Renoir account

under construction

Auguste Renoir (1841-1919)

Account expositions

 

Introduction:

Here you will find an account of which paintings Renoir has exhibited at the ‘impressionist’ expositions in 1874,  1876, 1877 and 1882 and of the works he submitted to the Salon.
As indicated earlier the indication of a painting is often uncertain. Often there are more than one options. In my choices I mainly have followed the suggestions of Moffett (1986, R2). He mostly follows the Catalogue Raisonné of Daulte (1971=R108). Information about the works he exhibited at the Salon, I found in the Salon database of musée d’Orsay (=iR1, see). Additionally I used the books of Raeburn (1985, R31) and Dony (1972/1976, R30) about Renoir. When I have no suggestions of a reliabel source I make connections between the french titles in the catalogues and the contemporary titles of the paintings. These suggestions of mine are very uncertain or just a suggestion to compare. But still I hope these suggestions give an impression of what Renoir could have exhibited at these expositions.
For the pictures I made use of the marvelous databases of pictures of the-athenaeum.org (=iR2); wikiart.org (=iR7) ; art-renoir.com (=iR52); the webgallery of impressionism.co.uk (=iR22). For zoom options you can look at the Google-Art-Project (=iR8). For the general references (=R) see. For references to internet pages (=iR) see. For references to the additional sources (=aR) see at the bottom of the main page about Renoir.

 

 

The first ‘impressionist’ exposition 1874:

GENERAL OVERVIEW:
  • catalogue numbers 141 – 147(+hc)
  • Dony (R30,no99) suggest a work that was not in the catalogue (=hc), but it is very questionable if this was true (see below)
  • so I assume Renoir exhibited 7 works and maybe also 1hc;
    • one of them was a pastel (no.146)
    • 0x an indication of place
    • 0x an indication of time, season or weather
    • 1x a study
    • 0x a loan
  • I will refer to the suggestions of Moffett (1986=R2,p122), Berson (1996=R90II,p12+27/8), Dayez (1974=R87,p251), Dony ((1976=R30) and Raeburn (1985=R31). They all refer to the Catalogue Raisonné de l’oeuvre peint of Daulte (1971=R108).  I will also refer to the new catalogue raisonné des tableaux, pastels, dessins et aquarelles of Dauberville (2007-2014=R185)
THE CATALOGUE NUMBERS:

1IE-1874-141        Danseuse

Moffett (p.122) suggests CR110. Dayez, Berson, Dony (no.126) and Raeburn (p.197) confirm this, now: 1874, CR110, Dancer, 142×94, NGA Washington (iRx;R2,p140;R90II,p12). F. de Gantès (1874/04/23) reviews ‘at the age of thirteen, and in the study of the fifth pose’ (R90I,p23)

1IE-1874-142        La Loge

Moffett (p.122) suggests CR116. Dayez, Berson, Dony (no.125) and Raeburn (no.26) confirm this, now: 1874, CR116, La Loge, 80×74, Courtauld London (iR2;R2,p107;R90II,p12). The models are Edmond Renoir and Nini.

1IE-1874-143        Parisienne

Moffett (p.122) suggests CR102. Dayez, Berson, Dony (no.127) and Raeburn (no.28) confirm this, now: 1874, La Parisienne, CR102, 160×106, NMW Cardiff (iR6;iR2;R90II,p12). The model is Henriëtte Henriot. It was first bought by Henri Rouart (R4, p204); see also his collection.

1IE-1874-144        Moissonneurs

Moffett (p.122) suggests a painting in a private collection in Zurich, Dony (no. 100) suggests a work from the Bührle collection in Zurich. Berson (referring to Fezzi, no.100) suggests also a work in a private collection in Switzerland, 58×72, probably: 1873, The Harvesters, 60×73, Bührle Zurich (iR2;R90II,p12+28;R30,no100). Marc de Montifaud (1874/05/01) mentions this work ‘Moissonneuses’ which refers to women harvesting. The suggested work depicts 3 men and 2 women and the men are most clearly harvesting.

1IE-1874-145        Fleurs

Moffett (p.122) suggests a painting in the MFA Boston. Dayez and Berson (referring to Fezzi,no.36) suggest probably the same, now: 1869, Mixed flowers in an earthen pot, 65×54, MFA Boston (iR52;R90II,p12+28;R87,p251). This is Dony no.36; Dony doesn’t confirm the suggestion; Raeburn doesn’t either (no.14).

1IE-1874-146        Croquis (pastel)

Eng.: croquis means study. Moffett doesn’t give a suggestion, nor does Dayez, Berson omits this work. As a very uncertain suggestion I give: 1875ca, At the Moulin de la Galette, pastel, xx, NMS Belgrade.

