details of Le moulin de la Galette, 1876Photo © Musée d'Orsay, Dist. RMN-Grand Palais / Patrice Schmidt
Details of The Girl with a hat, towards 1908Photo © Musée d'Orsay, Dist. RMN-Grand Palais / Patrice Schmidt
Details of The Bathers, 1818-1819Photo © RMN-Grand Palais (musée d'Orsay) / Hervé Lewandowski
One of the exhibition rooms of Fundacion Mapfre, September 2016
Lift at the Fundacion Mapfre, September 2016
In its new location in Barcelona, the Fundacion Mapfre presents an exhibition dedicated to Auguste Renoir, with the scientific collaboration of the Musée d’Orsay. The photography agency of the RMN-GP, Agence Photo – which has been working regularly for many years with the foundation – provided most of the images featured in the catalogue and exhibition.
For this event, Le Moulin de la Galette set out on a journey, which is quite rare for the piece. Indeed, the exhibition coincides with the centenary of the presentation of the emblematic painting, which came to Catalonia for the French art exhibition at the Palacio de Bellas Artes in 1917. The event also featured a number of Parisian paintings by contemporary Catalan artists of the period.
Nonetheless, the event's main theme was the evolution of the great artist through his representation of women. Across about sixty pieces, we understand how Renoir strived to reveal the sensitivity and voluptuousness of his models. They were his main source of inspiration. From the Parisian modern pieces of his youth to the classic bathers of the last years, including pieces on maternity and other more intimate portraits.
When compared, paintings by Van Gogh, Degas, Maurice Denis, Pierre Bonnard and Picasso respond to his work, helping us understand the artist’s influences across his works.
With over a hundred exhibitions, the Fundacion – created in 1989 by the Mapfre insurance company – aims to enhance social progress and raise public cultural awareness. With an extensive presence in South America, it is active in about thirty countries. Although it is involved in promoting art through traditional presentation channels accompanied by catalogues, it also sets precedents by effectively using digital opportunities, e.g. setting up online virtual exhibitions and monographs.