It is not something we readily think of – drinking red wine in summer. But make no mistake, red wine should not be put away with the winter clothing. It is perfect for summer outings, as we can see in the painting below. Why not have a glass of red while you enjoy finding out about this painting? Then read about the best red wines to drink with summer foods.
The critique of the 1880 Salon de Paris, written by Emile Zola, contained his rather sharp criticism of the work of the Impressionists, saying their work was incomplete, illogical, and a bit too much (“exagéré”). He proposed a challenge to them to create more ambitious works that were more complex and closer to real life. Pierre-Auguste Renoir took up the challenge, and from it came The Luncheon of the Boating Party, which you see above.
So how did Renoir meet the challenge posed by Zola and still stay an Impressionist? A quick glance shows a very selective usage of that “incomplete” quality of Impressionism, along with skillful use of detail and complex composition to achieve an ambitious work with images closer to real life.
Impressionist Touches
When we look at the foliage and the boats on the river in the background, the hazy, impressionistic quality of the handling is just perfect for items not of great importance and in the background. They form a frame for the more important activity around the table. Likewise, the table and the things on it, half full or empty wine glasses, the remains of lunch, and napkins tossed aside, are done with just enough detail to define them. While we recognize what these items are, they are not really that clearly in focus. Renoir gives us enough to know that what we expect to be on that table is actually on that table, but only shows what the viewer needs in order to understand that a satisfying meal had been had, and there is still some red wine to drink.
Portraiture
However, Zola had demanded work that was more important, more complex and true to life. For that we must look at the figures. All of the figures are known, and in fact, Renoir had them visit his studio individually so that he captured their features correctly. Of special interest are those in the foreground. The pursed-lipped, rosy-cheeked, young woman with the dog is Aline Charigot, the then mistress but future wife of Renoir. The man standing behind her is Jules-Alphonse Fournaise, the son of the owner of the auberge where the lunch was held. Leaning on the railing a bit further away is his sister, Louise-Alphonsine Fournaise. Across the table from Aline Charigot, in a tight conversational group, sit Gustave Caillebotte, a wealthy patron of the Impressionists and a fine painter himself, wearing a straw hat pushed back on his head, and with him, a model named Angéle. Behind them, but engaged in the discussion, is a journalist named Maggiolo. In the middle rear of the main table sits “The Girl with the Wine Glass” made famous more recently in the movie, Amelie. She was an actress and model for Manet, Renoir and others, named Ellen Andrée. The use of portraiture directly answers the criticism about incompleteness. Here Renoir provides real faces of real people.
Complex Composition
Having answered the criticism about the need to create complete images, more real to life, Renoir deals cleverly with the composition to provide the complexity required of an important painting. For instance, he uses the diagonal of the table to lead the viewer’s eye from foreground to background. Renoir provides several other ways to move through the painting as well. Since Jules-Alphonse Fournaise is a commanding figure and standing, he catches the eye. One can follow the direction of his regard to the people at the back of the table and over to the upper right corner where a cluster of people stand chatting. The eye then comes down to Caillebotte and his friends, then across to Aline and the dog, and back to Fournaise. Or one can simply follow the yellow hats and yellow flower. In that format, the viewer’s eye goes from Fournaise’s yellow hat, to Aline, across to Caillebotte, over to Louise Fournaise, then to a yellow flower in the background between a man and woman conversing in the upper right corner. Or, if so inclined, one can go from Jules to his sister, Louise, over to the yellow flower, down to Caillabotte’s hat and over the Aline. No matter which way the eye goes, it does a complete circuit of the figures in the painting.
Zola wanted more definition, more complexity, more realism, more logic. In this rendition of a gathering of friends on a summer’s afternoon by the river where some had been out boating, we see all of Zola’s demands met. Renoir delivered the goods, showing a real life scene of a casual summer gathering. Two of the men wear their straw hats still and are in what appear to be undershirts, perhaps they had done the rowing. Others hold to more formal attire worn by those who may have just come for lunch. Everyone seems relaxed. One can almost hear the noise of their chatter. The light warm colors (pinks, yellows, whites) create the feeling of summer, while the greenery surrounding the auberge and the blue of the river add a refreshing quality.
What? Red Wine in Summer?
Ellen Andrée has the right idea. Having a nice glass of red on a summer’s day is the perfect drink for an outing. We can see on that table in Renoir’s painting many bottles of red yet to be drunk. So why do we always associate red wine with the cold of autumn and winter, when in fact, it can make such a nice addition to our summer picnics, camp outs or boating parties? It bears taking a look at red wines and noting down the names of some which go wonderfully well with our summer time dining fair and even for celebratory events like weddings or anniversaries.
Here, it is best to talk to a sommelier, and one of the best in terms of summer reds is André Hueston Mack, producer of Mouton Noir Wines in Oregon. Mack was once in the world of finance, but moved into wines in his late 20s, becoming the Best Young Sommelier of 2003 as determined by the Chaine des Rotisseurs, a French gastronomic society located in Paris. His choices for summer red wines are Pinot Noir, full of fruity aromas; Gamay, often in the form of Gamay Beaujolais; Temperanillo, made from the grapes used for Rioja; Nebbiolo, from the Piedmont region in Italy; and wines made from the sangiovese grapes of Tuscany. He also has a wonderful 20-20 rule for serving both whites and reds. One should take a white out of the refrigerator 20 minutes before serving and put a red into chill 20 minutes before serving. For more of his career as a winemaker and his comments on red wines for summer see, https://www.theroot.com/5-red-wines-that-are-perfect-for-summer-1790860405
But what to eat?
No, you don’t have to serve pot roast for your summer picnic just because you also serve red wine. Grilled salmon is a great match for a chilled Pinot Noir, as is grilled seafood. Grilled pork, chicken or turkey are wonderful when paired with a Gamay. And you can always go Italian and have grilled pizza or summer pasta with a Tuscan Sangiovese red.
For those who want a bit of fizz for the upcoming 4th of July, try a Frappato or a sparkling Shiraz, yes, Shiraz. It’s somewhat heavier quality goes nicely with barbecue, just don’t over chill it, as that mutes the flavor.
So don’t forget the red wines just because the weather is warm. They are good all year around. For a list of where to buy Mouton Noir Wines, check here: https://1000corks.com/wine/Mouton-Noir-Wines You can find good selections of reds at wine clubs at Cellars Wine Club, which actually has a Red Wine Store, just go to www.cellarswineclub.com . And, of course, Renoir goes well with any meal.
Images used in this blog are from public domain sources. Reference work consulted was Les Impressionnistes, Fenetre sur L’art by Diana Newall
Marjorie Vernelle is an artist, writer, college professor, and traveler. For more see the Pages at ofartandwine.com or her author page at amazon.com and her art at Vernelle Art Boutique vernellestudio.com.
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©marjorie vernelle 2019
Coming soon…
Champagne is always great. You see it in prime position here at the famous Bar at the Folies Bergére in the Paris of 1882. Looks like a lovely time, but why are the reflections wrong? Come explore Manet’s world, and let’s talk reflections and champagne. Next on Of Art and Wine.
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