Impressionism, a historical reconstruction:
of his exhibited works
On this page you will find an extended account of which paintings Renoir has exhibited at the ‘impressionist’ expositions in 1874, 1876, 1877 and 1882 and a less extended account of the works he submitted to the Salon and at other exhibitions.
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), Berson (1996=R90II) and Dayez (1974=R87). They mostly follow 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 August Renoir.
The first ‘impressionist’ exposition 1874:
- 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 / Braun (1976=R30) and Raeburn (1985=R31). They all refer to the Catalogue Raisonné de l’oeuvre peint of Daulte (1971=R108). I sometimes refer to the new catalogue raisonné des tableaux, pastels, dessins et aquarelles of Dauberville (2007-2014=R185). Whenever Berson omits a work, this means there are no contemporary reviews.
- see link for the pictures.
The catalogue numbers:
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.
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.
Moffett, Berson and Dony/Braun all suggest: 1873, The Harvesters, 60×73, Bührle Zurich (iR2;R2,p122;R90II,p12+28;R30,no100). Marc de Montifaud (1874/05/01) mentions this work ‘Moissonneuses’ which refers to women harvesting (R87,p266;R90I,p29). The suggested work depicts 3 men and 2 women and the men are most clearly harvesting. So I render the work as ‘probably’ exhibited.
Moffett (p.122) suggests a painting in the MFA Boston. Dayez and Berson (referring to Fezzi,no.36) suggest 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). Berson refers to a review of de Malte who just calls it ‘les Vases de Fleurs’ (R90I,p27). I will render it as ‘probably’ exhibited. Compare Monet, CR139.
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 render: 1868-70, Portrait d’une jeune femme, pastel, 44×36, A2012/05/15 (iR11;R2,p122). The model has some resemblance with: 1871, CR69, Mme Marie Octavie Bernier, 81×65, Metropolitan (iRx;R30,no64;R14,p176;R108,CR69;M23).
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 Dayez / Adhémar (R87,p251). 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 from the Hermitage: 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).
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:
- 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 / Braun (1976=R30) and Raeburn (1985=R31). They all refer to the Catalogue Raisonné de l’oeuvre peint of Daulte (1971=R108). I sometimes refer to the new catalogue raisonné des tableaux, pastels, dessins et aquarelles of Dauberville (2007-2014=R185). Whenever Berson omits a work, this means there are no contemporary reviews.
- 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).
- See link for the pictures.
The catalogue numbers:
2IE-1876-209 femme et enfant ; Appartient à M. Poupin
Moffett doesn’t give a suggestion. Berson omits this work. I render 3 (very) uncertain options: 1. 1873-77, Woman with Parasol and a Small Child on a Sunlit Hillside, 47×56, MFA Boston (iRx;R30,no303); 2. CR104; Washington; 51x68cm; Camille Monet and her son Jean in the garden at Argenteuil, 1874; and 3. 1876-80, The first step, 111×81, private (iR52;R30,no414;R2,p164).
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 Chocquet 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: CR176, 1875, Portrait of Victor Chocquet, 46×37, Harvard Cambridge (iRx;R30,no225;R90II,p44+63;R2,p164;R108,no176). Berson opposites this suggestion, referring to the review of Enault who mentions it was a male portrait (R90II,p44). See the reviews rendered at no.214. Berson doesn’t give an alternative. Dax (1876/05/01) writes about ‘a portrait of an old man’, maybe referring to no. 211 (R90I,p70). I will render CR176 as an uncertain option.
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: 1876, CR175, Victor Chocquet, 46×36, Winterthur (iR2;R90II,p44;R30,no226) and: 1875, CR176, Portrait of Victor Chocquet, 46×37, Harvard Cambridge (iRx;R90II,p44;R30,no225). Dony (no.225) confirms the choice for CR176. Rewald (1969) and Daulte (1971) choose for CR175 (R90II,p44). The Leroy (1876/04/15) review mentions ‘His gentleman with green and blue sky hair’ which pleads more for CR175. He also mentions ‘spotted like a jaguar’ referring to ‘son particulier’; this meaning is not clear to me. (R90I,p88) Bertall (1876/04/15) reviews ’the portrait of a man, with green hair, a pink beard and a face cut out of calfskin’ (R90I,p57+58). This review also pleads more for CR175. Alex Pothey (1876/03/31) writes about a ‘blond and fine artwork’ (R90I,p104). The reviews of Chaumelin, Enault (and Rivière) don’t give a description that helps us further. Against CR176 also pleads the absence of a reference to the work of Delacroix behind the portrait. Enault (1876/04/10) reviews ’those two portraits of men catalogued under the numbers 197 (=211) and 200 (=214)’ (R90I,p82). And Chaumelin ‘His portraits numbers 197 (=211) and 200 (=214) are not very lively’ (R90I,p68). This could suggest that both works were exhibited. But the Alex Pothey (1876/03/31) review refers to one portrait of Chocquet (R90I,p104). Bertall (1876/04/15) just mentions ’the portrait of a man’ and doesn’t refer to any other work of Renoir (R90I,p57+58). Leroy neither does refer to no.211 (R90I,p88). So I suppose only CR175 was exhibited, but I also render CR176 to compare.
2IE-1876-215 portrait d’enfant ; Appartient à M. Choquet (sic)
Moffett doesn’t give a suggestion. Berson omits this work. I render 3 very uncertain options: 1. ‘girl with a watering can’; (Dony no.228 writes this painting is from the collection of Paul Bérard); 2. 1875ca, Child with a hoop , 62×48, Baltimore MA (iR52;R30,no154); 3. 1875ca, Girl with a Dog, 31×23, MA Philadelphia (iRx;R30,no155).
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 doesn’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. As an uncertain option I give: 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, Daulte and Dony confirm it; and 2.: CR87, now: 1873-74, CR87, Claude Monet (The Reader), 65×50, Mellon Upperville (iR2;R90II,p44;R30,no85), Daulte confirm this option, Berson doesn’t prefer it, Dony doesn’t confirm it; and 3.: 1872ca, CR22, Claude Monet reading, 61×50, Marmottan (iR2;R30,no84), nor Daulte, nor Berson, nor Dony confirm this third option. Alex Pothey (1876/03/31) calls this work more ‘vigorous’ than the portrait of Chocquet, no.214 (R90I,p104). Note: none of the reviews descripe this work, there is no references to whether Monet is painting or reading (R90I;R90II,p44).
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) 1879ca 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’ =IE-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). Most reviews don’t really descripe this work. Zola is the most extensive: ‘I also liked his Portrait de jeune fille alot; She is a strange and sympathetic figure; with her long face, her red hair, her barely perceptible smile, she looks like some Spanish child. ‘ (R90I,p113). To compare I render another option: ‘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). Pothey (1876/03/31) reviews ‘he (Bazille) is sitting, working at his easel’ (R90I,p104).
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). Emile Blémont (1876/04/09) reviews ‘A young girl walking gently pushing her two little girls in front of her…’ (R90I,p63) Note: The woman looks more a nanni, than a mother.
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 madame. Still to compare I render the oil painting of Henriëtte Henriot in a theatre costume (as travestit) (Dony, no.159). To compare I also render a later pastel: Compare: 1880, Paul Cézanne, pastel, 54×45, A2012/05/02 (iRx;iR11;R3,p346;R1,p475;R3,p346;R2,p164); part of the Chocquet collection. Searching on medium at the-athenaeum.org (=iR2) I couldn’t find a pastel with a portrait of a man at all. Renoir painted one time a portret of madame Hartmann, see Dony 136; but I can’t find a portrait of monsieur Hartmann.
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. Porcheron (1876/04/04) reviews ‘et un protrait de l’auteur tout en hachures’ (Eng.: and a portrait of the author all hatched out / completely in the shades / all highlighted) (R90II,p103). Rivière / Dax also refers to a portrait of his own (R90I,p70). Another option may be: ‘self-portrait at the age of 35’ (1876, see Dony, no.233).
The third ‘impressionist’ exposition 1877:
- catalogue numbers: 185-205
- it is unclear if no. 202+203 contained each of 2 works with heads or just 1 with two heads; I assume the latter option.
- so Renoir showed at least 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
- I will refer to the suggestions of Moffett (1986=R2,p206), Berson (1996=R90II,p81-83+100/1), Dony / Braun (1976=R30) and Raeburn (1985=R31). They all refer to the Catalogue Raisonné de l’oeuvre peint of Daulte (1971=R108). I sometimes refer to the new catalogue raisonné des tableaux, pastels, dessins et aquarelles of Dauberville (2007-2014=R185). Whenever Berson omits a work, this means there are no contemporary reviews.
- See link for the pictures.
The catalogue numbers:
3IE-1877-185 La Balançoire ; Appartient à M.C.
Moffett suggests (p206+234) CR202; Berson (p100), Dony (no.242) and Raeburn (no.39) confirm this. This painting was part of the Caillebotte bequest in 1894 (R4, p.210)
3IE-1877-186 Bal du Moulin de la Galette
Moffett suggests (p206, 188 +236) CR209; Berson (p100) and Raeburn (no40) confirm this. This painting was part of the Caillebotte bequest in 1894. This work was showed in room 3. La Petite Republique française (1877/04/10) reviewed ‘shows a commendable effort of modern Naturalism’ (R90I,p176). So, this highlight of Impressionist art is called Naturalistic.
3IE-1877-187 portrait de madame G.C. ; Appartient à M. Charpentier
Moffett suggests (p206) CR226; Berson (p100), Dony (no.269) and Raeburn (p.197) confirm this.
3IE-1877-188 portrait de mademoiselle G.C. ; Appartient à M. Charpentier
Moffett suggests (p206) CR178; Berson (p101) confirms this; Braun / Dony (no. 257) doesn’t . There are different suggestions of where this painting is located.
3IE-1877-189 portrait de madame A.D. ; Appartient à M.A.D.
Moffett suggests (p206) CR163; portrait of Madame Alphonse Daudet; Berson, Dony (no.255) and Raeburn (p.197) confirm this. Also an option for 2IE-1876-222.
3IE-1877-190 portrait de M. Sisley
Moffett suggests (p206+237) CR117; Berson, Dony (no.138) confirm this.
3IE-1877-191 portrait de mademoiselle S.
Moffett suggests CR229 now in the Pushkin; Berson (p101), Dony (no. 282) and Raeburn (p.197) confirm this.
3IE-1877-192 portrait de M.S.
Moffett suggests (p206) CR71; owned by Mr. and Mrs Charles Wohlstetter in New York. Berson (p101) confirms this. Now: 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)
3IE-1877-193 jeune fille
Moffett gives no suggestion, nor does Berson. Bernadille (1877/04/13) reviews ‘Jeune fille’ with yellow hair and crimson face as if under the reflection of a furnace (R90I,p129/130). Le Moniteur universel (1877/04/08) and La petite Presse (1877/04/09) reviews ‘Green hues can be found … in this Jeune fille (no 193)’ (R90I,p169+175). As uncertain options I render: 1875ca, The Sewer, 65×54, A2010/11/02 (iRx;iR11;R30,no195) and: 1876, CR172, Young Woman Braiding Her Hair (portrait Mlle Muller), 55×46, NGA Washington (Mx;R30,no222;R31,no42).
3IE-1877-194 femme assisse
Moffett gives no suggestion, nor does Berson (R90II,p82). Rivière (1877/04/06) reviews ‘Three studies: a woman in a corset … are charming and very Parisian.’ (R90I,p180). Leroy reviews (1877/04/11) ‘Ah! what magnificent green skin M. Renoir shows us in no. 194, a decolletee woman. So many studies have been done at the morgue to achieve such a result!’ (R90I,p159) I think this work fits these reviews rather good: 1876ca, Mme Henriëtte Henriot in white, 66×50, NGA Washington (iRx;R30,no216), still it doesn’t look like a study and the skin doesn’t look greenish, so I render it as a very uncertain option.
3IE-1877-195 la Seine à Champrosay
Moffett suggests (p206 + 238) a work in musée d’Orsay; Dony (no.256) doesn’t confirm this; Berson (p101) and Raeburn (p.197) do.
3IE-1877-196 La place Saint-Georges
Moffett gives no suggestion; nor does Berson (R90II,p82). Rivière (1877/04/06) reviews ‘It is a morning effect, with a May sun, lighting up the flowering chestnut trees. You can breathe in the fresh scents of the large green trees bordering the gardens.’ (R90I,p180). I think the following work fits this review best: 1875ca, Place de la Trinite, Paris, 50×61, private (iRx;R30,no196). Note: the Place de la Trinite, now Place d’Estienne d’Orves, before the church ‘de la Sainte Trinité’, is closeby the Rue Saint-George, where Renoir lived at no.35 (see map, iR9).
3IE-1877-197 Coucher de soleil
Moffett gives no suggestion, nor does Berson. Rivière (1877/04/06) reviews ‘Le soleil couchant à Montmartre, with its atmosphere of gold and diamonds, dazzles the eye. While the sun still lights up the valley, the foreground, hidden by a hedge, already enters the evening shadow. As it flees, the sun seems to double its light, the brick roofs burst, leaves sing on the restless branches, the white walls have metallic cracks, and the horizons get lost in dazzling dust. Here, the shadowy patches of hills whose peaks are lost in gold stand out faintly like dying dreams.’ (R90I,p180). This review resembles a work I found in Google images and Pinterest, but without further details: 18xx, view of Montmartre, xx, xx (iR10;iR64).
Moffett gives no suggestion, nor does Berson. Bernadille (1877/04/13) reviews ‘apocalyptic gardens in front of which the spectator, like the turkey in the fable, sees something but does not distinguish very well.’ (R90I,p130). Descubes (1877) reviews ‘Gardens coloured by a light similar to that goes through a pharmacist’s jar, still draw attention to the exhibition.’ (R90I,p144). Both reviews don’t give light on which of the several garden scenes Renoir painted in 12, Rue Cortot, Montmartre. Spiess suggests this work was exhibited: 1876, CR193, The Garden in the Rue Cortot at Montmartre, 151×97, Pittsburgh Carnegie (iRx;R16,p284;R30,no238;R31,no38). Braun / Dony (no.238) and Raeburn (no38) don’t confirm this suggestion. Braun / Dony suggest that the two figures are Monet and Sisley, Raeburn argues against it that Monet and Sisley were not in Paris at the time. I follow the suggestion of Spiess, also because it’s quite large. I render also two other uncertain suggestions for no.198. And for no.199 I render as uncertain suggestions: 1875, Woman with a Parasol in a Garden, 54×65, MNTB Madrid (iR2;Mx;R30,no199); Dony (no.199) doesn’t confirm my suggestion; and: 1873, Women in a garden, 55×66, A2007/11/07 (iR11;cpR30,no105).
3IE-1877-200 tête de jeune fille
Moffett gives no suggestion, nor does Berson. Descubes (1877) reviews it is ignited (R90I,p144). I render 4 very uncertain suggestions of heads / portraits of young women.
3IE-1877-201 bouquet de fleurs des champs
Moffett gives no suggestion, nor does Berson. Fillonneau (1877/04/20) reviews ‘which is highlighted with a brushstroke worthy of a better school.’ (R90I,p145) Most of the flowers Renoir painted were more cultivated flowers. ‘Flowers in a vase’ (1866) seem to contain flowers from the field. I render two other more uncertain options: 1866, spring bouquet, 104×80, HAM Cambridge (R30,no12) + 1876ca, Bouquet in front of a Mirror, 93×72, private (iRx;R30,no267).
3IE-1877-202 deux têtes
3IE-1877-203 deux têtes
Eng.: two heads. Moffett gives no suggestion, nor does Berson (R90II,p83). Rivière (1877/04/06) reviewed ‘Three studies: a woman in corset and two small canvases, a woman’s head and a man’s head, are charming and very Parisian.’ (R90I,p180). Le Petite Republique française (1877/04/10) reviewed ’two frames each containing the head of a man and a woman taken from the heart of Parisian life.’ (R90I,p176). These reviews leave it unclear if each frame contained a seperate portrait of a man and a seperate portrait of a women. I render two compilations to give an impression. But it is also possible that each frame contained 1 painting depicting a man and a women. Dony shows in his catalogue two works depicting two heads (in one painting): no. 241, ’two heads or: young man and young woman’, painted in 1876, 45x31cm, now in the Orangerie; and: no.272, 1877ca, two young maiden heads, 47×54, Marlborough Fine Art London. This suggestion doesn’t render a man and a woman, still I render them to compare.
3IE-1877-204 Les Dahlias
Moffett gives no suggestion, nor does Berson. Jacques (1877/04/12) reviews ‘with dazzling intensity’ (R90I,p157). Rivière (1877/04/06) reviews ’the large panel with the magnificent red dalhias in a clutter of herbs and lianas.’ (R90I,p180). To compare I render 3 works with dahlias who all don’t fit this description of Riviére.
3IE-1877-205 portrait d’enfant
Moffett gives no suggestion, nor does Berson. