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Exemples d'insertion d'images dans un document

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Alignement d'image en haut

Nini au jardin, <img src="../../images/renoir_nini_small.jpg" align="top" > huile sur toile de 82×60 cm, 1875-1876, Philadelphia Museum of Art.


Nini au jardin, , huile sur toile de 82×60 cm, 1875-1876, Philadelphia Museum of Art.

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Alignement d'image en bas

Nini au jardin, <img src="../../images/renoir_nini_small.jpg" align="bottom" > huile sur toile de 82×60 cm, 1875-1876, Philadelphia Museum of Art.


Nini au jardin, , huile sur toile de 82×60 cm, 1875-1876, Philadelphia Museum of Art.

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Alignement d'image centré

Nini au jardin, <img src="../../images/renoir_nini_small.jpg" align="middle" > huile sur toile de 82×60 cm, 1875-1876, Philadelphia Museum of Art.


Nini au jardin, , huile sur toile de 82×60 cm, 1875-1876, Philadelphia Museum of Art.

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Insertion à gauche

<strong><em>Nini in the garden, </em>1875-76; Oil on canvas, 24 3/8 x 20 in; Philadelphia Museum of Art.</strong><img src="../../images/renoir_nini_small.jpg" align="left" > Renoir rarely worked on one canvas at a time, and Nini in the Garden, signed but not dated, belongs to the period immediately before work on the Moulin de la Galette began in earnest. Inspired by Monet's work at Argenteuil, Renoir had been experimenting since the early 1870s with the motif of young women in the garden: in size, , and orientation, Nini in the Garden may be loosely grouped with Woman with a Black Dog, 1874 (formerly, Charles Clore Collection, London) and the radiant Umbrella of 1878 (sale, Christie's, May 11,1988, lot 15). These paintings are identical in size (24 by 20 inches); each explores the problem of integrating the clothed female figure in ambient daylight and achieving a harmony between elegant Parisienne and exuberant nature. Even more closely related is Young Girl on the Beach, which was probably painted at the same session: there, the model, Nini Lopez, sits on a similar garden chair wearing identical dress, but her presence is more assertive, now the chief element in the composition. Both paintings convey the delight that Renoir experienced in the large garden at the rue Cortot. Georges Riviere, who had accompanied Renoir in his search for the ideal Montmartre studio, recalled that "as soon as Renoir entered the house, he was charmed by the view of this garden, which looked like a beautiful abandoned park. Once we had passed through the narrow hallway, we stood before a vast uncultivated lawn dotted with poppies, convolvulus, and daisies." Beyond this, Riviere continued, lay a beautiful allee planted with trees stretching the full length of the garden--this was the view that Renoir used for his celebrated painting The Swing (Musee d'Orsay, Paris)--and at the end was a fruit and vegetable patch with dense bushes and poplar trees. It is difficult to know exactly which corner of the garden is represented in this painting, although Nini does appear to be sitting at the edge of an untidy lawn.<cite> Nicolas Pioch (Webmuseum)</cite>


Nini in the garden, 1875-76; Oil on canvas, 24 3/8 x 20 in; Philadelphia Museum of Art. Renoir rarely worked on one canvas at a time, and Nini in the Garden, signed but not dated, belongs to the period immediately before work on the Moulin de la Galette began in earnest. Inspired by Monet's work at Argenteuil, Renoir had been experimenting since the early 1870s with the motif of young women in the garden: in size, , and orientation, Nini in the Garden may be loosely grouped with Woman with a Black Dog, 1874 (formerly, Charles Clore Collection, London) and the radiant Umbrella of 1878 (sale, Christie's, May 11,1988, lot 15). These paintings are identical in size (24 by 20 inches); each explores the problem of integrating the clothed female figure in ambient daylight and achieving a harmony between elegant Parisienne and exuberant nature. Even more closely related is Young Girl on the Beach, which was probably painted at the same session: there, the model, Nini Lopez, sits on a similar garden chair wearing identical dress, but her presence is more assertive, now the chief element in the composition. Both paintings convey the delight that Renoir experienced in the large garden at the rue Cortot. Georges Riviere, who had accompanied Renoir in his search for the ideal Montmartre studio, recalled that "as soon as Renoir entered the house, he was charmed by the view of this garden, which looked like a beautiful abandoned park. Once we had passed through the narrow hallway, we stood before a vast uncultivated lawn dotted with poppies, convolvulus, and daisies." Beyond this, Riviere continued, lay a beautiful allee planted with trees stretching the full length of the garden--this was the view that Renoir used for his celebrated painting The Swing (Musee d'Orsay, Paris)--and at the end was a fruit and vegetable patch with dense bushes and poplar trees. It is difficult to know exactly which corner of the garden is represented in this painting, although Nini does appear to be sitting at the edge of an untidy lawn. Nicolas Pioch (Webmuseum)

