Pierre-Auguste Renoir - Leaving the Conservatory (Conservatoire The Exit) - fine art print

29,99 €

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Information about the art product

Leaving the Conservatory (Conservatoire The Exit) was made by the impressionist painter Pierre-Auguste Renoir. The artwork measures the size: Overall: 73 13/16 x 46 1/4 in (187,5 x 117,5 cm) and was manufactured on the medium oil on canvas. Today, the artpiece can be viewed in in the digital art collection of Barnes Foundation, which is located in Philadelphia, Pennsylvania, United States of America. This artpiece, which is part of the public domain is being provided with courtesy of Courtesy of the Barnes Foundation, Merion and Philadelphia, Pennsylvania.Creditline of the artwork: . In addition to this, the alignment of the digital reproduction is portrait with an aspect ratio of 2 : 3, which implies that the length is 33% shorter than the width. Pierre-Auguste Renoir was a male illustrator, painter, sculptor, whose style can be classified as Impressionism. The artist lived for a total of 78 years and was born in 1841 in Limoges, Nouvelle-Aquitaine, France and deceased in 1919.

(© - by Barnes Foundation - www.barnesfoundation.org)

A close-packed group of men and women is gathered outside a building, their figures set off against its blank, unadorned, windowless walls. In the foreground, two young men engage two of the women in conversation; the women stand arm in arm, and the hand of the further man rests on his nearer companion's shoulder. We have no clue to the content of the figures' interchange, but their body language suggests some uncertainty or awkwardness, as if the men are engaging the women's attention for the first time. The front man's right hand is clasped behind him, as if he is hesitant or anxious as he steps forward to speak to the women, while the nearer woman turns toward him as if in response to his approach. The further woman, her hands tightly clasped together, turns toward her companion as if to gauge her response to the man's overtures. The nature of the interchange is further obscured by the fact that the second, taller man's face is hidden by his companion's hat, denying us any access to his expression. The foreground man wears a fashionable lounge suit, while his companion is in formal evening dress; the women are simply clad, the nearer one wearing a jerkin over a princess-line dress and an underskirt.The first known title of the canvas, Leaving the Conservatory, derives from the auction sale catalogue of the collection of its first owner, the composer Emmanuel Chabrier, in 1896. The title is confirmed by Renoir's friend Georges Riviere, who seems to have posed for the foreground male figure, since it closely resembles a contemporary portrait of him (National Gallery of Art, Washington, D.C.). The Conservatoire de Musique et de Declamation was situated in the ninth arrondissement of Paris, to the north of the Grands Boulevards, at the junction of rue dli Consrvatoire and rue Sainte-Cecile (the buildings are now occupied by the Conservatoire d'Art Dramatique, after its separation from the Conservatoire de Musique in 1946); it offered free courses in instrumental and vocal music and "dramatic declamation", including evening courses in "popular song" for adults.However, Riviere's account of the picture shows that it cannot be viewed as a straightforward depiction of the site of the Conservatoire, since he specified that Renoir had painted it in front of the house on rue Cortot in Montmartre, which he had rented, in the autumn of 1876, after completing his Ball at the Moulin de la Galette. Moreover, Riviere noted that "Nini and certain habituees of the Moulin" had posed for it. It is thus a wholly imaginative composition, rather than a representation of a specific scenario. Only the rolled paper in the hands of the foreground figure, which could be music or a dramatic text, hints at the Conservatoire, and we must assume that Nini and her friends were employed by Renoir as paid models, rather than themselves being students at the Conservatoire. Viewed in these terms, the picture becomes a more generic image of contemporary courtship rituals, and more specifically of the long-established stereotype of flirtation between young bourgeois men and the lower-class girls who were far more likely to become their mistresses than their wives. Yet the viewer is given no clue to the outcome of the interchange between the figures. Characteristically, Renoir set up the scenario without indicating the precise relationships between the figures or how they might evolve. The viewer of the picture is set a little apart from the figures, watching them from the side and perhaps coming upon them in passing; we are clearly not an immediate part of the group depicted. What we see opens out a set of possibilities; by denying us the resolution of these potential stories, Renoir highlighted the nature of everyday experience in the modern city, where the passer-by witnesses many interchanges and meetings without gaining access to their significance or their outcome. The whole picture is carefully but informally arranged to suggest a slice of city life.The tonality of the picture is relatively subdued, perhaps suggestive of evening light. Yet its dominantly gray tonality is conveyed throughout by delicate variegations of color; soft blues are set off against traces of warm hues, revolving around the pink flesh accents, the orange-red hair of the two young women on the left, and the figures' white collars. Pure black is, it seems, not used; by this date, Renoir had abandoned black in his search to convey form and atmosphere through contrasts and modulations of color. The edges of the figures are not sharply delineated, so that they appear to merge with each other and with the background.Although Leaving the Conservatory is one of the largest and most ambitious of Renoir's canvases of modern Parisian life, it was not, it seems, included in any exhibitions during Renoir's lifetime; it is especially notable that he did not include it in the third impressionist group exhibition in spring 1877, and it is possible that the picture had not been completed by this date.Nor do we know when Chabrier acquired it, or whether it was a commission or a purchase; the composer's interest in the picture must in part have related to its subject-a complement to the noisy world of popular entertainment represented in Manet's A Bar at the Folies-Bergere (Courtauld Gallery, London), which Chabrier bought at Manet's posthumous sale in 1884. John House, Renoir in the Barnes Foundation (New Haven: Yale University Press, 2012), 89.

