Renoir’s Wall Power: Painting Large as an Impressionist, by Colin B. Bailey. Between 1874 and 1885 Renoir—unlike other Impressionists—produced large-scale works in both full-length and horizontal formats in which he explored the grandeur of Parisian life, leisure, and fashion. This lecture places these ambitious and iconic works in context and discusses some of the discoveries and insights gleaned during the preparation of the exhibition Renoir, Impressionism, and Full-Length Painting."
Dr. Colin B. Bailey
Colin B. Bailey is Deputy Director and Peter Jay Sharp Chief Curator of The Frick Collection. He previously served as Deputy Director and Chief Curator at the National Gallery of Canada, Ottawa, and has held a variety of posts at the Kimbell Art Museum, Fort Worth; the Philadelphia Museum of Art; and the J. Paul Getty Museum, Malibu. He holds a doctorate in art history from the University of Oxford.
Dr. Bailey is responsible for an impressive list of catalogues and books, among them Watteau to Degas: French Drawings from the Frits Lugt Collection (2009); Gabriel de Saint-Aubin (1724-1780) (2007); Renoir Landscapes, 1865-1883 (2007); and The Age of Watteau, Chardin and Fragonard: Masterpieces of 18th-Century French Genre Painting (2003). In 2004 he was the winner of the Mitchell Prize for the History of Art in the best art book category for his critically acclaimed Patriotic Taste: Collecting Modern Art in Pre-Revolutionary Paris. Dr. Bailey's latest monograph, Fragonard's Progress of Love at The Frick Collection, was published in 2011. He has taught graduate seminars in eighteenth-century French art at Bryn Mawr College, Columbia University, and the Graduate Center of the City University of New York. He was made a Chevalier des Arts et des Lettres in 1994 and was promoted to Officier in 2010.
Dr. Colin B. Bailey, Deputy Director
and Peter Jay Sharp Chief Curator of The Frick Collection, discusses the
surprising facts that were discovered when Renoir’s “La Promenade” was
examined using infrared reflectography. He explains that while
praised as “partisans of unadorned reality,” looking under the surface
painting unearthed some revealing alterations.