1IE-1874-147        Tête de femme

Moffett (p.122) suggests CR118, which is now in a private collection in Paris. Dayez mentions it was in the former collection of Durand-Ruel in Paris (r87,p251). Berson calls the present location unknown; messures: 32×24 (r90II,p12+28). Dony also mentions it , but doesn’t confirm it was exhibited (R30,no.140). Kostenevich refers to this work (R15, p200). I render the black and white picture from Berson (R90II,p28). This work resembles a portrait that is now in the Hermitage (R15,p201;R30,no.433); there is discussion about when this work was made. To compare I will also render this work: 1874-80, Head of a Woman, 39×36, Hermitage (iR2;iR10;iR6;R30,no433;R15,p201). Ernest Chesnau (1874/05/07) reviews ‘a hateful, inexplicable, heavy, black Tête de femme‘ (R90I,p18).

1IE-1874-147+hc

Moffett doesn’t mention a work the was shown outside the catalogue (=hc = hors catalogue); neither does Dayez, Berson or Raeburn (R31,p197). But Dony (R30,no.99) mentions ‘the drinking place’ was shown at the first impressionist exposition in 1874. The work is now known as ‘the field’ , but I can’t recognize a drinking place. I hope there is or will be further investigation on this suggestion of Dony, who doesn’t refer to sources. Anyway a quick scan of the contemporary reviews, doesn’t affirm this suggestion either (R90I,p9-43). So I assume there was not a work exhibited outside the catalogue. Still I will render it as a possibility for further investigation.

 

The second ‘impressionist’ exposition 1876:

Overview:
  • catalogue numbers: 209-226
  • Moffett (p164) suggests Renoir exhibited a self-portrait outside the catalogue (=hc = hors catalogue)
  • so he exhibited 18+1hc=19 works
    • 16 of them were portraits
    • 1 was a pastel (no. 226)
    • 1x an indication of place
    • 0x an indication of time, season or weather
    • 1x a study
    • 12 of them were loans
      • 6 of Chocquet (wrongly written as Choquet)
      • 2 of Poupin
      • 2 of Dolfus
      • 1 of Legrand
      • 1 of Manet
  • I will refer to the suggestions of Moffett (1986=R2,p164), Berson (1996=R90II,p43-45+62-64), Dony ((1976=R30) and Raeburn (1985=R31). They all refer to the Catalogue Raisonné de l’oeuvre peint of Daulte (1971=R108).  I will also refer to the new catalogue raisonné des tableaux, pastels, dessins et aquarelles of Dauberville (2007-2014=R185)
  • Berson mentions that the works of Renoir exhibited had a lower number than in the catalogue. No.209 was exhibited as no.195. Maybe the 14 works of Léon Ottin were added later. (R90II,p44).
THE CATALOGUE NUMBERS:

2IE-1876-209        femme et enfant ; Appartient à M. Poupin

Moffett doesn’t give a suggestion. Berson omits this work. As a very uncertain option I give ‘the first step’ painted in 1876 or 1880, see Dony 414. Another option could be: CR104; Washington; 51x68cm; Camille Monet and her son Jean in the garden at Argenteuil, 1874, see.

2IE-1876-210        Sur la Terrasse ; Appartient à M. Choquet (sic)

Moffett doesn’t give a suggestion. Berson suggests CR173, now: 1876, CR173, Portrait of Mme Choquet by the window, 67×54, Pushkin (iR10;iR202;iR6;R90II,p43;R30,no223). Dony doesn’t confirm this suggestion.

2IE-1876-211        portrait ; Appartient à M. Choquet (sic)

Moffett doesn’t give a suggestion. Daulte suggests CR176??, now??: 1875, Madame Victor Chocquet, 75×60, Sg Stuttgart (iR2;R30,no176;R90II,p44). Renoir painted a few portraits of madame Chocquet; this painting has the same background as 2IE-1876-214; compare also 2IE-1876-213. Dony doesn’t affirm this suggestion. Berson opposites this suggestion, referring to the review of Enault who mentions it was a male portrait (R90II,p44). She doesn’t have an alternative.

2IE-1876-212        Etude

Moffett (p164+184) suggests CR201; this is confirmed by Berson, Dony (no.204) and Raeburn (no.36). Now: 1876ca, CR201, Study, torso of a woman in the sunlight, 81×65, Orsay (iR52;R2,p184;R90II,p44;R30,no204). This painting was part of the Caillebotte Bequest in 1894. The model was Anna Leboeuf.

2IE-1876-213        Liseuse ; Appartient à M. Choquet (sic)

Moffett (p164) suggests CR174; this is confirmed by Berson and Dony, now: 1876, Madame Chocquet Reading, 65×54, private NY, (iRx;R90II,p44;R30,no224).