Structured artwork details

Artpiece name: "Leaving the Conservatory (Conservatoire The Exit)"
Artwork categorization: painting
Original medium of artwork: oil on canvas
Original size (artwork): Overall: 73 13/16 x 46 1/4 in (187,5 x 117,5 cm)
Museum / location: Barnes Foundation
Place of the museum: Philadelphia, Pennsylvania, United States of America
Web page: www.barnesfoundation.org
License type of artwork: public domain
Courtesy of: Courtesy of the Barnes Foundation, Merion and Philadelphia, Pennsylvania

Background information on the artist

Artist: Pierre-Auguste Renoir
Also known as: Pierre Auguste Renoir, Renoir Pierre August, Auguste Renoir, Pierre-Auguste Renoir, Renoar Pjer-Ogist, firmin auguste renoir, רנואר פייר אוגוסט, Renoir Pierre-Auguste, renoir p.a., Renuar Ogi︠u︡st, Renoir Auguste, רנואר אוגוסט, renoir a., August Renoir, Renoir Pierre Auguste, pierre august renoir, Renoir August, a. renoir, p.a. renoir, Renoir
Gender of the artist: male
Nationality: French
Jobs: painter, sculptor, illustrator
Country of the artist: France
Art styles: Impressionism
Died aged: 78 years
Year of birth: 1841
Born in (place): Limoges, Nouvelle-Aquitaine, France
Died in the year: 1919
Place of death: Cagnes-sur-Mer, Provence-Alpes-Cote d'Azur, France

Choose your favorite item material

We offer a range of various materials and sizes for every product. You can choose your preferred material and size between the options:

  • Poster (canvas material): The poster is a UV printed flat canvas with a granular surface texture, which reminds the actual version of the work of art. Please note, that depending on the absolute size of the poster we add a white margin of approximately 2-6cm around the print to facilitate the framing with your custom frame.
  • The acrylic glass print (with real glass coating): The acrylic glass print, which is sometimes referenced as a print on plexiglass, changes your favorite original work of art into brilliant wall decoration. Your work of art is being made with modern UV print machines. The great advantage of an acrylic glass fine art print is that contrasts and image details will be more visible due to the precise gradation of the print.
  • Canvas: A canvas direct print is a printed canvas mounted on a wood frame. A canvas creates a distinctive effect of three dimensionality. The great advantage of canvas prints is that they are relatively low in weight, meaning that it is easy and straightforward to hang the Canvas print without additional wall-mounts. Therefore, canvas prints are suited for any kind of wall.
  • Aluminium dibond: This is a metal print made on aluminium dibond material with an impressive effect of depth - for a modern impression and non-reflective surface structure. This print on Aluminum Dibond is one of the most demanded entry-level products and is a contemporary way to showcase art reproductions, as it draws focus on the whole artwork.

Product background info

Article type: wall art
Reproduction method: digital reproduction
Manufacturing method: digital printing
Production: manufactured in Germany
Type of stock: on demand production
Intended product use: home décor, wall decoration
Alignment of the image: portrait alignment
Image aspect ratio: 2 : 3 - length : width
Interpretation of the side aspect ratio: the length is 33% shorter than the width
Available choices: acrylic glass print (with real glass coating), canvas print, metal print (aluminium dibond), poster print (canvas paper)
Canvas print (canvas on stretcher frame) variants: 20x30cm - 8x12", 40x60cm - 16x24", 60x90cm - 24x35", 80x120cm - 31x47", 100x150cm - 39x59"
Acrylic glass print (with real glass coating): 20x30cm - 8x12", 40x60cm - 16x24", 60x90cm - 24x35", 80x120cm - 31x47"
Poster print (canvas paper) size options: 40x60cm - 16x24", 60x90cm - 24x35", 80x120cm - 31x47"
Dibond print (alumnium material) options: 20x30cm - 8x12", 40x60cm - 16x24", 60x90cm - 24x35", 80x120cm - 31x47"
Frame: without frame

Important information: We try our utmost in order to describe the art products in as much detail as possible and to demonstrate them visually in our shop. At the same time, the colors of the print products and the printing can vary somehwat from the presentation on your device's screen. Depending on the screen settings and the quality of the surface, not all colors can be printed one hundret percent realistically. Since all the fine art prints are processed and printed by hand, there may also be slight discrepancies in the motif's exact position and the size.

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