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HIS PAINTINGS

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PAINTINGS BY RENOIR

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THE METROPOLITAN MUSEUM OF ART

RENOIR A SPECIAL EXHIBITION

OF HIS PAINTINGS

NEW YORK At Fifth Avenue and Eighty-second Street

MAY 18 THROUGH SEPTEMBER 12

1937 COPYRIGHT BY

THE METROPOLITAN MUSEUM OF ART

MAY, 1937

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cn> £ LIST OF LENDERS

LUCIEN ABRAMS THE ART INSTITUTE OF CHICAGO DR. AND MRS. HARRY BAKWIN D. W. T. CARGILL MRS. HUGUETTE M. CLARK STEPHEN C. CLARK RALPH M. COE MR. AND MRS. WILLIAM W. CROCKER MRS. CHARLES SUYDAM CUTTING MRS. MURRAY DANFORTH MRS. ABRAM EISENBERG MARSHALL FIELD FOGG ART MUSEUM WALTHER HALVORSEN CHARLES B. HARDING MISS HELEN HAYES MR. AND MRS. HUNT HENDERSON MME EDOUARD L. JONAS MRS. RALPH KING MR. AND MRS. PAUL LAMB THE ADOLPH LEWISOHN COLLECTION MRS. R. S. MAGUIRE MR. AND MRS. WILLIAM G. MATHER HENRY P. MCILHENNY THE MINNEAPOLIS INSTITUTE OF ARTS MUSEUM OF FINE ARTS, BOSTON ROBERT TREAT PAINE 2ND

PHILLIPS MEMORIAL GALLERY EDWARD G. ROBINSON MRS. MARTIN A. RYERSON ARTHUR SACHS MRS. WESSON SEYBURN STANLEY W. SYKES MRS. MYRON C. TAYLOR CARROLL S. TYSON, JR. JOHN HAY WHITNEY MISS GERTRUDE B. WHITTEMORE J. H. WHITTEMORE COMPANY JOSEPH E. WIDENER MR. AND MRS. JOSEPH WINTERBOTHAM THREE ANONYMOUS LENDERS PREFACE

Pierre Auguste Renoir was one of the most influen­ tial and prolific of the great masters of the nineteenth century. In arranging an exhibition of his paintings to last throughout the summer, the Museum hopes to give to students and the wider public an opportunity to study and enjoy at leisure Renoir s work through forty-five years of his life—from 1871, when he painted the Por­ trait of Mme Darras, to 1916, the year of the Femme nue couchee. To gather together so comprehensive a collection, and to show it for so long a period, we have had to ask no inconsiderable sacrifice on the part of collectors and other museums, and for their generous response, the Metropolitan Museum makes grateful acknowledgment. The names of the lenders are listed on the two preceding pages. H. E. WINLOCK, Director