2IE-1876-214        Tête d’Homme; Appartient à M. Choquet (sic)

Moffett and Berson suggest CR175 or CR176, now: and: 1875, CR176, Portrait of Victor Chocquet, 46×37, Harvard Cambridge (iRx;R90II,p44;R30,no225). Dony (no.225) confirms this choice for CR176. Note: CR176 has the same background (a work form Delacroix) as the work suggested for 2IE-1876-211.

2IE-1876-215        portrait d’enfant ; Appartient à M. Choquet (sic)

Moffett doesn’t give a suggestion. Berson omits this work. As a very uncertain suggestion I give ‘girl with a watering can’; Dony no.228 writes this painting is from the collection of Paul Bérard. Other options are: child with punch doll (or: Pierre de la Pommeraye, 1874-75), see.; girl with a dog, ca 1875, see; portrait of Lucien Daudet, 1875, see.

2IE-1876-216        tête d’enfant ; Appartient à M. Choquet (sic)

Moffett doesn’t give a suggestion; Dony neither. Berson omits this work. As an uncertain option I give ‘portraits of Marie-Sophie Chocquet’. Dony (no.214) writes Renoir made this picture using several photo’s

2IE-1876-217        tête de femme ; Appartient à M. Dolfus

Moffett (p164) suggests CR167, Berson follows, now: 1876ca, CR167, woman with a rose (in her hair), 33×27, AMBR Remagen (iR10;iR6;iR59;R90II,p63;R30,no253). Dony doens’t confirm this suggestion. Compare also 1IE-1874-147 with the same title.

2IE-1876-218        portrait de Mlle S.

Moffett doesn’t give a suggestion. Berson omits this work. Ss very uncertain option I give: 1877, Jeanne Samary, 46×44, Comédie Francaise or private (iR2;R30,no281). Dony (no.281) doesn’t confirm my suggestion. Another option could be: portrait of Jeanne Sisley, 1875 (see Dony, no.168).

2IE-1876-219        Femme au piano ; Appartient à M. Poupin

Moffett and Berson suggest CR187, now: 1876, CR187, Young Woman at the Piano, 93×74, AI Chicago (iR2;R90II,p44;R30,no232). Dony (no.232) and Raeburn (no.35) confirm this suggestion.

2IE-1876-220        portrait de M. M. ; Appartient à M. Dolfus

Moffett (p164+185) suggests three options: 1. CR132, now: 1875, CR132, portrait of Claude Monet, 84×60, Orsay (iR52;R90II,p63;R2,p185;R30,no163), Berson prefers this option, Dony confirms it. 2. CR87, now: 1873-74, CR87, Claude Monet (The Reader), 65×50, Mellon Upperville (iR2;R90II,p44;R30,no85), Daulte confirms this option, Berson doesn’t prefer it, Dony doesn’t confirm it. 3. CR85, now: CR22, Claude Monet reading, 61×50, Marmottan (iR2;R30,no84), nor Berson, nor Dony confirm this third option.

2IE-1876-221        déjeuner chez Fournaise

Moffett and Berson suggests CR305, now: 1875, CR305, Lunch at the Restaurant Fournaise, 55×66, AI Chicago (Mx;R90II,p63;R30,no452). Dony (no.452) doesn’t confirm this suggestion; Dony dates this picture in 1881 (but adds an ?; Feist (p.51) dates it 1879; Raeburn (no.48; CR305) ca.1879 and says it was painted in Chatou or Nogent-sur-Marne. If it was painted after 1876 it couldn’t be exhibited in 1876. But the Art Institute of Chicago confirms Moffett’s suggestion (see; also for detailed info and pictures). They state the picture is made in 1875 instead of ca. 1879-1881. (note: they (wrongly?) mention the Daulte CR number as 307 instead of 305). Note that Renoir painted a portrait of ‘père Fournaise’ and Alphonsine Fournaise in 1875 (see Dony, no.182 + 183); so it’s likely that he painted other pictures in and around restaurant Fournaise. Restaurant Fournaise lies on the Ile de Chatou, see google-maps ; more info see .

2IE-1876-222        portrait de Mme D

Moffett doesn’t give a suggestion. Berson omits this work. As a very uncertain suggestion I give 1873, Madame Darras as an Horsewoman, 48×40, Orsay (iR2;R30,no103). Dony (no.103) doesn’t confirm my suggestion. This portrait is also an option for S1873-SdR-91. Another option could be ‘portrait of madame Daudet’, see 3IE-1877-189.

2IE-1876-223        portrait de jeune fille ; Appartient à M. Legrand

Moffett and Berson suggest CR141, part of the McIlhenny collection, now: 1875, Mlle Legrand (the attentive girl), 81×60, Philadelphia MA (iR2;R90II,p64). Dony (no.184) doesn’t confirm this; Raeburn indirectly does (p.197). Maybe another option is ‘girl with jump rope’ (1876; Barnes Foundation; see); Dony (no.230) indicates the girl as Delphine Legrand.

