The open-air ball on La Machine du Moulin Rouge, Renoir, the museum's collection of famous prints

Title: The Ball at the Moulin Rouge De la Galette

Pierre-Auguste Renoir, Pierre-Auguste Renoir, 1841-1919

Print size: 100x73.5cm (other sizes can be customized)

Material: Oil on canvas imported from the UK (with inner frame)

Image craftsmanship: museum collection-level art micro-spraying, German Cruise, Japanese Epson art scanning, micro-spraying;

Production unit: 2018 China's top 10 printing industry innovations, has won the Chinese, China Institute of Printing and Printing, Keyin Media jointly organized the "Digital Printing in China" Grand Prix 3 gold awards, 4 silver awards, 6 bronze awards.

Original size: 175x131cm

Original material: oil on canvas oil on canvas

Created in: 1876

Present collection: Paris Orsay Museum, France, one of the treasures of the Town Hall of the Paris Orsay Museum

About the Author

Pierre-Auguste Renoir, Pierre-Auguste Renoir, 1841-1919, was a famous painter and sculptor of the French Impressionist School. Initially closely associated with the Impressionist movement.

Born into a poor family of tailors, Renoir began to work on the depiction of porcelain magnets, and became a painter by reason after meeting his friends, who later became known as Impressionists. Among Renoir's many paintings, this thirty-five-year-old "Ball on la Moulin Rouge" can be said to be a monument to Renoir's brilliant youth.

He wanders between the classical and the impression, moving freely. In his later years, his legs were paralyzed, his fingers did not listen, and Renoir was carried on a stretcher with a paintbrush tied to his hands and insisted on painting. On December 17, 1919, Renoir's last words to his son before he lost consciousness were to ask for a paintbrush, he wanted to climb up and paint a painting of "Vase Flowers", he wanted to make a final compliment to life. When the brush was taken, Renoir had passed away. The cuckoo cries blood until death.

Art appreciation

Auguste Renoir's Impressionist oil painting The Ball on the Rue de Moulin Rouge depicts an open-air ball in Paris that no one had ever thought of using such a large format to represent the daily life of Parisians. It sold $78.1 million in 1990. The "Moulin Rouge" bar, which opened in Montmartre, France, in 1899 attracted celebrities, including the Crown Prince of England, as well as many young writers and artists. The "Moulin Rouge", which has experienced more than 100 years of ups and downs, has not faded in the course of historical changes, but has attracted more and more attention from people all over the world.

The Ball on the Moulin Rouge is an important representation of impressionist painting in terms of genre, ostensibly depicting the lively and cheerful atmosphere of a famous open-air café and dance hall in Paris, but in fact the real theme is the sunlight shining through the gaps in the leaves. This sunlight shines on people's bodies, causing a wealth of light and color changes, fully expressing the impressionist painter's high sensitivity to light and color changes in real life.

In the painting "The Open-air Ball on Moulin Rouge Street", this method shows a grand scene, through the stars of the trees, sprinkling on people's bodies, faces, tables and grass, truly practicing the Impressionist slogan of "light is the master of painting". This painting is an important masterpiece of Impressionist painting in terms of customs.

The screen of "The Ball on Moulin Rouge Street" uses blue and purple as the main color, so that the characters from near and far, resulting in a multi-layered sense of rhythm. The painter focused on the depiction of a group of characters in close-up, vividly showing the light and color effects on the faces of the characters and the sense of confusion caused by light and shadow, rendering the atmosphere of the dance. On the whole, he retains the Impressionist nostalgia for external light and pigmentation, so that the overall tone and atmosphere of the picture have a strong effect of trembling and flickering.

When Renoir painted "The Ball on Moulin Rouge Street", he was immersed in the effect of light shining on the characters. He once tried to ask Jenna in "The Ball on Moulin Rouge Street" to sit on a swing, depicting the sun's rays and shadows from the gaps in the leaves; he also tried to ask Malco to sit by the window and capture the beauty of the sun pouring on and the placket...

The painting in the Sun, which was rated as Long Ceiling on the Body, sprinkled with sunlight dyes the young woman's soft and elastic skin into a rose color, contrasting with the part that is not exposed by the sun, and the combination of colors such as jing, red, yellow, green, and so on, jumps on the paper.

