The high-spirited painting is set in the original Moulin de la Galette, an outdoor dance hall in Montmartre (an artistic district in Paris). Like other works of Renoir's early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. Le moulin de la Galette qui donne son titre à ces deux toiles se situait sur la butte Montmartre (annexée à Paris en 1860), à côté du moulin qui existe encore aujourd’hui et auquel il doit son nom. The painting is now believed to be in a private collection in Switzerland. Despite Renoir's resource of distributing a sought after fashionable hat of the time amongst his models (the straw bonnet with a wide red ribbon top right is an example of this hat, called a timbale), he was unable to persuade his favourite sixteen-year-old model Jeanne Samary, who appears in La balançoire, to pose as principal for the painting (in fact she was conducting an affair with a local boy at the time). The Moulin de la Galette was an outdoor dancehall and café, frequented by many of Renoir’s friends. Renoir painted a smaller version of the picture (78 × 114 cm) with the same title. This work is undoubtedly Renoir’s most important work in the mid-1870s and was exhibited at the exhibition of the Impressionist … The painting portrays a crowded floor with dolled up and top hatted clients doing one of the new South American dances. Bal du moulin de la Galette (commonly known as Dance at Le moulin de la Galette) is an 1876 painting by French artist Pierre-Auguste Renoir. Most people went there not to dance, but just to watch the dancers and enjoy the relaxed atmosphere. women. It is not even known which was the one first exhibited at the 3rd Impressionist exhibition of 1877, because although the painting was catalogued and given favourable attention by critics, its entry did not indicate the size of the painting, information that would serve to identify it.. These two girls came to Le Moulin every Sunday with their family; with two younger sisters barely taller than the tables, and their mother and father, properly chaperoned by their mother (entry was free for girls at Le Moulin and not all were models of virtue). Le Moulin de la Galette (1900) by Picasso. It is oil on canvas painting measuring 131 x 175 cm. A masterpiece of modern art, the Dance at Le Moulin de la Galette is one of the most famous Impressionist paintings and a dazzling example of Renoir's talent for capturing dappled light. It is housed at the Musée d'Orsay in Paris and is one of Impressionism's most celebrated masterpieces. Since the 17th century the windmill has been known for more than just its milling capabilities. Situated on the hills to the north of the city Montmartre's rural past could still be detected by the presence of its most famous windmill, the Moulin de la Galetl By the time Picasso first visited Its modernism derives both from its chosen theme - an ordinary scene of working class Parisians at leisure, during a typical Sunday afternoon at the Moulin de la Galette - as well as its loose Impressionist-style … The Bal du moulin de la Galette showed a typical scene of late 1800’s working class people, who on a Sunday afternoon, would dress up and while passing time dancing, drinking, and eating galettes. De 1896 à 1929, le tableau fut exposé au musée du Luxembourg à Paris. Bal du moulin de la Galette (commonly known as Dance at Le moulin de la Galette) is an 1876 painting by French artist Pierre-Auguste Renoir. The location was named for the 17th-century moulin, or windmill, found on-site, which was used to produce flour. De nombreux moulins à vent rythmaient la vie sur la Butte depuis le Moyen Age. In the middle distance, in the middle of the dance hall, the Cuban painter Don Pedro Vidal de Solares y Cardenas is depicted in striped trousers dancing with the model called Margot (Marguerite Legrand). Like other works of Renoir's early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. From 1929 it hung in the Musée du Louvre until it was transferred to the Musée d'Orsay in 1986. However, when Saito and his companies ran into severe financial difficulties, bankers who held the painting as collateral for loans arranged a confidential sale through Sotheby's to an undisclosed buyer. Renoir used to work on The Swing in the morning and on the Dance in the afternoon. Saito caused international outrage when he suggested in 1991 that he intended to cremate both paintings with him when he died. Bal du moulin de la Galette (commonly known as Dance at Le moulin de la Galette) is an 1876 painting by French artist Pierre-Auguste Renoir. By this time Montmartre had developed a reputation as the bohemian centre of the city and was a mecca for artists. It is housed at the Musée d'Orsay in Paris and is one of Impressionism's most celebrated masterpieces. The Moulin de la Galette is a windmill and associated businesses situated near the top of the district of Montmartre in Paris. Rivière identified several of the personalities in the painting.  In the first place, Renoir needed to set up a studio near the mill. In 1809, the structure was purchased by the Debray family, who used the milled flour to bake galettes, a special type of brown bread. https://www.khanacademy.org/.../v/renoir-moulin-de-la-galette-1876 On May 17, 1990, his widow sold the painting for US$78 million at Sotheby's in New York City to Ryoei Saito (Saitō Ryōei), the honorary chairman of Daishowa Paper Manufacturing Company, Japan. From 1896 to … Situated on the hills to the north of the city Montmartre's rural past could still be detected by the presence of its most famous windmill, the Moulin de la Galetl By the time Picasso first visited it, however, the Moulin de la Galette had long since ceased to function as a workii windmill, having been transformed into a tavern and dance hall that had become a centre of Parisian nightlife. Apparently the exuberant Margot found Solares too reserved and was endeavouring to loosen him up by dancing polkas with him and teaching him dubious songs in the local slang. For Bal Du Moulin De La Galette (Dance at Le moulin de la Galette) analysis we need to know the context and history of the making of this masterpiece. :136–7, Rivière describes the painting as executed on the spot and that not without difficulty as the wind constantly threatened to blow the canvas away. One is presumably a copy of the original, but it is not known which is the original. From 1879 to 1894 the painting was in the collection of the French painter Gustave Caillebotte; when he died it became the property of the French Republic as payment for death duties.