CONTENTS

PA GE

List of Lenders v

Preface, by H. E. Winlock vii

Contents ix

The Painting of Renoir, by Harry B. Wehle 1

Illustrations 11

Index 81

THE PAINTING OF RENOIR

THE PAINTING OF RENOIR

"According to my idea," Renoir once remarked, "a picture ought to be a lovable thing, joyous and pretty, yes, pretty. There are enough boring things in life with­ out our fabricating still more." Renoir was gifted with a species of profound and humorous common sense peculiar to the Frenchman of the petite bourgeoisie. He had little use for the drab of Zola's writings and early lost his taste for Courbet's blunt statements. Gustave Moreau's bejeweled, exotic unrealities sick­ ened him beyond tolerance. He liked to dwell upon the earth with its richness and its delights. The ancient Greeks he found to be the most admirable of beings. Their existence on earth was happy—so happy that they imagined it was there, to their earth, that the gods descended to find paradise and to make love. Yes, he maintained, the earth was the paradise of the gods, and that paradise was what he proposed to paint. But it was seldom simply the earth that Renoir 2 THE PAINTING OF RENOIR painted. The earth, to be sure, is ever present in his pictures, an earth aquiver with happy sunlight, tremu­ lous green trees, dancing blue waters, and gardens rosy with flowers. It was to the inhabitants of the earth that Renoir especially devoted himself, and the inhabitants he delighted in were never the gods of the ancients, for the gods after all were of a passionate and cruel race, whereas it was "the placid and docile kind of woman," the young woman of his everyday life, that Renoir liked to paint. Early in his career (1866-1867) he painted a of the Chase, a splendid figure of a woman in Courbet's style to which he added the attributes of Diana as an afterthought. When late in his career (1908) he painted a Judgment of Paris, the glorious goddesses turned out to be no goddesses at all but Mme Renoir's buxom maid, Gabrielle, all over again. She had even posed for the figure of Paris. As the world has at last come to realize, Renoir was one of the truly great artists. As such his innate genius controlled the main direction he was to take, but the factors in his environment which helped him to reach his goal were many. The theory is probably valid that his boyhood years, devoted to commercial china paint­ ing, had a lasting effect on his style. It may have been in the porcelain factory that Renoir developed his pas­ sion for pure, transparent color. The learned critic Jacques Emile Blanche remarked how clean Renoir THE PAINTING OF RENOIR 3 kept his palette. He first saw Renoir's paintings about 1883 hanging in the same room with some of Cezanne's works in Choquet's house and contrasted Renoir's light, transparent, oily, and flexible paint with Cezanne's dense and opaque material. After the introduction of machine decoration had driven him out of the china factory and before he en­ tered into Gleyre's studio to become a regular painter, Renoir worked at decorating fans and window shades or awnings. For his designs he leaned heavily on the motives of Boucher, Watteau, and Fragonard. He al­ ways felt himself the heir to the French painters of the eighteenth century. One day in the lunch hour he "dis­ covered" the same gay spirit and expert design ex­ pressed sculpturally in Goujon's Fountain of the Inno­ cents, which delighted him by its solid form and its purity, naivete, and elegance. In Gleyre's studio Renoir met Sisley and , whose use of pure, broken color to produce effects of light Renoir soon adopted. Little is known of his work between 1862 and 1866, for he destroyed most of what he painted. But his portrait of Mile Romaine Lancaux (1864) is splendidly painted, and so is the Courbet-like Diana. Some of his paintings of the late sixties are rendered with broad brush strokes and show figures in the dappled shade of trees, the dependence being apparently upon Manet rather than Monet. Le 4 THE PAINTING OF RENOIR Pont Neuf a Paris (no. 2),* painted in 1872, is still much in the manner of Monet and Pissarro. It tran­ scribes in the Impressionist technique the light of a cool, bright day with firm little clouds floating in a brittle blue sky. But Renoir's color in those days was affected by Delacroix too. The rich tone of the Portrait of Mme Darras (no. 1) should be accredited partly to the example of this fiery colorist. The important Parisiennes habillees en Algeriennes is a frank adapta­ tion of Delacroix. Among Renoir's most noted paintings are the two which were greeted with derision when they appeared in the first exhibition of the Impressionists (1874). The exquisite Danseuse (no. 5) because of its subject and its subtle use of grays suggests Degas, but the child's dreamy expression is far removed from Degas's detached vision. The other of these famous paintings is (Courtauld collection), the daring and satis­ fying qualities of which are seen in a smaller repetition (no. 6). Renoir used to be considered an "auteur difficile," and was the last of the Impressionists to be understood. The explanation may lie in his preoccupation with color and light, which caused him to avoid definite con­ tours and solid surfaces. His paintings of about the

