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The reputation of the once exalted, still unshakably canonical, Impressionist has fallen on difficult days. His models were often amazed at how little they recognized themselves in pictures that they had posed for. Peculiarly, Renoir did grant the women wonderfully articulated hands, the body part hardest to render convincingly—good for doing things, perhaps around the house.

In his later work, his most prominent models were his servants or other lower-middle-class women. The show is a romp for connoisseurship, illumining, by abrupt contrasts, the core qualities of the respective artists. Picasso adored and collected Renoir nudes, the more outrageous the better. Everything in Renoir that is hard to take and almost impossible to think about, because it makes no concessions to intelligence, affirms his Pierre nude sex women as a revolutionary artist.

He stood firmly against the past in art and issued a stark challenge to its future. Class is key to understanding Renoir. He was born in Limoges inthe sixth of seven children of a tailor and a seamstress. The family moved to Paris four years later. He left school at the age of twelve or thirteen to apprentice as a decorator of porcelain, quickly advancing to a mastery of rococo forms and images; that training persists in all his painting, in which he centers the subjects in space that goes vague toward the corners of the canvas.

Meanwhile, he haunted the Louvre.

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His schoolmates included Monet, Sisley, and Bazille. This was the era when artists started to forsake aristocratic and institutional patronage—bucking the bias of the annual Salon while hungering for inclusion in it—in favor of support from a burgeoning middle class.

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In contrast to his better-off peers, who chafed against their starchy upbringing, Renoir was bourgeois by aspiration, not by birth. That social infatuation, plus the artisan roots of a style that bore traces, to the last, of ceramic embellishment, made Renoir an unprecedented artistic type, no more but also no less vulgar than the society that gave him a life and paid him a living.

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It feels wrong to term Renoir a misogynist, though he was certainly patriarchal. He could be collegial with female artists, notably Berthe Morisot, but he gave no of regarding women as other than a species subservient to men. Sex and art figured for him as practically interchangeable rewards for living. At the show, part of me felt as though I were writhing on a pin: again and again the carnal tapioca, the vacant gazes, the fatuous frolic. Arriving at a cool Corot nude in a darkling landscape or a crisp Picasso nude combing her hair was like gulping fresh air in a miasma.

The prehensile touch with which Renoir molds female masses with color—instead of modelling them with tonal shading—awes the eye, defeating a self-protective impulse to perceive the figures as if they were cels from animated cartoons.

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The work tends toward silliness but never topples into it. He can really move paint around, and his colors attain complex harmonies even as you may crave sunglasses to mitigate their screeching chromas.

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