Throughout their careers the Impressionists demonstrated a strong, but rarely examined, interest for decoration. A careful examination of both archival material and well-known artworks produced between 1870 and 1895 shows that Pissarro, Degas, Cézanne, Monet, Renoir, Morisot and Caillebotte never ceased to explore the values of decoration and the decorative. Set in the context of the Third Republic’s passion for monumental decoration and deep interest in the decorative arts, the Impressionists’ experiments range from ceilings to ceramic tiles, and from never achieved projects to ambitious realisations (although none remain in their original location). One painter among those surveyed also engaged with theoretical thinking: Renoir wrote for the press and drew up the drafts of a Grammar mainly focused on the decorative arts. Along with a number of artworks explicitly designated as decorative that were predominantly exhibited at the Impressionist shows, the Impressionists further produced more than twenty decorative ensembles made for the interiors of amateurs who then became patrons. Renoir, who started his career as a painter on porcelain, worked in the 1870s for the Parisian homes of a Romanian aristocrat, prince Bibesco, and of a leading publisher, Georges Charpentier, but also for the country house of Paul Berard. Monet, in a similar fashion, painted for the department store magnate Ernest Hoschedé in his property of Montgeron. Initially publicised by the painters in the 1870s, the decade on which this thesis focuses, the Impressionists’ decorative works were subsequently undertaken more quietly though continuously. Morisot painted a chimney trumeau for her own salon, to which Monet gave a pendant (they were eventually used as overdoor panels). Monet and Renoir also painted door-panels for Durand-Ruel. None of these later schemes were actually promoted towards a wide public, showing how the Impressionists’ commitment to painting decorations went from a strategic (and partly commercial) vision to embody a deeper reflection on the essence of painting and its relation to the wall – a reflection that the larger dissertation submitted to the Université de Bourgogne embraces. The critics’ attention, however, went the opposite way. It grew from a relative but highly meaningful disinterest to making the decorative key to their approach at the turn of the century, but in all situations, mocking or praising, their comments shed a crucial light on the Impressionist’s enterprises and their relations to the society’s concerns. An analysis of the Impressionists’ decorative experiments and their critical reception encourages, as this thesis aims to demonstrate, a reconsideration of our vision of Impressionism, for its development drew much more from the decorative than has so far been discussed.

Zugl.: Freiburg (Breisgau), Univ., Diss., 2007

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 82-86). Also available on the Internet.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 82-86). Also available on the Internet.

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This thesis examines the years bracketing the summer of 1876, when Renoir was a resident on the Butte Montmartre and executed the Bal du Moulin de la Galette . The social and historical resonances of Renoir's work during this period are investigated, including his engagement with themes prevalent in French popular lithography and vaudeville theatre. While Bal du Moulin de la Galette is an ubiquitous image of the Impressionist movement, it is little studied as a site of potential symbolic meaning, especially following the period of the Franco-Prussian war and the Commune between 1870-71. Through archival research and a reevaluation of secondary sources a clear relationship is established between Renoir, Republican politics and French literature, particularly the Parnassian movement in poetry. / Cette thèse examine les années avant et après de l’été de 1876, quand Renoir habitait sur la Butte Montmartre et a exécuté le Bal du Moulin de la Galette. Ces années dans la carrière de Renoir sont choisi à examiner plus profondément des résonances historiques et sociales de cette oeuvre, y compris l’engagement de Renoir avec les thèmes de la lithographie populaire et les vaudevilles. Tandis que le Bal du Moulin de la Galette est très bien connu dans la contexte de l’impressionnisme, le tableau lui-même est peu étudié comme document de son époque dans la période suivante la Guerre et la Commune entre 1870-71. Au moyen de l’étude des sources archivales et secondaires, un rapport est établi entre Renoir, la politique Républicaine et la littérature fran;aise, particulièrement avec le mouvement parnassien en poésie.

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center

El proyecto del presente trabajo de investigación se centra en el estudio de algunas de las relaciones intertextuales, de influencias temáticas y estilísticas que se establecen entre las obras de ambos autores, teniendo a Truffaut como cineasta heredero del legado creativo de Renoir. / This research project focuses on the study of the thematic and stylistic relationships established in the works of the two authors. / Trabajo de investigación

In this thesis the process of adaptation from novel to film is examined. La Bête humaine by Emile Zola and the film version by Jean Renoir provide specific examples. The starting point is the assumption, often made by cinema audiences, that the film should be "faithful" to the novel upon which it is based. A statement made by Renoir regarding his efforts to be true to what he describes as the "spirit of the book" is quoted to illustrate the prevalence of this attitude. Novel and film are then compared in order to test Renoir's claim to fidelity. What is revealed are the differences between the two. Through an examination of character, action, and space some of the reasons for the director's departure from the novel begin to emerge and it becomes increasingly clear that Renoir was obliged to adopt a different approach. Theme and form are then examined and the organic nature of their relationship suggested. Finally, the departure of the film from the novel is traced to the very different ways in which the two media function — linearity in the written medium as opposed to simultaneity in the cinematic medium — and the indelible nature of the association of theme and form is confirmed. In conclusion, the view that the media should and do correspond is found to be mistaken, and Renoir's statement is re-evaluated and assessed as an attempt, by a director sensitive to the public's insistence on fidelity, to disarm criticism. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate