Around 1885 -1915 · Aline, Gabrielle, Pierre, Jean and Claude in the family workshop

The family becomes a workshop of presence at Renoir: Aline, her sons and Gabrielle Renard pose, read, play or breastfeed in a painting where intimacy nourishes the search for color.

From the 1880s, the life of Pierre-Auguste Renoir was organized around Aline Charigot, whom he married in 1890, and their three sons Pierre, Jean and Claude, nicknamed Coco. Aline's cousin, Gabrielle Renard, joined the home as a nanny and became one of the painter's major models. Renoir represents these relatives in portraits, maternal scenes, readings, costumes and gardens. Familiarity allows repeated poses and continuous observation of ages, gestures and temperaments. However, it does not eliminate pictorial construction: fabrics, skin tones and light are carefully matched. However, it does not eliminate pictorial construction: fabrics, skin tones and light are carefully matched. However, it does not eliminate pictorial construction: fabrics, skin tones and light are carefully matched. She does not eliminate pictorial construction: fabrics, skin tones and light are carefully matched. She does not eliminate pictorial construction: fabrics, skin tones and light are carefully matched. Installed in Cagnes-sur-Mer, the family also becomes one creative environment. Pierre will be an actor, Jean a filmmaker and Claude a ceramist; Gabrielle will play a lasting protective role with children and in the memory of the work. The "Famille Renoir" selection notably compares Aline Renoir breastfeeding her son Pierre and Portrait of Gabrielle. His reading favors figures.

At Renoir, the family is not a private album: it provides a continuity of faces and gestures where painting experiences the passage of time.