Renoir's palette does not have black tones, and in the past painters used to use black to represent shadows, and Renoir replaced them with complementary colors (red is green; yellow is purple).

"The Ball on The Moulin Rouge Street" is a masterpiece of light and color exploration. In the vast courtyard, the sun shines from the forest, and the girls talk and laugh and dance. Since then, Renoir has continued to paint many innocent and lively girls.

The woman standing in the center of the painting is Jeanne, a female model who is often painted, and in front of her sits her sister Estelle. With his back to the picture is Lamy, who encouraged Renoir to create the painting. Opposite Rami is the conservative Goeneutte and the far right georges Riviere Riviere. The picture is covered with gas lamps, because the gang will be jubilant from Sunday afternoon until midnight. The atmosphere of the picture is a bit rococo, although the surface looks not so vulgar and pink, but the flirty atmosphere is not weak at all, see no, the man on the left side of the tree on the right is currying favor with the woman in front. Renoir's unreliable girlfriend and model Margot is dancing with someone else when she turns her head to glance at her poor boyfriend. The picture perspective is quite unique, it is a top-down shooting, and the ground is raised to show these men and women to the fullest. The two benches in the foreground lead to a small diagonal line and cut off the foreground, as if inviting you to enter the painting sideways, and seem to hold a breath, so that the corners and corners of the picture can breathe naturally. The sense of photography of the picture is very strong, the sideline characters are arbitrarily cut, especially the woman on the left, the neck is almost completely cut off, leaving a face so euphemistic, let people imagine the beauty of her neck, and then look down at her eyes, greeting her eyes is a cute little baby. Renoir's paintings always give people a sweet feeling, PEAK+SWEET, sweet and greasy, pink. Looking at her paintings, she will point to the paintings and say: "This girl is like a sister, I want to grow up like this, anyway, I can always contact myself and the people around me, he is very good at painting that charming feeling, the woman in the painting is also that kind of charm, small nose and small eyes are cute." Among the souvenirs sold by the Musée d'Orsay, derivatives of this painting are very popular, especially for those who are in sweetness, buying a painting and hanging it on the wall, every day is happy, every day in the honeypot. Impressionist works can be understood at a glance, and there is no need to test our knowledge of religious mythology and history, nor do we have to rack our brains to grasp the various doctrines of the 20th century that we do not understand. Impressionism is like the girl next door, too familiar, too kind and too cute, everyone loves Impressionism.

If you follow the trajectory of art history and come to this painting in the 19th century, it is like a rainbow appearing in the sky after the rain. It broke the dull color of the previous picture, the color was so bright and bright, like a white transparent jellyfish dancing, like a silver chain flying in the air, like a white streamer flying in Dunhuang in the air. It is as if a person has been beaten with a stick, and suddenly his eyes are full of Venus, but this star is beautiful, like the sun's light is crushed, and then sprinkled down, the lights, the dance, the costumes, the hair, the face, the body, the clothes, the chair, all of which are shrouded in light, and people revel in the atmosphere of the whole dance. The spot of light swirls and spreads everywhere. Just like the neon red light, the color class is projected to every corner, through the window screen, through the skirt, dissolving the solemnity of the gentleman's dark clothes, everything is ethereal and empty. The light seems to be shattered, and the light spots fly in the air and in the colors, expressing the light and color in the appearance to the extreme. And the light sprinkled is also art, not the big sun straight forward, not Caravaggio's one-way stage chasing light, not Rembrandt's unique attic window with wooden planks to block the famous beam of "Rembrandt light" of 45 degrees on the positive side, but a kind of scattered light, no projection, because there is no need for projection. Like the neon lights on the stage, colorful, turning and running, enveloping the entire dance hall. This style was rare in previous paintings: mottled, unpredictable exterior light, because it was in nature that the luminous sun was always moving, changing, flickering. Objects in the light are not always clear, the house in the distance is just a macula, a pair of waltz dance partners may be a spot, the countless dense turns of the spot in the distance, that must be the existence of an ambiguous group of happy men and women. Munch's "Dance of Life" leaves people with despair and sadness, Renoir's mill ball, people like to hang on the wall of the entrance hall, and when they enter the house, they begin to feel good and forget all their troubles. Looking at his paintings, I thought of Teresa Teng's "Sweet Honey". Life is sweet, sweet!

