（２４２）岩に腰掛ける水浴びをする女

Bather Sitting on a Rock

Time March 22, 2010   The determined-to-change-your-mind current show at the Los Angeles Country Museum of Art (LACMA) is called "Renoir in the 20th Century." It could just as well have been called "Renoir: The problem Years." Take one look at a painting like Bather Sitting on a Rock, and problem is obvious: cupcakes don't get much more scrumptious than this. Which is another way of saying that whole line of mildly lubricious babes, from the phosphorescent nymphs in Maxfield Parrish to Tinkerbell and the Playboy bunny, owe something to the old man's influential wet dream of calssical form.

* * * * * 「２０世紀のルノアール」はこう言ってもいい「ルノアール：問題の年月」。岩に腰掛ける水浴びをする女のような絵画をちょっと見てみると、その問題は明白である：これ以上に、おいしいカップケーキ（若い女性）はない。こうも言える、柔らかく、みだらな可愛い女の子達を網羅した全カタログは、マックスフィールド・パリッシュの描く燐光を放つ妖精から、ティンカーベルそしてプレーボーイバニーにいたるまで、この老画家の描く、非常に影響力のある夢精に現れた古典的女性像に何らかを負っている。

Maxfield Parrish "Stars"

All the same, the Renoir of this period―the three very  productive decades before his death in 1919 at the age of 78―fascinated some of the chief figures of modernism. Picasso was on board; his thick-limbed "neoclassical" women from the 1920s are indebted to Renoir.

thick-limbed 手足のずんぐりした indebted:〔助けてくれた人などに対して〕借り［恩義］がある １９２０年代からのピカソの描く手足のずんぐりした新古典派の女性はルノアールの影響である。

Tinkerbell

So was Matisse, who had one eye on Renoir's Orientalist dress-up fantasies like The Concert, with its flattened space and overall patterning, when he produced his odalisques.

マチスもルノアールの東洋風の衣装をまとった「コンサート」のような絵画に注目している。 odalisques〔トルコ後宮の〕女奴隷

Playboy bunny

Given that so much of late Renoir seems saccharine and semicomical to us, is it still possible to see what made it modern to them?

saccharine：甘ったるい

The Concert