art history formal analysis Renoir luncheon of the boating party

4322 Words Oct 8th, 2013 18 Pages
ARTS103OL
Art Appreciation
FORMAL ANALYSIS

FORMAL ANALYSIS of: Luncheon of the Boating Party
By Auguste Renoir

For ARTS103OL Art Appreciation Instructor:

The intent of this paper is to provide a greater understanding of the selected art object. Through objective analysis of the formal elements that make up the art object and considerations of the social and cultural climate in which it was conceived, a greater understanding of the art objects significance will be achieved.

Part II - Identification of the Art Object:
1. Title of the Work: Luncheon of the Boating Party
2. Artist/School: Auguste Renoir/ Impressionist
3. Year or Time Period Completed: 1881
4. Medium/Technique/Process used: Oil on Canvas
5. Size: 51 x
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The work was painted en plein air (outside) utilizing the alla prima (wet on wet) technique and also the classical layering technique of oil painting employed by the old masters. In these processes the first step would require the preparation of a surface on which to apply the oil paint. A linen canvas would be stretched around a wooden frame and tacked into place. The surface of the canvas would then be protected from the acidic qualities of the oil paint by applying layers of rabbit skin glue and chalk known as a ground. Next a primer of white lead paint or glue mixed with chalk “gesso” is added to provide a base layer for the painting. A rough outline of the scene would then be sketched onto the canvas as a guide for painting. Next the creation of a palette from which to paint from would require selecting the proper pigments. (Eastlake pg.234) For the portions of this work that were painted en plein air in the alla prima technique in the Impressionist style such as the tableware in the foreground Renoir would have used portable tubes of pigmented paint. Other portions that were executed in his studio employed classical oil painting techniques of layering colors and then glazing which creates a lustrous glow and provides the three dimensional quality of modeling. This technique is evident in the modeling of the forearm and the hand holding the cigarette of the

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