Auguste Renoir's Impressionist oil painting "The Ball on the Moulin Rouge" has become the symbol of Montmartre in Paris and has become a tourist attraction from all over the world. Night fell softly, encircling Montmartre. It is a place where bars, cafes and nightclubs gather. The Post-Impressionist painter Auguste Renoir was fond of this lower social place. The people here have no disguised appearance, no distinction between class and rich and poor. As long as you are like-minded, you can talk and have fun. In such an environment, Lautrec's inferiority due to his physical disability also temporarily left him, and he felt relaxed physically and mentally, his mind was active, and his artistic inspiration was more.

Auguste Renoir's Impressionist painting The Ball on the Moulin Rouge is both a carnival scene, a variety of humorous expressions of people, and an attempt to capture a carefree lifestyle in the scene of the aristocratic ball. This work depicts numerous figures, giving people a crowded feeling, crowded, colored jumping, lively and extraordinary, giving a strong impression of joy and joy.

Auguste Renoir's Impressionist oil painting "The Ball on Moulin Rouge Street" uses blue and purple as the main color, so that the characters from near and far, producing a multi-layered sense of rhythm. The painter focused on the depiction of a group of characters in close-up, vividly showing the light and color effects on the faces of the characters and the sense of confusion caused by light and shadow, rendering the atmosphere of the dance. The painting also retains the Impressionist treatment of external light and color spots, so that the overall tone and atmosphere of the picture have a strong effect of trembling and flickering, which fully shows the impressionist painter's high sensitivity to changes in light and color in real life.

The painting "The Ball on The Moulin Rouge Street" not only shows a carnival scene, people's various humorous expressions, but also tries to capture a carefree lifestyle in the scene of the aristocratic ball. This work depicts numerous figures, giving people a crowded feeling, crowded, colored jumping, lively and extraordinary, giving a strong impression of joy and joy. The picture uses blue and purple as the main color, so that the characters from near and far, resulting in a multi-level sense of rhythm. The painter focused on the depiction of a group of characters in close-up, vividly showing the light and color effects on the faces of the characters and the sense of confusion caused by light and shadow, rendering the atmosphere of the dance. The painting also retains the Impressionist treatment of external light and color spots, so that the overall tone and atmosphere of the picture have a strong effect of trembling and flickering, which fully shows the impressionist painter's high sensitivity to changes in light and color in real life.

We can both admire the action of the joyful crowd and revel in the beauty of the ball. But Renoir's interest in creating this painting was different, he wanted to present a pleasing mixture of bright colors, to study the effect of sunlight on the swirling crowd. Although the painting appears "sketched", it does not seem to be complete yet. Only the heads of some of the figures in the foreground show some details, but even there are extremely unconventional and bold ways of painting. The sitting lady's eyes and forehead were in shadow, while the sun shone on her mouth and chin. Her bright clothes are drawn with extensive brushstrokes. Yet these figures are precisely the objects of our attention. As far as you go, the image becomes more and more invisible to the sun and air. The rich changes in light and color caused by the sunlight shining on people's faces, clothes, tables, chairs and the ground fully express the high sensitivity of Impressionist painters to changes in light and color in real life. Beijing flavor happy big bowl tea house, talk about cultural affairs, talk about the city's hundreds of things.

The Ball on The Moulin Rouge Is emblematic of the most impressionistic moment in which he lived. Although the painting depicts an ethereal wonderland, the people inside are dressed in contemporary costumes. Men wore top hats or straw hats, and women wore skirts and waist cushions that were propped up with hoops. In this painting, the mundane scene of an outdoor bohemian ball is transformed into a dream full of light and color of beautiful women and attentive men. Beams of light flicker on the colored forms of the characters—blue, rose-red, and yellow—details blended in romantic smoke, softening the beauty of all these pleasant people and enhancing the value of this beauty.

