On the other hand, the smaller is much the more spontaneous and freely worked of the two, characteristic of en plein air work. In the middle of the 19th ce… From 1879 to 1894 the painting was in the collection of the French painter Gustave Caillebotte; when he died it became the property of the French Republic as payment for death duties. The painting depicts a typical Sunday afternoon at the original Moulin de la Galette in the district of Montmartre in Paris. Renoir painted a smaller version of the picture (78 × 114 cm) with the same title. Renoir also painted a smaller version with the same title and this measured 78 x 114 cm. de 1929 à 1986 au Louvre; jusqu’à ce qu’il soit finalement transféré au musée d’Orsay. These two girls came to Le Moulin every Sunday with their family; with two younger sisters barely taller than the tables, and their mother and father, properly chaperoned by their mother (entry was free for girls at Le Moulin and not all were models of virtue). Like other works of Renoir's early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. Beside her is a group consisting of Pierre-Franc Lamy and Norbert Goeneutte (also appearing in La balançoire), fellow painters, as well as Rivière himself. Le Moulin de la Galette (1900) by Picasso. Apart from their size, the two paintings are virtually identical, although the smaller is painted in a more fluid manner than the d'Orsay version. The Moulin de la Galette was an open-air dancehall and café that was frequented by many artists living in Paris. The Debrays sold their bread to locals, first with a cup of milk and, eventually, with a glass of wine. Renoir attended Sunday afternoon dances and enjoyed watching the happy couples. On May 17, 1990, his widow sold the painting for US$78 million at Sotheby's in New York City to Ryoei Saito (Saitō Ryōei), the honorary chairman of Daishowa Paper Manufacturing Company, Japan. Nineteenth-century owners and millers, the Debray family, made a brown bread, galette, which became popular and thus the name of the windmill and its businesses, which have included a … Renoir used to work on The Swing in the morning and on the Dance in the afternoon. The bright, lurid colours and garish lighting aptly highlight the gaiety and splendor of turn-of-the-century Paris, widely regarded as the playground of Europe, Picasso & Matisse  |  Picasso & Cezanne  |  Picasso & Marc Chagall  |   [2]:136–7[3][5], Rivière describes the painting as executed on the spot and that not without difficulty as the wind constantly threatened to blow the canvas away. She was to die of typhoid just two years later, Renoir nursing her until the end, paying both for her treatment and her funeral. The Moulin de la Galette is a windmill and associated businesses situated near the top of the district of Montmartre in Paris. De 1879 à 1894, le peintre français Gustave Caillebotte était propriétaire de la danse au Moulin de la Galette ; à sa mort, il fut accepté par la République française au lieu des droits de succession. https://www.khanacademy.org/.../v/renoir-moulin-de-la-galette-1876 Analysis of The Swing (La Balancoire) by Renoir. Bal du moulin de la Galette (commonly known as Dance at Le moulin de la Galette) is an 1876 painting by French artist Pierre-Auguste Renoir. A masterpiece of modern art, the Dance at Le Moulin de la Galette is one of the most famous Impressionist paintings and a dazzling example of Renoir's talent for capturing dappled light. The painting portrays a crowded floor with dolled up and top hatted clients doing one of the new South American dances. By this time Montmartre had developed a reputation as the bohemian centre of the city and was a mecca for artists. De nombreux moulins à vent rythmaient la vie sur la Butte depuis le Moyen Age. The gardens and its buildings have been preserved as the Musée de Montmartre. Dance at le Moulin de la Galette is also known as Bal du moulin de la Galette and it is hailed as one of Renoir's most important works of the mid 1870s. In 1809, the structure was purchased by the Debray family, who used the milled flour to bake galettes, a special type of brown bread. The location was named for the 17th-century moulin, or windmill, found on-site, which was used to produce flour. Rivière identified several of the personalities in the painting. Most people went there not to dance, but just to watch the dancers and enjoy the relaxed atmosphere. One is presumably a copy of the original, but it is not known which is the original. Apparently the exuberant Margot found Solares too reserved and was endeavouring to loosen him up by dancing polkas with him and teaching him dubious songs in the local slang. The Moulin de la Galette is a windmill and associated businesses situated near the top of the district of Montmartre in Paris. Renoir conceived his project of painting the dancing at Le Moulin de la Galette in May 1876 and its execution is described in full by his civil servant friend Georges Rivière in his memoir Renoir et ses amis. previously depicted this famous site, Indeed, Picasso was heavily influenced by Toulouse-Lautrec at this stage of his career, This work shows a busy night scene crowded with well-dressed men and Despite Renoir's resource of distributing a sought after fashionable hat of the time amongst his models (the straw bonnet with a wide red ribbon top right is an example of this hat, called a timbale), he was unable to persuade his favourite sixteen-year-old model Jeanne Samary, who appears in La balançoire, to pose as principal for the painting (in fact she was conducting an affair with a local boy at the time). [4] Although not known for certain, the painting is believed to be in the hands of a Swiss collector. In the late 19th century, working class Parisians would dress up and spend time there dancing, drinking, and eating galettes into the evening.[2]:121–3.