2IE-1876-224        Frédéric Bazille, peintre tué à Beaune-la-Rolande ; Appartient à M. Manet

Eng.: Fréderic Bazille, painter killed at Beaune-la-Rolande. Moffett and Berson suggest CR28, now: 1867, CR28, Frederic Bazille Painting ‘The Heron’, 105×74, Orsay (iR2;R90II,R2,p150). Dony doesn’t confirm this; Raeburn (no.6) does. Painted in the atelier of Bazille at 20, Rue Visconti, Paris (see Dony no.18); owned by Manet (R4, p.186).

2IE-1876-225        La promenade

Moffett and Berson suggest CR111, now: 1875-76, CR111, Mother and Children, 170×108, Frick coll (iR22;R90II,p64). Dony (no.158) doesn’t confirm this; Raeburn does (p.197).

2IE-1876-226        portrait de M H. (pastel)

Moffett doesn’t give a suggestion. Berson omits this work. Renoir painted many pictures of Henriëtte Henriot, but the title indicates a ‘monsieur’ and not a mademoiselle. A suggestion could be Henriëtte Henriot in a theatre costume or: as travestit (Dony, no.159); see picture ; Renoir painted one time a portret of madame Hartmann, see Dony 136; but I can’t find a portrait of monsieur Hartmann. searching on medium at the-athenaeum.org I can’t find a pastel with a portrait  of a man at all. To compare I give a pastel portrait of Elisabeth Maître from 1879

2IE-1876-226+hc   self-portrait

Moffett and Berson suggest CR157 with a perhaps, now: 1875ca, CR157, Self Portrait, 39×32, CAI Williamstown (iR2;R90II,p64;R30,no180). Dony (no.180) doesn’t confirm this. Another option may be: ‘self-portrait at the age of 35’ (1876; see; see Dony, no.233).

 

The third ‘impressionist’  exposition 1877:

Overview:

  • catalogue numbers: 185-205
  • all containing one work
  • so Renoir showed 21 works
    • 11 of them were portraits
    • 2 of them were still lives
    • 3x an indication of place
    • 1x an indication of time, season or weather
    • 1x a study
    • 4 of them were loans
      • 2 of Charpentier

 

THE CATALOGUE NUMBERS:

1877-185        La Balançoire ; Appartient à M.C.

  • Moffett suggests (p206+234) CR202; Dony (no.242) and Raeburn (no.39) confirm this
  • this painting was part of the Caillebotte bequest in 1894 (R4, p.210)

1877-186        Bal du Moulin de la Galette

  • Moffett suggests (p206, 188 +236) CR209; Raeburn confirms this (no.40)
  • this painting was part of the Caillebotte bequest in 1894
  • this work was showed in room 3

1877-187        portrait de madame G.C. ; Appartient à M. Charpentier

  • Moffett suggests (p206) CR226; Dony (no.269) confirms this; Raeburn (p.197) also

1877-188        portrait de mademoiselle G.C. ; Appartient à M. Charpentier

  • Moffett suggests (p206) CR178, which is now in a private collection in New York; Dony (no. 257) doesn’t confirm this
  • there are different suggestions of where this painting is located

1877-189        portrait de madame A.D. ; Appartient à M.A.D.

  • Moffett suggests (p206) CR163; portrait of Madame Alphonse Daudet; Dony (no.255) confirms this; Raeburn (p.197) also

1877-190        portrait de M. Sisley

  • Moffett suggests (p206+237) CR117; Dony (no.138) confirms this

1877-191        portrait de mademoiselle S.

  • Moffett suggests CR229 now in the Pushkin; Dony (no. 282) and Raeburn (p.197) confirm this

1877-192        portrait de M.S.

  • Moffett suggests (p206) CR71; owned by Mr. and Mrs Charles Wohlstetter in New York
  • I can’t indicated this picture; CR71 indicates a painting made around 1871
  • I see two options of portraits of man with a last name beginging with S:
    • 1. a portrait of Eugène Spuller, the-athenaeum (iR2) dates it 1871, Dony (no. 201) ca.1875-76
      Raeburn (p.197) mentions a portrait of député Spuller (now Norton Simon Foundation, Passadena)
      I render this option
    • 2. an early portrait of Sisley (1868), but this is part of the Bührle collection, see Dony no. 24

1877-193        jeune fille

  • Moffett gives no suggestion
  • as a very uncertain suggestion I give the portrait of Jeanne Durand-Ruel
  • Dony (no. 229) doesn’t confirm my suggestion

1877-194        femme assisse

  • Moffett gives no suggestion
  • as a very uncertain suggestion I give CR227; Jeune femme assise (ou: La pensée) =young woman seated (or: the thinker)
  • Dony (no.305) nor Raeburn (nr.43) confirm this