*The sixty-two paintings in the exhibition are illustrated in their chronological order. All are in oil on canvas. THE PAINTING OF RENOIR 5 year 1875—Mme Choquet en blanc (no. 9), Mme Henriot en travesti (no. 10), La Fillette attentive (no. 11), and Une Servante de chez Duval (no. 13)—ap­ pear to eyes of today as quiet, refined, unexceptionable, though the artist is various enough and always alert for the individual charms of his subjects. The endearing Two Little Circus Girls (no. 15) is also in this compara­ tively reticent style. The full glory of Renoir's color and the dazzle of his light are heralded in the gay sketch Dame en toilette de ville (no. 12), in the brilliant scene At the Milliner's (no. 18), and especially in the rich enchantment of Au Moulin de la Galette (no. 16), of which a larger ver­ sion is in the Louvre. Here we seem to experience with the artist an intuition of the concept that light, color, and even matter exist only as vibration. Here, in this new and luminous style, Renoir expresses his spirit fully for the first time. Here, as in his famous paintings La Balancoire (Louvre), After the Concert (Barnes Foundation), and (, London), he paints his Parisian friends en plein air, intelligent enough young people who have left their intelligences at home while they disport themselves elsewhere. They are happy folk, joyous even, but never without decorum. Their interest in one another is airily free from consciousness of self and from strong desire. The girls are simple and warmhearted young creatures, 6 THE PAINTING OF RENOIR their eyes wide apart like kittens'; the men are relaxed and contented, able to take care of themselves. Renoir has indeed made his corner of Paris, with its holiday places near by, into a paradise fit for the gods. In his Canotiers a Chatou (no. 24) and Girls by a Stream (no. 32) he expresses again his love of sunlight playing on red boats and blue waters. He delighted also in paint­ ing fruit and flowers, and Vollard quotes him as saying that he had always tried to paint human beings just as he would beautiful fruit. If he found Mlle Samary charming it was largely because she had a skin that, as he expressed it, "radiated light from within." Roger Fry has remarked the peculiarity of Renoir— that he never had to go around the corner to get his inspiration. "He enjoyed instinctively, almost ani- mally, all the common good things of life, and yet he always kept just enough detachment to feel his delight aesthetically—he kept, as it were, just out of reach of appetite." Not for Renoir were the poignant gallan­ tries of Watteau, the easy sensuality of Boucher, nor the dimpled seductions of Clodion! One of the most important events of Renoir's life was the painting in 1878 of the classic portrait of Mme Charpentier and Her Children (no. 22). At the house of that lady of fashion Renoir made the acquaintance of many leading politicians, writers, and painters, and through her influence his newly completed portrait and THE PAINTING OF RENOIR 7 others as well gained admission to the Salon. His modest financial needs were now satisfied, he could afford a house with a pretty garden to paint in. As to the Charpentier portrait, it is one of his strongest and most charming works. Four years earlier he had used black triumphantly in La Loge. Rubens and Velazquez, he observed, had used black with magnificent effect. "Why," he exclaimed, "black is queen of colors. At one time I tried to use a mixture of red and blue . . . only to come back in the end to ivory black." In point of fact, during the seventies Renoir's blacks and his other colors as well were complex fabrics of bright varicolored strokes. His surfaces were knitted (tricotes), as he himself put it, his tricotage reaching its most bewildering glory perhaps in the Lady Sewing (no. 25). Everything of Renoir's technical skill and abundant sensuous love of life is to be found in two canvases which he painted at Bougival in the early eighties. Le Dejeuner des canotiers (Luncheon of the Boating Party) (no. 33), painted in 1881 and generally con­ sidered his masterpiece, is one of the world's most joy­ ous pictures. None of the girls or young men present is smiling, none is definitely flirting. A striped awning shields them from the sun, and they sit there over the remains of their luncheon, some of them chatting, one playing with a lap dog, others doing nothing whatever. 