Auguste Renoir: 3IE-1877-186, Bal du moulin de la Galette = 1876, CR209, Bal du Moulin de la Galette, 131×175, Orsay (iR10;iR8;R30,no249;R31,no40;R90II,p81+100;R2,p188;R2,p206+236;R108,no209;M1) =Caillebotte bequest.
Leaves filtered light:
A distinctive characteristic of the impressionist painting style is the rendering of leaves filtered light. The effect of sunlight shining through the foliage of bushes and trees is depicted by using warmer colours for the lighter parts and cooler colours (blue and purple) for the shadow parts. Namely Renoir was a master in the technique, but I also render examples of Marie Bracquemond, Monet and Giuseppe de Nittis.
Auguste Renoir: 2IE-1876-212, Étude = CR201, 1876ca, Study, torso of a woman in the sunlight, 81×65, Orsay (iR52;R2,p184+184;R90II,p44+62;R108,no201;R30,no204;M1)
Auguste Renoir: 3IE-1877-185, La Balançoire (app. à M. C…) =1876, CR202, The swing, 92×73, Orsay (iR52;R90II,p81+100;R2,p206+234;R108,no202;R8,p320;R32,p37;R30,no242;R31,no39;M1) Caillebotte bequest.
Auguste Renoir: 7IE-1882-157, Jardin Desaix à Alger =1881-82, The Jardin d’Essai in Algiers, 81×65, private Paris (iRx;R30,no514;R90II,p211+232;R2,p395)
Auguste Renoir: 1890ca, CR585, The Apple Seller, 66×55, Cleveland MA (iR2;iR22;R31,no87;R108,no585;M27)
Marie Bracquemond: 1880-87ca, Le goûter (afternoon tea) (Portrait of Louise Quivoron), 82×62, MPP Paris (iR2;iR6;iR22;R3,p194;R89,no1;M4)
Giuseppe de Nittis: 1864, DMM2, SDbr, Meeting at the forest of Portici, ow, 12×27, CM Viareggio (iR6;R277,no2;R422,c8)
Claude Monet: 1873, CR204, SDbl, Lilacs in the sun, 50×65, Pushkin (iR10;R2,p205;R22+R127,CR204;M96,no.3311) Provenance: 1873/02 Durand-Ruel. Expos: =?? 3IE-1877-113; =DR1899-3.
Compare neo-Impressionists: Neo-Impressionists also rendered the leaves-filthered light.
Théo van Rysselberghe (1862-1926): 1890, July before noon (family-in-the-orchard), 115×163, KMM Otterlo (iRx;R68,p110/1+120;R229,p1523;M72) =7XX-1890 =7SdI-1891-1211
Compare para-Impressionists: The Spanish painter Sorolla y Bastida also depicted beautifully this filtered sunlight. His brushstroke is more smooth and he renders more details, so you can’t call this a fully impressionist painting. The same applies to Frantisek Kupka in his early days (he was a Czech painter, but born in the extended Austria empire).
Joaquín Sorolla y Bastida (1863-1923): 1896, Sewing the sail, 220×302, Gallery Venice (iR6;iR8;iR10;iR19;R322,p519;R321-3+13) =EU-1900-D-ES-91, Cousant la voile (-> Grand Prix)
Frantisek Kupka (1871-1957): 1897, The book lover I, 96×152, Castle Prague (iR10;iRx2;iR7;R231-3+13;R472,no5) =EU-1900-D-AT-82, Franz Küpka: Peinture à huile (-> médaille d’argent).
Compare post-Impressionists: Maurice Denis also depicted spots of sunlight, but he did so with large areas of only one colour.
Maurice Denis (1870-1943): 1890, SDbr, Spots of sunlight on the terrace, 24×21, Orsay (iR2;M1)
Sources:
Note: in the future I will add the most important sources I used.