1877-195        la Seine à Champrosay

  • Moffett suggests (p206 + 238) a work in musée d’Orsay; Dony (no.256) doesn’t confirm this; Raeburn (p.197) does

1877-196        La place Saint-Georges

  • Moffett gives no suggestion; as uncertain suggestion I give ‘the great boulevards’; Dony (no.185) doesn’t confirm this
  • see Google maps

1877-197        Coucher de soleil

  • Moffett gives no suggestion
  • to compare I give an older work form about 1883 (see Dony 574)
  • Dony (no.389) also mentions a sea landscape at sunset, uncertainly dated around 1879; maybe now in CAI Williamstown ; this one is dated 1879-81
  • I couldn’t find an earlier picture with a sunset

1877-198        Jardin

  • Moffett gives no suggestion
  • Renoir painted several times his garden in Rue Cortot, Monmartre
  • as uncertain suggestion I give ‘le jardin da la rue Cortot à Montmartre’
  • Dony (no.238) mentions that the two figures are Monet and Sisley; he doesn’t confirm it was exhibited in 1877

1877-199        Jardin

  • Moffett gives no suggestion
  • see 1877-198
  • as uncertain suggestion I give ‘woman with a parasol in a garden’ of which the location is uncertain
  • Dony (no.199) doesn’t confirm my suggestion

1877-200        tête de jeune fille

  • Moffett gives no suggestion
  • as a very uncertain suggestion I give ‘head of a girl’

1877-201        bouquet de fleurs des champs

  • Moffett gives no suggestion
  • most of the flowers Renoir painted were more cultivated flowers
  • mine uncertain suggestion ‘flowers in a vase’ (1866) seem to contain flowers from the field. Dony doesn’t render this painting.
  • another option is: 1866, spring bouquet, 104×80, HAM Cambridge (see; R30,no12)

1877-202        deux têtes

1877-203        deux têtes

  • Moffett gives no suggestion
  • Eng.: two heads
  • Dony shows in his catalogue two works which could be the works Renoir exhibited in 1877
    • no. 241, ‘two heads or: young man and young woman’, painted in 1876, 45x31cm, now in the Orangerie
    • no.272, ‘two young maiden heads’, painted in 1877, unknown measures, now in a private collection (Marlborough Fine Art in London)
  • I only could find a reproduction of the first picture; to compare I render a work from 1895 ‘study, two women’s heads’

1877-204        Les Dahlias

  • Moffett gives no suggestion
  • as an uncertain suggestion I give ‘mixed flowers in an earthware pot’; it seems to me there are some dahlias in this bouquet
  • I found one work with the title ‘dahlias’ containing only dahlias; but this work was from 1890; all other paintings of flowers contained mixed flowers
  • Dony (no.36) doesn’t confirm my suggestion

1877-205        portrait d’enfant

  • Moffett gives no suggestion
  • Renoir painted several children; as very uncertain suggestion I give the portrait of Paul Meunier (or Murer)
  • Dony (no. 291) doesn’t confirm my suggestion

 

 

The seventh ‘impressionist’ exposition 1882:

Overview:
  • catalogue numbers: 137-160
  • Moffett (p395) suggests that Renoir showed two works outside the catalogue (=hc = hors catalogue)
  • all numbers represent one work, so Renoir showed 25+2hc=27 works
    • 5 of them were portraits (note: this is much less than at the other expositions)
    • 5 works were still lives
    • 10x an indication of place
    • 0x an indication of time, season or weather
    • 0x a study

 

THE CATALOGUE NUMBERS:

1882-137        Jeune fille au chat

  • Moffett suggests (p395) CR330 ; CAI ; 120x92cm ; Girl with a cat, 1880
  • Compare with 1882-148
  • also exhibited at the Salon of 1880

1882-138        les deux sœurs

  • Moffett suggests (p395) CR378 ; Chicago ; 1881, Two Sisters (also known as On the Terrace), 101×81, Chicago

1882-139        une loge à l’Opéra

  • Moffett suggests (p395) CR329 ; Clark Art Inst. ; 99,2×80,6cm ; at the concert, 1880

1882-140        un déjeuner à Bougival

  • Moffett suggests (p395) CR379 ; Philips collection, Washington ; 129,5×172,7cm ;
  • The luncheon of the boating party (le déjeuner des canotiers), 1880-81
  • (terrace of the restaurant Fournaise)
  • more info see wikipedia

1882-141        Rêverie

  • Moffett doesn’t give a suggestion
  • Renoir painted many woman with a dreamy look, so it is hard to indicate this picture.
  • As a very uncertain suggestion I give 1877, reflection. Other uncertain options are:
  • Pushkin; 56x47cm; portrait d’actrice Jeanne Samary (or: la Rêverie), see.
  • 1879, the dreamer, 51×62, St. Louis, see.

