Figure 40 The overall play of varied color in La Promenade further emphasizes Pierre-Auguste Renoir. La Grenouillere, 1869. Renoir's allegiance to Delacroix's example. However, the figures are conveyed by Oil on canvas, 66.5 x a combination of means that show him simultaneously exploring two distinct 81 cm (26V8 x 31% in.). Stockholm, modes of suggesting three-dimensional form. The woman's dress is primarily Nationalmuseum, NM 2425. modeled in tonal terms; its folds and crinkles are suggested by soft grays with scarcely a trace of color set off against the whites of material where it catches the sun. At the same time, clearer, light blue hues are used down the right margin of the dress and on the right side of the sleeve, introducing an alternative mode of modeling, by color contrasts, with the cool blues set off against the soft pinks that are seen at some points in the sunlit areas of the dress down the sleeve and around the neck. These pinks do not merely serve to heighten the effect of the blues; they can be seen as suggesting the woman's flesh, sensed through the material. The man's trousers are more boldly handled. Blue is used more extensively in the shadowed zones, and the lit areas include traces of both pink 62