8 THE PAINTING OF RENOIR Gentle breezes from the river seem to caress them—and they are completely happy. The picture is a hymn to youth and summertime. The other supreme painting from these days is Le Bal a Bougival (no. 41), painted in 1883, which has now been acquired by the Museum of Fine Arts, Bos­ ton. It shows a young fellow dancing with a charming, ingenuous girl, while other holidaymakers sit at tables drinking beer. A pen drawing for this picture is in­ scribed : Elle valsait delicieusement abandonnee entre les bras d9un blond aux allures de canotier (i.e., with the bearing of an oarsman). Renoir chose this moment of perfect achievement to become disgusted with , to decide that he had reached an impasse in his painting. He had never swallowed Impressionism whole and had long since given up finishing his work out of doors. Now he seemed to find what he wanted in the purity of Ingres's drawing and in Raphael's Farnesina frescoes and the Pompeian frescoes at Naples. To obtain the desired effect Renoir disciplined his drawing and sought to obtain calm surfaces by spreading dried colors with his palette knife. (Tyson collection), his great painting in the new style, was completed in 1887 after two to three years of effort. The color is blond throughout, the figures like ivory. The design was in­ spired by one of Girardon's lead reliefs at Versailles. THE PAINTING OF RENOIR 9 A later recurrence of the theme is seen in the playful Trois Baigneuses au crabe (no. 56), whereas the "dry style" itself is exemplified in the refreshing Retour des champs (no. 44), the robust Mme Renoir Nursing Pierre (no. 45), and the quaint, carefully drawn Bat­ tledore and Shuttlecock (no. 46). There was soon a reversion from this style, which had indeed not proved entirely "solide," and Renoir was heard to observe that in making oil paintings one had better use oil. But his style from 1886 on was different from what it had been before he took up the dry manner. The complex staccato is replaced by an easy fluidity. The figures are more relaxed and more delicately colored and the landscapes are filled with moister yet lighter atmosphere. After 1900 arthritis came to twist the artist's limbs. Formerly he had said it was not enough for a painter to be a clever craftsman, he must love to caress his canvas with light, tender touches of the brush. From this time on, with his brush bound to his useless hand, he had to give up the caressing strokes. The sensuous glamour of youth occupies him less, and his paintings are in­ creasingly devoted to problems of volume and color as such. His female figures grow ampler, their color be­ comes a convention as in Egyptian art, their part in the compositional scheme is determined only by their role as rhythmic volumes. Behind and about them are stria- 10 THE PAINTING OF RENOIR tions and whirlpools of color which give little or no suggestion of actual materials. His paintings at the end of his life tend to become abstractions. The Portrait of Mme Tilla Durieux (no. 60) is one of Renoir's most vital works, and his ultimate sense for volumes is seen in the nudes of his last years such as (no. 59) and Femme nue couchee (no. 62). Renoir left behind him a joyous heritage that in­ cludes not only his finished paintings but also innumer­ able delightful little oil sketches to which he turned when there was nothing else at hand. For Renoir, paint­ ing was a natural exercise—a function like breathing, eating, and drinking. Even in the years of his decrepi­ tude he is said to have been constantly cheerful and to have considered himself a lucky fellow.

