L'Enfant au Biscuit, a hand colored proof by Pierre Auguste Renoir

L'Enfant au Biscuit by Pierre Auguste Renoir

The lithograph of a boy with a biscuit by Pierre Auguste Renoir is one of the artist's earliest attempts at the medium commissioned by Ambroise Vollard. "L'Enfant au Biscuit" is based upon a series of pastels and paintings, executed between 1895 and 1896, of the artist's son, Jean Renoir, happily eating a biscuit in a high chair. The lithograph was executed in various states between 1898 and 1899 in the studio of Auguste Clot in Paris. The earliest are a number of variant black to dark gray ink proofs, a few are found with hand coloring in water color and/or pastel. These later evolved in to variant printed color proofs (according to Roger Passeron up to 9 colors used in all, apparently transfered to 10 stones) until the final edition of 100.

The print I bring to your attention is certainly a proof taken from the original stone. The artist actually drew his crayon over the entire surface of the limestone rather than drawing within a designated area as was customary. The edge of the stone has left a sharp jagged impression around the entire printed image on the Arches Ingres full sheet of paper. As evidenced by the final edition, Clot either transfered the image to another stone or (most probably) added a border to the original limestone, filling in some of the nooks and crannies observed in the earlier proofs. The paper type and the watermark are consistent with known impressions of this image. The lithograph is printed in a dark gray ink. Watercolor was then applied to the printed image in colors of blue, green, pink and light orange, sometimes in light washes and in other passages a more concentrated application. 

With careful observation obvious clues can be found that reveal that the ink was fresh when the watercolor was added; because the ink was not dry the watercolor had actually pulled up some of the ink in the process leaving mixed areas of black ink and color on the paper, most noticeably along the edges of the baby's bonnet and at the shoulders of the child. Looking at the top right corner one can see the green color without the noticeable addition of the ink's bleed. As we look below this point and to the left we can see how the ink begins to bleed with the application of watercolor. This, in my opinion, informs me that the artist applied the watercolor quite soon after the printed image had been pulled, before the ink had dried adequately, as part of the hurried creative process of working out a complicated plan of execution in the studio of his printer, Auguste Clot.

The black ink typically used at the time of this printing would have been a black pigment mixed with a viscous binding varnish of linseed oil. Specific to lithographic inks, it would have a high pigment to varnish ratio. The black inks typically contain no driers and harden more slowly than the colored inks which would contain driers. According to printmaking historian, expert and graphic artist Ad Stijnman, " The black inks harden only slowly, but also should not bleed, offset or powder. More important is that lithographic ink should not contain a constituant that could dissolve in water, since the printing is done from dampened stones of plates." 

Certainly quality oil based black ink, as was used by the reputable Clot, does not bleed after the ink has cured and dried sufficiently. Otherwise the commercial enterprises of such artists as John James Audubon, that depended upon successful hand coloring of black and white prints, would have been in jeopardy.

It has been questioned whether one can ascribe with certainty that Renoir had applied the watercolor to the printed proof himself. I would bet my reputation upon it. I believe that there is reliable physical evidence that the watercolors must have been applied quite soon after the proof was pulled and not months or years later. I also believe that the colored print in question was not intended to be a marketed work of art but rather is evidence of a process that the artist was engaged in. It seems unlikely to me that Renoir would have allowed another individual to jump in to the role of artist and creator. I don't believe it would have been within Clot's role as Renoir's assistant and printer to work up the colors in this way. If so, might Renoir have also asked Clot to draw on the stone as well? Unthinkable. I can, however, imagine Clot pulling multiple images and feeding them to Renoir as he sat working out his ideas with a brush and colors on freshly pulled proofs, guided and advised by Clot on how best to create one of his most impressive multicolored lithographs. 

Although there has been much research regarding Pierre Auguste Renoir, there remain areas in his oeuvre that reveal unanswered questions, especially regarding his graphic work. 

Diagram of Hand Coloring