The story of the work

The Ball on Moulin Rouge is a masterpiece by the French Impressionist oil painter Renoir. According to the last words of Gustav Cuybert, a collector and painter of Impressionist paintings, the Ball on Moulin Rouge, a huge painting 1.75 meters wide and 1.31 meters high, was donated to the French government in 1894. But an incredible thing happened at the time; this good intention was rejected by the French government. At the age of fifty-three, The Impressionists were still excluded from the Academics, and the French Administration of Fine Arts deliberately ignored the Opposition to the Impressionists before the 1900 Universal Exposition, but fortunately the French government reluctantly agreed to the donation. After the "Ball on Moulin Rouge Street" was placed in the modern art museum at that time, it gradually became famous, bringing many inspirations and inspirations to painters such as Picasso and Duffy. During his seventy-eight years of career, Renoir left behind a large number of famous paintings, including nude paintings.

Two other masterpieces with the same theme

Renoir often drew many drafts or several of the same for a single work. For example, in the painting "The Young Girl at the Piano", the painter completed five identical paintings in order to simulate the drawing. The Ball on the Moulin Rouge Street was completed in a similar situation, with two paintings of the same theme. Although it is only half the size of the one in the Musée d'Orsay, the content of the painting is almost identical. One of them, sold to the Impressionist collector Schock at auction during Renoir's lifetime, was later treasured by Heritney in the United States, and was finally acquired by the chairman of a major Japanese paper company at the Sotheby's auction in 1990. Because the amount of the bid is too high, it has caused a lot of turmoil. The other has always been in the possession of a Swiss collector. These two paintings were not well known until after 1987, and whether they were fakes or not caused everyone to discuss for a while.

Suzanne Valaton, a former Renoir model

"Dance of the City", "Dance of Bouzivar" and "Dance of the Country" are three works that are considered to be the transition period of Renoir's painting. The model for Country Dance was Arin Charitgo, who later became Renoir's wife, and the other two works were modeled by Suzanne Valadon, who was eighteen years old at the time, working as a model in Montmartre. Suzanne was the mother of the [drunken painter] Euterillo, who later became a painter, and she and Utriro were illegitimate children, living with her mother in Montmartre at the time. Suzanne began working as a model around the age of fifteen, living a life of debauchery, giving birth to Utriro while modeling for Renoir, and rumor has it that even she herself does not know who the father of the child is. Later, Suzanne accepted Renoir's suggestion that degass start painting and start another new page in her life.

A friend who was painted by Renoir

In order to help Renoir directly complete the macro scene of the painting on the spot, many of Renoir's friends did not hesitate to step forward to help: some cameos modeled, for hours or even days, clenching their teeth and maintaining the same posture; some helped him carry huge canvases, painting materials and other painting tools from the studio to the painting site every day; other friends ran around the ball in Moulin Rouge Street to find a cheap and quiet studio for him. From these things, it is not difficult to understand Renoir's personality, and this famous painting was only born with the help of these warm, unrequited friendships.

There is a large-scale painting in the Impressionist works depicting one of the most romantic and amorous parties in art history

On a Sunday afternoon in the early summer of 1876, the space was in Montmartre, north of Paris, which was not part of the city of Paris at the time, but was a countryside and countryside outside Paris. The place is so high that the Seine Can't swim up and has to go around, and is now one of the youngest districts in Paris. There are the tall and sacred Church of the Sacred Heart, the hilly square where the painters are concentrated, the Moulin Rouge where the songs are sung at night, the love wall full of love, the countless performance artists, the Montmartre Cemetery, the endless sun, music, party, eating and drinking - it is a place that embraces religion, art, fragrance and love. In the 18th century, many windmills were built in this place, so mills appeared. Later, the windmill disappeared and a café was built. Because artistic youth often gather here, open-air dance halls also came into being. The good brothers of the Impressionists ran after the sun in the outside light during the day, tired of running, and when the sun was sleeping, they gathered in cafes at night to have a brotherhood. Among them, Manet is the spiritual leader, Monet is the soul figure, and Pissarro is the respectable big brother, who has participated in 8 Impressionist painting exhibitions. The smell of coffee wafted through, and these good buddies are still nostalgic.

