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Georges Clairin - Portrait of Sarah Bernhardt
Armand Point - Peacock Casket
Camille Alaphilippe - Woman with Monkey
Aristide  Maillol - Seated female nude with her left hand on her head. Study for The Mediterranean
Louis-Robert Carrier-Belleuse - The Struggle for Life vase
Léon  Lhermitte - Les Halles
Fernand Pelez - The Death of Emperor Commodus
Pierre-Auguste Renoir - Ambroise Vollard in a Red Scarf
Jean Carriès - My Portrait
Emile Gallé - Two-handled vase
Georges-Henri Lemaire - Silence or Immortality
Charles-Alexandre Giron - Woman wearing gloves, also known as The Parisienne
Paul Sérusier - Tricoteuse au bas rose
Pierre-Auguste  Renoir - Portrait of Madame de Bonnières
Berthe Morisot - Jeune fille en décolleté - La fleur aux cheveux
Pierre Bonnard - Conversation à Arcachon
Pierre-Adrien Dalpayrat - Dish : The judgment of Paris
Joseph-Marius Avy  - Bal blanc
Marie Constantine Bashkirtseff - Parisienne, Portrait of Irma
Maurice Denis - Female bathers at Perros-Guirec
Fernand Pelez - La Vachalcade
Alfred Sisley - The Church at Moret (Evening)
Théophile Alexandre Steinlen - Ball on the 14th of July
Edmond  Aman-Jean - Miss Ella Carmichaël
Raoul Larche - Buste d'enfant (portrait présumé de Marcel Lerolle)

Venus victrix

Pierre Auguste Renoir and Richard Guino
Pierre Auguste Renoir (Limoges, 1841 – Cagnes-sur-Mer, 1919) and Richard Guino (Girone, 1890 – Antony, 1973)
1916 ?
Bronze
181 x 111 x 78 cm

Renoir took an intermittent in sculpture, but it was allegedly a meeting with Maillol in 1907 which led him to take up modelling again at the end of his life.

In 1913, Ambroise Vollard, his official dealer, suggested he employ Richard Guino, a young sculptor studying under Maillol to assist him. Their collaboration lasted five years, with Renoir, crippled by rheumatism, dashing down sketches on paper, Guino modelling them under the direction of the master who waved or pointed a stick to express the necessary changes to the sculpture and Vollard producing the works in bronze.

Venus victrix, created between 1914 and 1916, illustrates the triumph of the goddess of love over her rivals, Minerva and Juno. She is holding the apple given to her by the shepherd Paris, the sole judge of the beauty contest, whilst uncovering herself in a gesture reminiscent of some of the many versions of the Birth of Venus.
The style of classical antiquity echoes Renoir’s final phase. Like Maillol, Bourdelle or Picasso during the same period, he turned to Greco-Roman models in what came to be known as “return to the style”, combining realism and idealism. This is evident in the streamlined silhouette of Venus, her soft, measured movements, smooth surface and the curves of her body.

Venus victrix is a bather rather than a conquering Venus – like those to be found in Renoir’s paintings. They all celebrate the female body with the same ample forms and modestly lowered eyes. However, the three-dimensional medium of bronze in sculpture adds a new piquancy to a theme familiar to the old artist, imbuing it with an extremely sensual visual and tactile reality.

Donor, testator or seller: 
Gift of Ambroise Vollard, 1931
Inventory number: 
PPS01708
Inventory number : PPS01708
Peristyle
Paris 1900
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