The filmmaker Jean Renoir made a career of dismantling the beliefs of his absentee father, the painter Pierre-Auguste Renoir. Jean satirized the aristocracy and upended his father’s saccharine scenes of leisure. An exhibition now at the Musée d’Orsay, in Paris, looks at their relationship. The Impressionist painter Pierre-Auguste Renoir rarely spent time with his second son, Jean. Whenever Pierre-Auguste was around the house, he demanded to be called patron—“the boss”—rather than the more typical papa, and Jean grew to view him more as a boarding school headmaster than as a father. As for the actual parenting, that was mostly left to the family’s nanny, Gabrielle Renard. Renard, who was only sixteen when she moved into the Renoirs’ home in Paris, spent years with Jean—taking him to the movies and to puppet shows, playing with toys and strolling the winding streets of Montmartre and the seaside in Cagnes-sur-Mer, where Pierre-Auguste moved the family. Ultimately, Renard became one of the central influences on Jean’s filmmaking career: where his father’s paintings often portrayed their French aristocratic class in an earnest, …
Egon Schiele, whose centenary is being celebrated at museums across the world, presents a unique lens through which to think about the line between art and exploitation.
Mr. Anderson and his partner, Juman Malouf, were given free rein in Austria’s largest museum. But you can’t make an exhibition as you would a movie.
Is it only within the context of romantic unrest that the best art can be made?
A concert cancellation underscores the persistent conflation of French Islam and radical Islamic terror.
Artist Trevor Paglen’s plan to launch a sculpture into orbit has drawn criticism from certain astronomers, but are they missing the point?
Should art be about depicting or creating an experience?