Settled in this place, not only the Brothers of the Impressionists, but also the artistic youth such as Picasso. These "three religions and nine streams" and "prodigal princes", with elegant manners and idleness, these lovely gentlemen who are quite serious about literature and art have become the most beautiful scenery in Paris in the 19th century. If the capital city is where the "North Drift" is located, then Montmartre is like the base of the "Ba Drift". Every Sunday afternoon, in the open square, men and women, cuddling, laughing, local girls, mostly female seamstresses, cameos for dancers, models, prostitutes, lovers and these drifters drink and chat... Renoir, a 35-year-old bachelor, is one of them, and he loves the place "Pancake Mill" very much, and he must arrive at the weekend dance party, bringing a painting tool here to sketch, and it is said that the canvas of this work has been blown by the wind. This painting is a microcosm of the paris era, with wine, food, beautiful women, handsome men, and there is a kind of food called pancakes, which is a kind of Parisian "pancake fruit". The sunlight was also torn into dappled fragments at this moment, and it was not stingy to drink on the bodies of these happy young people. Dance a few steps, flirt, this is Paris, this is the joy and joy of life, very Parisian, very French temperament ~ "The city of Rome is not built in a day", the romantic feelings of Paris have a long history. This painting is the Impressionist of Impressionism, one of the treasures of the Orsay Museum in Paris, the "Ball on the Moulin Rouge Street".

Zooming in, they would not only paint in this place, but where there was light, they would attract the masters of the Impressionists. Degas once joked that they had pretty much filled the fields with easels. The place of Barbizon is the gathering place of the buddies of Impressionism, and the "Barbizon School" is also the predecessor of "Impressionism". Of course, there is also the romantic and amorous Seine, it seems that Monet's eyes are particularly good, and the strong external light does not prevent him from painting, on the contrary, he said: "The sun is setting so fast, I can't catch up with it." "Every day I chase the sun and race against the sun, but I never stop the brush in my hand." Monet always supported Renoir and took him to create in the open air. Not far from Paris, I went to frog pond (pond with frogs), a water recreation place built on a river. Later, the easel was moved to Argenteuil, also on the banks of the Seine, and the water scenery became their co-protagonist. In 1868 and 1869, Monet and Renoir simultaneously observed the reflection of the water in the shoal, shoulder to shoulder painting the same scenery, flashing colors across the water. The biggest feature of Impressionism is that it pays attention to external light, pays attention to light and color itself, expresses subtle changes in light and color, pursues the truth of light and color, and captures the fleeting direct painting method. This is the initiator of Impressionism. Because of the pursuit of external light, it determines the color, brushstrokes, and viewing methods of Impressionism.

Impressionism is a revolution of color, a release of color. In the outer light, in the process of PK with the light color of nature, Renoir must move fast, he must be the French "father of praise". He moved the canvas to the prom scene, and with his ability to paint on the porcelain tire at the age of 13, he did not sketch, and directly used paint to paint at the beginning, synthesizing his independent brushstrokes into a picture full of rich colors. The power of drawing and modeling in the history of French art for hundreds of years shows its power here, shaping with color, deliberately relaxing, breaking the rigorous shape, and emphasizing color. The handsome and beautiful women in the picture, sunflowers, tables and chairs benches, Nihonbashi, Rouen Cathedral, railway station... All are carriers and appendages of light colors. If Ingres and Delacroix's controversy over drawing and color was only a prelude to the color revolution, the Impressionists really liberated color from the cage, and color itself was the focus, breaking the concept of "inherent color" and pursuing bright, bright tones. The shaded parts are no longer the previous black and brown, but are replaced by purple and blue, etc. The color in the shadow is complementary to the color of the object, for example, the yellow color is purple, and the shadow cast by the yellow object has a little purple. In order to better represent red and yellow, contrast green and purple. Renoir liked dreamy roses, brilliant golden yellows, transparent and fresh azures and romantic lilacs, which were like his patents, and it could be seen from a hundred meters from the painting that it was his.