1882-142        femme cueillant des fleurs

  • Moffett suggests (p395) CR74 ; Clark Art Inst., Williamstown ; woman gathering flowers, ca 1872

1882-143        champ de bananiers près d’Alger

  • Moffett suggests (p395) a work in musée d’Orsay; probably: 1881, Field of Banana Trees, Orsay

1882-144        assiette de prunes

  • Moffett doesn’t give a suggestion
  • I render as an uncertain option: 1882-84, Still life a plate of plums , 56×46, private

1882-145        lilas

  • Moffett suggests (p395) CR224 with a perhaps ; private ;
  • lilas=Eng.:lilac; Nl.:sering

1882-146        Vue de Venise (grand canal)

  • Moffett suggests (p395) a painting now in the MFA Boston ;

1882-147        Vue de Venise

  • Moffett suggests (p395 + 415) a work now
    • Kreeger, Washington ; 45,4×60,3cm ; view of Venice, 1881 (see)
    • or : Clark Art Inst., Williamstown, which I render.

1882-148        Jeune fille endormie

  • Moffett suggests (p395) CR328 ; private Paris or Switzerland; young girl sleeping, 1880 ;
  • Compare with 82-137

1882-149        la lecture

  • Moffett suggests (p395) CR333 ; Frankfurt ;
  • probably: 1880, ca 1880-86, Young Girl Reading [Jeune fille lisant] (Reading Girl; Lesendes Mädchen), 57×47,5, Frankfurt

1882-150        Au bord de la Seine

  • Moffett doesn’t give a suggestion
  • as uncertain options I give:
    1878ca, Landscape by the Seine, the Argenteuil Bridge (The River), 47×51, private (see)
    1880, The Banks of the Seine at Argenteuil, private (see)
    1880ca, Landscape, Banks of the River, 35×25, private (see)
    1879, The Seine at Bougival, 32×41, private, which I render

1882-151        Les Canotiers

  • Moffett suggests (p395) CR307 with a perhaps; Washington ; which is probably: 1879, Oarsmen at Chatou, 81,3×100,3, Washington
  • Maybe 1879ca, The Oarsmen (Le déjeuner au bord de la rivière, Lunch at the Restaurant Fournaise), 55×66, AI Chicago also is an option, see 1876-221

1882-152        Les bords de la Seine

  • Moffett doesn’t give a suggestion
  • as a very uncertain option I give: 1880ca, Landscape, Banks of the River, 35×25, private

1882-153        Femme assisse sur l’herbe

  • Moffett suggests (p395) CR355 with a perhaps ; private, Paris ;
  • maybe this is: 1880, Madame Renoir with a dog, private

1882-154        La Seine à Chatou

  • Moffett suggests (p395) with a perhaps a work in the MFA, Boston ; 73,6×92,7cm ; The Seine at Chatou, ca 1881
  • 1881, The Seine at Chatou, 73×92, MFA Boston

1882-155        Marronniers en fleurs

  • Moffett doesn’t give a suggestion
  • =Eng.: chestnut trees; Nl.:kastanje bomen
  • as an uncertain suggestion I give: 1881, Chestnut tree blooming , 71×89, private

1882-156        Géraniums

  • Moffett suggests (p395) with a perhaps ‘House, no. 59, per Isaacson’
  • I render as uncertain: 1881, Geraniums and Cats, 91×73, NY private
  • Another option can be: 1880, Geraniums in a Copper Basin, 80,5×60,5, private

1882-157        Jardin Desaix à Alger

  • Moffett doesn’t give a suggestion
  • an uncertain option is: 1881, Algiers, the garden of Essai, 80×65, private, which I render
  • other uncertain options are:
    1881, The Garden of Essai in Algiers, 54,5×64,7, private (see)
    1882 , The Jardin d’Essai in Algiers, 41×33, private (see)

1882-158        Pivoines

  • Moffett doesn’t give a suggestion
  • uncertain suggestions are:
    1876-78, Peonies, xx, private, which I render
    1880ca, Peonies, 55×66, CAI Williamstown (see)
    Dony no. 92, 1872, Kh Mannheim
  • =Nl.:pioenrozen

1882-159        Les pêches

  • Moffett doesn’t give a suggestion
  • =visserij
  • as a very uncertain option I give: 1879, Mussel Fishers at Berneval, 175,3×130,2, Philadelphia

1882-160        Femme à l’éventail

  • Moffett suggests (p395) CR332 ; Hermitage ; 65x50cm ; woman with a fan, 1880

1882-161        Près de Bougival

  • Moffett doesn’t give a suggestion
  • as a very uncertain suggestion I give: 1875-95, The Banks of the Seine, Bougival, 41×55, private

1882-161+hc1            Jongleuses au Cirque Fernando

  • Moffett suggests (p395) CR297 ; Chicago ; 131,5×99,5cm ; Jugglers at the Cirque Fernando, 1879
  • (Francisca & Angelina Wartenberg)