HARRY B. WEHLE ILLUSTRATIONS

1. PORTRAIT OF MME DARRAS. In the Kunst- halle, Hamburg, is a large painting by Renoir of Mme Darras and her son riding horseback in the Bois de Bou­ logne. A portrait of Captain Darras, her husband, is in Dresden. H. 30%, w. 24% in. Signed and dated: A. Renoir 71 Lent by The Adolph Lewisohn Collection 2. LE PONT NEUF A PARIS. In 1875 and 1877, when the Impressionists held auctions in the hope of rais­ ing enough money to live on, the 300 francs bid for this painting was one of the top prices. H. 29Vi, w. 36V2 in. Signed and dated: A. Renoir. 72. Lent by Marshall Field 3. PORTRAIT OF CLAUDE MONET. This picture was painted in 1872. It has been published erroneously as a portrait of Sisley. H. 23%, w. 19 in. Signed: A. Renoir. Lent by Arthur Sachs 4. MONET PAINTING IN RENOIR'S GARDEN. Painted in 1873 in the garden behind the artist's studio in the rue Cortot. H. 19%, w. 24 in. Signed: A. Renoir. Lent Anonymously 5. LA DANSEUSE. This painting and the version of La Loge owned by Samuel Courtauld, of London, were shown in the first exhibition of the Impressionists in 1874. La Danseuse will not be on view here until about June 1. H. 55%, w. 37% in. Signed and dated: A. Renoir. 74. Lent by Joseph E. Widener 6. LA LOGE. The model Nini and the artist's brother Edmond are shown in an opera box. A larger and earlier version of the same subject, now in the Courtauld collec­ tion in London, was in the Impressionists' first exhibition (1874). H. 10%, w. 8M> in. Signed: Renoir. Lent by Robert Treat Paine 2nd 7. LADY SEATED IN A GARDEN. Painted in 1874, H. 241/i, w. 19% in. Signed: Renoir. Lent bv Robert Treat Paine 2nd 8. MELON AND VASE OF ROSES. Painted about 1874-1875. H. 2IV2, w. 25% in. Signed: Renoir. Lent by Mr. and Mrs. Hunt Henderson 9. MME CHOQUET EN BLANC. The picture by Delacroix on the wall indicates M. Choquet's admiration for that artist, in which Renoir heartily agreed with him. H. 28%, w. 23% in. Signed and dated: Renoir. 75. Lent by Walther Halvorsen 10. MMEHENRIOTENTRAVESTI. Renoir painted a number of portraits of his friends the Henriots, among them the beautiful family group in the Barnes Founda­ tion. This portrait, painted in 1875, was formerly in the collection of the Prince de Wagram. 1 H. 63VL>, w. 41 /4 in. Signed: Renoir. Lent by Stephen C. Clark 11. LA FILLETTE ATTENTIVE. This is a portrait of Mlle Legrand, the daughter of an art dealer who en­ couraged the Impressionists in the early years. H. 31%, w. 23V2 in. Signed and dated: Renoir. 75. Lent by Henry P. Mcllhenny 12. DAME EN TOILETTE DE VILLE. Painted in 1875. H. 1012, w. 8% in. Signed: Renoir. Lent by Marshall Field 13. UNE SERVANTE DE CHEZ DUVAL. This informal portrait of one of the waitresses at Duval's restaurant was painted about 1875. H. 39%, w. 28% in. Signed: Renoir. Lent by Stephen C. Clark 14. CHILD WITH A HOOP. Painted about 1875. H. 24, w. 19% in. Signed: Renoir. Lent by Mrs. A brain Eisenberg 15. TWO LITTLE CIRCUS GIRLS. These little girls were daughters of Fernando, the proprietor of a Spanish traveling circus which settled in a vacant lot in Mont- martre about 1875. H. 51, w. 38Vi> in. Signed: Renoir. Lent by The Art Institute of Chicago 16. AU MOULIN DE LA GALETTE. This is the first of two important paintings of the subject; it was formerly in the collections of M. Choquet and the Prince de Wag- ram. The second version, somewhat larger, is in the Caille- botte collection of the Louvre. H. 31, w. 44% in. Signed and dated: Renoir. /76. Lent by John Hay Whitney 17. MME CHOQUET READING. As a collector M. Choquet began with Delacroix and continued with works of the Impressionists. He was their first and most ardent champion. This picture was painted in 1876, in the Choquet apartment on the rue de Rivoli. H. 25%, w. 211/L> in. Signed: Renoir. Lent by Mme Edouard L. Jonas 18. AT THE MILLINER'S. Painted about 1876. H. 12%, w. 9% in. Signed: Renoir. Lent by the Fogg Art Museum 19. L'INGENUE. Painted about 1876-1877. H. 21%, w. 18% in. Signed: Renoir. Lent by Charles B. Harding 20. THE DUCK POND. Painted about 1876-1879. H. I8V2, w. 22 in. Signed: Renoir. Lent by Miss Gertrude B. Whitlemore 21. LA LISEUSE. Painted in 1877. H. 2514, w. 21% in. Signed: Renoir. Lent by Mrs. Wesson Seyburn 22. MME CHARPENTIER AND HER CHILDREN. Mme Georges Charpentier, in whose salon most of the celebrities of Paris gathered, was the wife of a prominent publisher. The commission for this painting and its exhi­ bition in the Salon of 1879 were of great importance to Renoir at a critical period of his career. H. 6OV2, w. 74% in. Signed and dated: Renoir. 78. The Metropolitan Museum of Art. Wolfe Fund, 1907 23. LAPENSEE. Painted in 1878. H. 25%, w. 21 M> in. Signed: Renoir. Lent Anonymously 24. LES CANOTIERS A CHATOU. H. 31%, w. 39% in. Signed and dated: A. Renoir. 79 Lent by The Adolph Lewisohn Collection 25. LADY SEWING. H. 24, w. 19% in. Signed and dated: Renoir. 79 Lent by The Art Institute of Chicago 26. LA PETITE MARGOT BERARD. Renoir spent a good deal of time at the Berard estate and painted ten portraits for the family. The most important is L'Apres- midi des enfants a Wargemont, which is now in the National Gallery, Berlin. H. 16, w. 12% in. Signed and dated: Renoir 79. Lent by Stephen C. Clark 27. LADY AT THE PIANO. Painted about 1879. H. 35%, w. 28% in. Signed: Renoir Lent by Mrs. Martin A. Ryerson 'J

