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Le Chapeau Epingle – 1st Plate

Le Chapeau Epingle, 1st Plate, Only State, 4.6" x 3.2", Etching, c.1894 
From: Manet & the French Impressionists

This early version of Le Chapeau Épinglé—known as the 1st Plate—offers a rare glimpse into Renoir’s evolving mastery of etching. The composition depicts a quiet, shared moment between two young women as one adjusts the other’s hat, a recurring theme in Renoir’s work that evokes grace, elegance, and the gentleness of female companionship.

Unlike the later versions, this first plate shows a more spontaneous, sketch-like quality, with delicate linework and a looser treatment of form. The only state was etched with subtlety and restraint, lending the impression an immediacy that mirrors a drawing made in the moment.

Printed on fine laid paper as part of the deluxe art book Manet and the French Impressionists, this etching is signed in the plate and remains an excellent example of Renoir’s printmaking approach—expressive, intimate, and full of charm.

A poetic work on paper that captures the spirit of Impressionism in a few elegant lines—perfect for collectors of Renoir or 19th-century French prints.

SKU: M-RENOIR-125001 Artist: Tag:
Nicole Wolff
Gallery Director

About the Artist

Famed for his sensual nudes and charming depictions of women, Auguste Renoir (1841–1919) was a founding member of the Impressionist movement. Though he ceased exhibiting with the group after 1877, he later developed a monumental, classically inspired style that influenced artists like Pablo Picasso.

Renoir began his career as a porcelain painter before studying at the Louvre and under Charles Gleyre, where he met Monet, Bazille, and Sisley. While painting in the forest of Fontainebleau, Renoir remained committed to figure painting, influenced early on by Gustave Courbet's Realism. His collaboration with Monet at La Grenouillère in 1869 catalyzed the Impressionist aesthetic, defined by loose brushwork and a brightened palette.

Renoir’s works from the 1870s captured modern life, with iconic pieces like Dance at the Moulin de la Galette. Portraiture became a significant focus, earning him wealthy patrons and financial stability, particularly after the success of Madame Charpentier and Her Children at the 1879 Salon.

By the 1880s, Renoir sought a more structured style, inspired by the old masters. Travels to Italy deepened his admiration for Raphael, leading to crisply defined, sculptural figures, as seen in Reclining Nude. In the 1890s, his work softened, reflecting the coloristic traditions of Titian and Rubens, with notable pieces like Two Young Girls at the Piano.

Despite declining health in his later years, Renoir continued painting, exploring sculpture, and developing a late style characterized by warm tones and Rubenesque nudes. His final works, celebrated by Picasso and Matisse, exemplify his enduring vision of beauty and Mediterranean classicism, securing his place as one of France’s greatest modern painters.