The light and shadow are ever-changing, and the impressionists' brushstrokes are like the shutter of the camera, what to do? Stroke! When I look at the painting, I only see patches of color, rough, smooth, fast, fluffy, and full of water. At this time, the painting language breaks the original inherent color expression, using a small brush to touch the color juxtaposition performance, there is an extreme saying, Impressionism does not use the color palette, but the red, yellow, blue three primary colors directly juxtaposed, while using red and green, yellow purple, blue-orange complementary color contrast, color in a strong visual impact to produce new harmony. The light color becomes jumping, trembling, vivid, active, vivid, colorful, and strange. Neo-Impressionism (Point Play) took another big step forward, went to extremes, and created the "Pointillism Method".

Watch oil paintings, especially Impressionist paintings, following the motto of Mr. Wu Guanzhong: look at ghosts fighting closely, and look at a painting from a distance. That is, the principle of 'further, one step back'. "Further": Get close to the painting and see the relationship between the "brushstroke" color blocks. Take a step back: Then slowly step back, a miracle happens before your eyes, surpassing the world's best magician, and the patches of color gradually become moving trees, breathing figures... The human eye retina and brain computing are virtual palettes, "this is not a thing at all." In fact, it is easy, the traditional CRT TV, to give us is the RGB three primary color signal, the brain is more powerful than the CPU, a mixture of a blur a calculation, it is reconciled, more than the color of the printed matter is fully alive. The human brain is the smartest to "trick" it, and the human brain has the ability to repair itself, like repairing the symbols of Cézanne's deformed table corners and roofs.

Renoir and Monet were both lucky people who both entered the 20th century alive, thinking of another good brother, Bazier, 29 years old, who died in the Franco-Prussian War, where his bones were rotting. The painting was painted by Renoir when he was 35 years old, when he, a bachelor and a poor egg, often followed Monet. In 1876, when he painted this painting, he was actually very poor, and most of the Impressionists were quite poor. Renoir has a girlfriend who has been together for 7-8 years, and Because he thinks he is poor and married someone else, Renoir is very hurt. In 1881, at the age of 40, he was married to a kind rural girl, Irene, fell in love, gave birth to three sons, the second son became a famous director, and made a good movie "A Day in the Countryside", which has the shadow of the painting "Swing".

Renoir's luck was not so good that he traveled to Italy, where in Rome he saw Raphael's paintings: "It was wonderful, I should have seen them long ago, these paintings show real artistic skill and wisdom." Since then, Renoir has taken a different approach, adding classical elements to his paintings. Portraits, in particular, sold exceptionally well, and later he only painted portraits with orders. In the mid-1980s, sunlight, air, nature, women, flowers and children became the subjects of Renoir. Especially the lovely woman, he is a master of concocting happiness, good at showing the soft, elastic skin and plump body of, and women are full of joy and youthful vitality in his paintings. His paintings are pleasing to the eye, he paints the mundane of everyday life, but with an incomparably real interest. He indulged in the superficial pleasures of life, the beauty of life itself, rather than Courbet's "deep reflection on reality". "Why can't art be beautiful?" There are enough ugly things in the world. "I only finished the portrait of the human body when I felt that I could touch the person in the painting." "Renoir and his paintbrush are married to all the women he paints" in fact, Renoir is a happy hedonist on the surface, but in fact he is a serious painter. In particular, the later style became calmer under the influence of Angle, and the outline of the object in the light color was clearer. Renoir hated the 19th century, and he often said that no one could make a clock or a piece of furniture that was beautiful and not antique. When viewing, appreciating, and judging art, it is not purely a matter of aesthetics (pure perceptual appreciation of color, composition, form), but is profoundly influenced by culture and ideas. Some people say that this work is too sweet, too pink, this is just his early work, the early impressionist work, not his eternal style, put into a long time and space to taste, maybe different.

The use of digital prints to present the original work was initially the practice of some museums for the purpose of protecting works of art. For example, the Louvre Museum in Paris, France, the British Museum in London, the Metropolitan Museum of Art in New York, and the Hermitage Museum in Russia are all using digital prints to replace the master's original works for daily exhibition to prevent the original works from being damaged or stolen in the exhibition. Using professional color management equipment and color management technology, the traditional way can not achieve such saturated colors and sharp edges, the bottom plate also has a new and bright beauty, accurate and perfect presentation of the essence of the original painting.