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28. LA SEINE A CHATOU. Painted in 1880. H. 29%, w. 36% in. Signed: Renoir. Lent by the Museum of Fine Arts, Boston 29. GIRL SEATED ON A TERRACE. Painted about 1880. H. 24%, w. 19% in. Signed: Renoir. Lent by Mrs. R. S. Maguire 30. NUDE--BACK VIEW. Painted about 1880. H. 19, w. 15 in. Signed: Renoir. Lent by Marshall Field 31. CHRYSANTHEMUMS. Painted about 1880 1882. H. 25%, w. 21% in. Signed: Renoir. Lent by Mrs. Myron C. Taylor 32. GIRLS BY A STREAM. Painted about 1880 1885. H. 32, w. 25% in. Signed: Renoir. Lent by Dr. and Mrs. Harry Bakivin 33. LE DEJEUNER DES CANOTIERS. Renoir painted this important work at Bougival on the Seine, where the young people of Paris, including some of Renoir's friends, here portrayed, went for Sunday outings. H. 51, w. 68 in. Signed and dated: Renoir./ 1881 Lent by the Phillips Memorial Gallery 34. PORTRAITOFABABY. H. 14%, w. 14% in. Signed and dated: Renoir. 81 Lent Anonymously 35. —PEACHES. H. 211/4, w. 251 2 in. Signed and dated: Renoir. 81. Lent by Stephen C. Clark 36. OLIVIERS DE L'ESTAQUE. L'Estaque, on the Mediterranean near Marseilles, is a town which Cezanne often painted. H. 14%, w. 25% in. Signed and dated: Renoir. 82. Lent by Mrs. Ralph King 37. DANS LES ROSES. Renoir painted Mme Clapis- son at least twice. Another fine portrait of her, entitled The Fan, is in The Art Institute of Chicago. H. 39%, w. 31% in. Signed and dated: Renoir. 82. Lent by Mrs. Huguette M. Clark 38. GIRL WITH A CAT. Painted about 1882. H. 39%, w. 32 in. Signed: Renoir. Lent by the J. H. Whittemore Company 39. COUPLE READING. A charming picture of a girl and the artist's brother Edmond, painted about 1882- 1884. H. 12%, w. 9% in. Signed: Renoir. Lent Anonymously 40. . H. 36%, w. 28% in. Signed and dated: Renoir. 83. The Metropolitan Museum of Art. Bequest of Mrs. H. 0 Havemeyer, 1929 "

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41. LEBAL A BOUGIVAL. In 1883 Renoir painted three full-length panels representing the dance in city and country. This one, recently acquired by the Boston Museum, has been graciously lent to the exhibition until May 31. H. 70, w. 38 in. Signed and dated: Renoir 83 Lent by the Museum of Fine Arts, Boston .Wfo*k. '"».,m—

42. STILL LIFE WITH FLOWERS AND PRICKLY PEARS. Painted in 1884. H. 29, w. 23% in. Signed: Renoir. Lent by Mr. and Mrs. William W. Crocker *?•-, r •

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43. FEMME AU CHAPEAU JAUNE. Painted in 1885. H. 26, w. 21% in. Signed: Renoir. Lent by Mrs. Charles Suydam Cutting '%»«*

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44. LE RETOUR DES CHAMPS. Painted about 1885, when Renoir had discovered Cennino Cennini and was experimenting with his "dry manner." H. 21%, w. 25% in. Signed: Renoir. Lent by Stanley W. Sykes 45. MME RENOIR NURSING PIERRE. Pierre, the eldest son, was born in 1885. Renoir painted this charming representation of maternity several times, re­ turning to it again in his last years. This is the only example in which the cat has been added to the group. H. 29, w. 21% in. Signed and dated: Renoir. 86. Lent by Mrs. Hunt Henderson 46. BATTLEDORE AND SHUTTLECOCK. Painted in 1886. H. 21%, w. 26 in. Signed: Renoir. Lent by The Minneapolis Institute of Arts 47. BAIGNEUSE DEBOUT DANS L'EAU. H. 32, w. 25% in. Signed and dated: Renoir. 88. Lent by Ralph M. Coe •••••