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Insertion à droite

<strong><em>Nini in the garden, </em>1875-76; Oil on canvas, 24 3/8 x 20 in; Philadelphia Museum of Art.</strong><img src="../../images/renoir_nini_small.jpg" align="left" > Renoir rarely worked on one canvas at a time, and Nini in the Garden, signed but not dated, belongs to the period immediately before work on the Moulin de la Galette began in earnest. Inspired by Monet's work at Argenteuil, Renoir had been experimenting since the early 1870s with the motif of young women in the garden: in size, , and orientation, Nini in the Garden may be loosely grouped with Woman with a Black Dog, 1874 (formerly, Charles Clore Collection, London) and the radiant Umbrella of 1878 (sale, Christie's, May 11,1988, lot 15). These paintings are identical in size (24 by 20 inches); each explores the problem of integrating the clothed female figure in ambient daylight and achieving a harmony between elegant Parisienne and exuberant nature. Even more closely related is Young Girl on the Beach, which was probably painted at the same session: there, the model, Nini Lopez, sits on a similar garden chair wearing identical dress, but her presence is more assertive, now the chief element in the composition. Both paintings convey the delight that Renoir experienced in the large garden at the rue Cortot. Georges Riviere, who had accompanied Renoir in his search for the ideal Montmartre studio, recalled that "as soon as Renoir entered the house, he was charmed by the view of this garden, which looked like a beautiful abandoned park. Once we had passed through the narrow hallway, we stood before a vast uncultivated lawn dotted with poppies, convolvulus, and daisies." Beyond this, Riviere continued, lay a beautiful allee planted with trees stretching the full length of the garden--this was the view that Renoir used for his celebrated painting The Swing (Musee d'Orsay, Paris)--and at the end was a fruit and vegetable patch with dense bushes and poplar trees. It is difficult to know exactly which corner of the garden is represented in this painting, although Nini does appear to be sitting at the edge of an untidy lawn.<cite> Nicolas Pioch (Webmuseum)</cite>


Nini in the garden, 1875-76; Oil on canvas, 24 3/8 x 20 in; Philadelphia Museum of Art. Renoir rarely worked on one canvas at a time, and Nini in the Garden, signed but not dated, belongs to the period immediately before work on the Moulin de la Galette began in earnest. Inspired by Monet's work at Argenteuil, Renoir had been experimenting since the early 1870s with the motif of young women in the garden: in size, , and orientation, Nini in the Garden may be loosely grouped with Woman with a Black Dog, 1874 (formerly, Charles Clore Collection, London) and the radiant Umbrella of 1878 (sale, Christie's, May 11,1988, lot 15). These paintings are identical in size (24 by 20 inches); each explores the problem of integrating the clothed female figure in ambient daylight and achieving a harmony between elegant Parisienne and exuberant nature. Even more closely related is Young Girl on the Beach, which was probably painted at the same session: there, the model, Nini Lopez, sits on a similar garden chair wearing identical dress, but her presence is more assertive, now the chief element in the composition. Both paintings convey the delight that Renoir experienced in the large garden at the rue Cortot. Georges Riviere, who had accompanied Renoir in his search for the ideal Montmartre studio, recalled that "as soon as Renoir entered the house, he was charmed by the view of this garden, which looked like a beautiful abandoned park. Once we had passed through the narrow hallway, we stood before a vast uncultivated lawn dotted with poppies, convolvulus, and daisies." Beyond this, Riviere continued, lay a beautiful allee planted with trees stretching the full length of the garden--this was the view that Renoir used for his celebrated painting The Swing (Musee d'Orsay, Paris)--and at the end was a fruit and vegetable patch with dense bushes and poplar trees. It is difficult to know exactly which corner of the garden is represented in this painting, although Nini does appear to be sitting at the edge of an untidy lawn. Nicolas Pioch (Webmuseum)

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Image dont on modifie les paramètres de taille

Nini au jardin, <img src="../../images/renoir_nini_small.jpg" widht="100" height="100" > huile sur toile de 82×60 cm, 1875-1876, Philadelphia Museum of Art.


Nini au jardin, , huile sur toile de 82×60 cm, 1875-1876, Philadelphia Museum of Art.

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