1882-161+hc2            Jeune fille Pêcheuse de Crevettes

  • Moffett suggests (p395) CR281 with a perhaps ; private Geneva ; or: CR282 ; private NY ;
  • Crevettes= Eng.:shrimps; Nl.: garnalen
  • as a very uncertain suggestion I give ‘Gypsy girl’ (CR291, 1879, private). Raeburn (R31,no46) doesn’t confirm this. He does confirm that the girl is the same as from: 1879, Mussel Fishers at Berneval, 175,3×130,2, Barnes Philadelphia

 

 

Renoir at the Salon:

My main sources are the Salon database of Musée d’Orsay see, Raeburn (R31,p294-315) and Dony (R30,p9-14 and his catalogue numbers). For the other general references (=R) see and for references to internet sites (=iR) see . (Note: an artist mostly submitted two works at the Salon.)

S1863-rejected:

  • first admission to the Salon ”Une Nymphe avec un faune’ (according to Arsène Alexandre) was rejected and later destroyed by Renoir (R31,p295)

S1864-1618 La Esmeralda: (R31,p295; iR1)

  • debut at the Salon with ‘dancing Esmeralda’ ; he later destroyed the work (R31,p295; R30,p9)
  • was there another work rejected or did Renoir submit just one work?

S1865-1802 portrait de M. W. S…: (R31,p295; iR1)

  • Raeburn and Dony suggest ‘portrait of William Sisley’ (R31, no.2; R30, no.6)
  • the painting wasn’t noticed by a single critic (Raeburn, no.2)

S1865-1803 Soirée d’été: (R31,p295; iR1)

  • Raeburn and Dony don’t give a suggestion
  • (Eng.: summer evening)

S1866-1x rejected; 1x accepted, but withdrawn:

  • ‘landscape with two figures’ was rejected in spite of pleas of Corot and Daubigny who were members of the jury (R31,p295 + R30)
  • a quick sketch was accepted, but Renoir withdraw it (R31,p295)

S1867-rejected:

  • ‘Diana the huntress’ was rejected (R31,p296 + R30, no.20)
  • was there another work rejected?

S1868-2113: ‘Lise’ (R31,p296; iR1)

  • Raeburn and Dony both suggest ‘Portrait of Lise with umbrella’; Astruc and others gave a positive judgement (R31,p181 + R30, no.22)
    it was painted in Chailly-en-Bière (Fontainebleau)
  • was there another work rejected?

S1869-2021: ‘En été; étude’ (R31,p296; iR1)

  • Raeburn notes it on p.296 wrongly as no. 2201 and correctly on p.188
  • Raeburn and Dony both suggest ‘the gypsy girl’; Lise Tréhot was the model (R31, no.8; R30, no.31)
  • was there another work rejected?

S1870-2405: ‘baigneuse’ (R31,p296; iR1)

  • Raeburn and Dony both suggest ‘bather with dwarfgriffon’ (=sort of little dog); Lisa Tréhot was the model (R31, no. 15; R30, no.50)

S1870-2406: ‘Femme d’Alger’ ((R31,p296; iR1)

  • Raeburn and Dony both suggest ‘the Algerian woman’ (or: Odalisque); Lise Tréhot was model; the painting was inspired by Delacroix (R31; R30, no. 52)

S1872-rejected: ‘Parisiennes habillées en Algériennes’ (R31,p297)

  • ‘Parisiennes in Algerian clothes’ was rejected; it was inspired by Delacroix; Lise Tréhot was a model (one of the last times)  (R31, no.20; R30, no.73);
  • was there another work rejected?

SdR1873-90: ”Allée cavalière au Bois de Boulogne’ (R31,p297; iR1)

  • rejected for the Salon and exhibited at the Salon des Refusés.
  • Raeburn and Dony both suggest ‘Riding in the Bois du Boulogne’, showing madame Darras and Joseph le Coeur (R31,p196; R30, no.104)
  • Note the drawing of the horses (not very true) and the blues in the horses skin.
  • Rouart later on bought this picture (R45)

SdR1873-91  ‘portrait’ (R31,p297; iR1)

  • rejected for the Salon and exhibited at the Salon des Refusés.
  • Raeburn and Dony don’t give a suggestion for this work
  • my uncertain suggestion is ‘Madame Darras as an horsewoman’; it is the same model as no. 90 (R31; R30 no.103);

S1875-rejected:

  • Raeburn writes a painting was rejected according to Duret and Maître, but doesn’t give any further information (R31,p298). Clayson affirms this (R2,p158)

S1877-accepted    spring

  • Dony (R30,no.271) suggests there was a picture exhibited called ‘spring’ exhibited at the Salon of 1877; the Musée d’Orsay database (iR1) doesn’t confirm this, nor does Raeburn (R31). This was neither in the catalogue of the 3th ‘impressionist’ exposition; Moffett doesn’t confirm there was a painting exhibited outside the catalogue (=hc = hors catalogue)
  • I couldn’t find the picture indicated by Dony; to compare I render ‘on the Seine, near Argenteuil’ (see 1877-205hc) wich resembles most

S1878-1883: ‘le café’ (R31,p299; iR1)

  • Dony identifies it as ‘the cup of chocolate or: woman drinking coffee’; Raeburn mentions it as CR272; the model was Margot (R31; R30, no.315)
  • was there also another work rejected?