48. LA MONTAGNE STE. VICTOIRE. Painted in 1888, and showing a landscape which Cezanne often painted. A similar painting by Renoir is in the Barnes Foundation. H. 21%, w. 25% in. Signed: Renoir. Lent by D. W. T. Cargill 49. AU BORD DE LA MER. This landscape was painted in 1890 in the south of France. H. 25%, w. 32 in. Signed: Renoir. Lent by Ralph M. Coe 50. YOUNG GIRL. Painted in 1890. H. 16%, w. 12% in. Signed: Renoir. Lent by Mr. and Mrs. Joseph Winterbotham 51. GIRL IN A LACE HAT. Painted in 1891. H. 21 %, w. 18 in. Signed: Renoir. Lent by Miss Helen Hayes 52. LA PLACE DE LA TRINITE. There are several views by Renoir of this Paris square; the one shown here was painted in 1892. H. 21%, w. 25% in. Signed: Renoir. Lent by Mrs. Murray Danforth 53. DEUX JEUNES FEMMES ASSISES. Painted about 1892. H. 32, w. 26 in. Signed: Renoir. Lent by Carroll S. Tyson, Jr. 54. GABRIELLE WITH AND A LITTLE GIRL. Jean, the artist's second son, was born in 1893. The nurse Gabrielle posed for many of Renoir's pictures, and the little girl was the daughter of the con­ cierge. The picture came from the Cezanne collection. H. 25%, w. 31% in. Signed: Renoir. Lent by Mme Edouard L. Jonas 55. IN THE MEADOW. Painted about 1894-1895. H. 32, w. 25% in. Signed: Renoir Lent by The Adolph Lewisohn Collection 56. TROIS BAIGNKUSKS AH CRABE. Painted in I897. Il.2l'/i,w. 251/2 in. Signed: Renoir. Lent by Ralph M. (:<><• 57. YOUNG WOMAN ARRANGING HER EAR­ RING. Painted in L905. II. 21%, \\. L81 i in. Signed: Renoir. Lent by Mr. and Mrs. William G. Wathei 58. CLAUDE AT THE EASEL. The artist's youngest son, Claude, was born in 1901. This portrait of him was painted about 1906. H. 21%, w. 18% in. Signed: Renoir. Lent Anonymously 59. AFTER THE BATH. Painted in 1910. H. 26, w. 21% in. Signed: Renoir. Lent by Edward G. Robinson 60. PORTRAIT OF MME TILLA DURIFUX. Mme Durieux, a famous actress, became the wife of the German art dealer Paul Cassirer. H. 36%, w. 29 in. Signed and dated: Renoir./ 1914 Lent by Stephen C. Clark 61. RECLINING NUDE. Painted about 1912-1916. H. ]()' i,w. I 7 in. Signed: R. Lent by Dr. and Mrs. Harry Bakwin 62. FEMME NUE COUCHEE. Painted in 1916. H. 15%, w. 20 in. Signed: Renoir. Lent by Lucien Abrams 63. . As Renoir's hands had become too crippled for modeling, he directed a young sculptor in the making of these pieces. This is a variation of one of the figures in The Judgment of Paris (no. 64). Bronze. H. 23% in. Signed: Renoir. Lent by Dr. and Mrs. Harry Bakwin 64. THE JUDGMENT OF PARIS. This relief fol­ lows the composition of a large painting, dated 1908, in the collection of Charles Laughton, of London. Bronze. H. 29, w. 36% in. Signed and dated: Renoir/ 1914 Lent by Dr. and Mrs. Harry Bakwin 65. MOTHER AND CHILD. This bronze follows the composition of the painting Mme Renoir Nursing Pierre (no. 45). It was modeled about 1916. Bronze. H. 21% in. Signed: Renoir. Lent Anonymously 66. THE BLACKSMITH. Modeled about 1916. Bronze. H. 12% in. Signed: Renoir. Lent by Mr. and Mrs. Paul Lamb 67. THE WASHERWOMAN. Modeled about 1916. Bronze. H. 13% in. Signed: Renoir. Lent by Mr. and Mrs. Paul Lamb

