Pierre-Auguste Renoir
For condition report contact specialist
"La maison de la poste à Cagnes"
Signed Renoir. Executed in 1905-1906 in the artist's hometown of Cagnes-sur-Mer. Oil on canvas 17 x 26 cm. A certificate of authenticity issued by Wildenstein Plattner Institute, Paris, is included with the lot.
Saleroom notice
A certificate of authenticity issued by Wildenstein Plattner Institute, Paris, is included with the lot.
The provenance has been updated December 4, 2024 with the following information:
Durand-Ruel, Paris, acquired from the artist (January 17, 1912, as "Paysage")
Provenance
Durand-Ruel, Paris, acquired from the artist (January 17, 1912, as "Paysage")
Galerie Eugène Blot, Paris.
Louis Méley, Alger, Algeriet.
Christies, London, 3 April 1990, lot 15.
Stockholms Auktionsverk, Moderna Kvalitén, 31 October - 2 November 2007, lot 999.
Private Collection, Sweden
More information
August Renoir, one of the leading figures of French Impressionism, spent his later years in the village of Cagnes-sur-Mer on the French Riviera. In 1907, Renoir painted La Poste de Cagnes, a work that exemplifies his transition from the delicate Impressionist strokes of his earlier career to a more robust, classical style, often referred to as his "Cagnes period."
During this time, Renoir was deeply inspired by the Mediterranean landscape, particularly the interplay between the village’s architecture and its lush natural surroundings. La Poste de Cagnes captures the village post office as seen from Renoir’s villa, with its terraced rooftops and structures climbing the steep hillside. This composition reflects Renoir's fascination with the way the man-made structures harmonized with the surrounding greenery, creating a visual rhythm that attracted his painterly eye.
The Mediterranean light, soft yet vibrant, also plays a crucial role in this painting. The rich colors and warm tones emphasize Renoir’s mastery of depicting atmosphere and mood. In his later years, despite physical challenges, including rheumatoid arthritis, Renoir’s brushwork became more confident, emphasizing the solidity of forms while still maintaining his signature sensitivity to light and texture.