S1879-2527: ‘portrait de Mme. G. C… et de ses enfants’ (R31,p299; iR1)

  • Raeburn and Dony both suggest ‘Madame Charpentier and her children’ now at the Metropolitan;
  • it was hung on a prominent place and received a positive judgement
  • the children were her daughter Georgette, sitting on the dog (born 1872) and her son (!) Paul (born 1875) (R4, no.44; R5, no.321)
  • Note: the poses are quite informal; the black of the dress and dog is painted with dark reds and purples

S1879-2528 ‘Portrait of Mlle Jeanne Samary’ (R31,p299; iR1)

  • Raeburn and Dony both suggest ‘portrait of Jeanne Samary’
  • the painting was hung somewhere high on a wall (R4; R5, no. 320)

S1879-4476 Portrait de Paul C… (pastel) (R31,p299; iR1)

  • Raeburn and Dony don’t give a suggestion
  • my suggestion I found at art-Renoir (iR52): a portrait of Paul Charpentier; art-Renoir dates it at 1887, but the resemblance with the Paul, born in 1875, sitting on the divan in the painting ‘Madame Charpentier and her children’ (S1879-2527) is very big; so I think this pastel should be dated 1878; this makes it an almost certain suggestion for this work exhibited at the Salon of 1879; as in the mentioned picture Paul does (to our contemporary standards) look more like a girl

S1879-4477: Portrait de Théophile B… (pastel) (R31,p299; iR1)

  • Raeburn and Dony don’t give a suggestion
  • to compare I give the pastel ‘portret of a young boy’

S1880-3195: ‘Pêcheuses de moules à Berneval’ (iR1)

  • Raeburn and Dony suggest ‘Mussel fishers at Berneval’ (R31, p254; R30, no.363)
  • Raeburn writes that the hanging of all Renoir’s works at the 1880 Salon was quite poor (R31,p300)

S1880-3196:  ‘Jeune fille endormie’ (iR1; R31,p300)

  • Raeburn and Dony both suggest ‘sleeping girl or: girl with a cat’ (R31, no.50; R30, no. 408)
  • Raeburn describes it as a ‘strongly naturalist painting’ and mentions that it was badly hung (R31, no.50)

S1880-5703: ‘portrait de Lucien Daudet’ (pastel) (R31,p300; iR1)

  • Raeburn and Dony don’t give a suggestion
  • my uncertain suggestion is a portrait of Lucien Daudet made by Renoir in 1875
  • art-Renoir (iR52) confirms this suggestion, see ;

S1880-5704: ‘Portrait de Mlle M.B. (pastel) (R31,p300; iR1)

  • Raeburn and Dony don’t give a suggestion
  • to compare I give ‘the little fisher-girl’ for which Marthe Bérard was model; but this work is an oil painting (see R30, no.347)

S1881-1986 ‘portrait de Mlle xxx (R31,p300; iR1)

S1881-1987:  ‘portrait de Mlle xxx’ (R31,p300; iR1)

  • Raeburn doesn’t give a suggestion; Dony doesn’t mention the hanging at all
  • as Renoir made many portraits of girls or unmarried woman it’s very hard to know what he exhibited just looking at the title
  • I give two very uncertain suggestions ‘portrait of mademoiselle Irene Cahen D’Anvers’ (see R30, no. 428)
    and ‘portrait of mademoiselle Hélène Grimprel with a red ribbon’ (see R30, no.426)

S1882-2268 ‘Portrait de Mlle Y.G.’ (iR1)

  • Raeburn suggests portrait of Yvonne Grimprel (R31,p301)
  • Dony doesn’t confirm this and doesn’t give another suggestion (R30, no. 425)
  • was there also a work rejected?

S1883-2031 ‘portrait de Mme. C.’ (iR1; R31,p301)

  • Raeburn and Dony suggest Portrait of Mme Clapisson (R31, no.70; R30, no.559)
  • was there also a work rejected?

S1890-2024 ‘Portraits de Mlles M…’ (iR1)

  • Raeburn suggests the daughters of Catulle mendès at the piano; CR545 (R31,p304)
  • Dony doesn’t give a suggestion
  • was there also a work rejected?