INDEX

INDEX

OWNER OR TITLE NUMBER

Abrams, Lucien 62 After the Bath 59 Art Institute of Chicago, The 15,25 At the Milliner's 18 Au Moulin de la Galette 16 Baigneuse debout dans Veau 47 Bakwin, Dr. and Mrs. Harry 32, 61, 63, 64 Bal a Bougival, Le 41 Battledore and Shuttlecock 46 Blacksmith, The 66 By the Seashore 40 Canotiers a Chatou, Les 24 Cargill, D. W. T. 48 Child with a Hoop 14 Chrysanthemums 31 Clark, Mrs. Huguette M. 37 Clark, Stephen C. 10,13, 26, 35, 60 Claude at the Easel 58 Coe, Ralph M. 47, 49, 56 Couple Reading 39 Crocker, Mr. and Mrs. William W. 42 Cutting, Mrs. Charles Suydam 43 Dame en toilette de ville 12 Danforth, Mrs. Murray 52 Dans les Roses 37 Danseuse, La 5 Dejeuner des canotiers, Le 33 Deux Jeunes Femmes assises 53 Duck Pond, The 20 Eisenberg, Mrs. Abram 14 Femme au chapeau jaune 43 Femme nue couchee 62 Field, Marshall 2,12, 30 Fillette attentive, La 11 Fogg Art Museum 18 Gabrielle with Jean Renoir and a Little Girl 54 Girl in a Lace Hat 51 Girl Seated on a Terrace 29 Girl with a Cat 38 Girls by a Stream 32 Halvorsen, Walther 9 Harding, Charles B. 19 Hayes, Miss Helen 51 Henderson, Mrs. Hunt 45 Henderson, Mr. and Mrs. Hunt 8 In the Meadow 55 Ingenue, U 19 Jonas, Mme Edouard L. 17, 54 Judgment of Paris, The 64 King, Mrs. Ralph 36 Lady at the Piano 27 Lady Sealed in a Garden 7 Lady Sewing 25 Lamb, Mr. and Mrs. Paul 66,67 Lewisohn Collection, The Adolph 1, 24, 55 Liseuse, La 21 Loge, La 6 Mme Charpentier and Her Children 22 Mme Choquet en blanc 9 Mme Choquet Reading 17 Mme Henriot en travesti 10 Mme Renoir Nursing Pierre 45 Maguire, Mrs. R. S. 29 Mather, Mr. and Mrs. William G. 57 Mcllhenny, Henry P. 11 Melon and Vase of Roses 8 Metropolitan Museum of Art, The 22, 40 Minneapolis Institute of Arts, The 46 Monet Painting in Renoir's Garden 4 Montagne Ste. Victoire, La 48 Mother and Child 65 Museum of Fine Arts, Boston 28, 41 Nude—Back View 30 Oliviers de UEstaque 36 Paine, Robert Treat, 2nd 6, 7 Pensee, La 23 Petite Mar got Berard, La 26 Phillips Memorial Gallery 33 Place de la Trinite, La 52 Pont Neuf a Paris, Le 2 Portrait of a Baby 34 Portrait of Claude Monet 3 Portrait of Mme Darras 1 Portrait of Mme Tilla Durieux 60 Promenade au bord de la mer, La 49 Reclining Nude 61 Retour des champs, Le 44 Robinson, Edward G. 59 Ryerson, Mrs. Martin A. 27 Sachs, Arthur 3 Seine a Chatou, La 28 Servante de chez Duval, Une 13 Sevburn, Mrs. Wesson 21 Still Life—Peaches 35 Still Life with Flowers and Prickly Pears 42 Sykes, Stanley W. 44 Taylor, Mrs. Myron C. 31 Trois Baigneuses au crabe 56 Two Little Circus Girls 15 Tyson, Carroll S., Jr. 53 Venus Victorious 63 Washerwoman, The 67 Whitney, John Hay 16 Whittemore, Miss Gertrude B. 20 Whittemore Company, J. H. 38 Widener, Joseph E. 5 Winterbotham, Mr. and Mrs. Joseph 50 Young Girl 50 Young Woman Arranging Her Earring 57

OF THIS BOOK 1,000 COPIES WERE PRINTED MAY, 1937 PUBLISHERS PRINTING COMPANY William Bradford Press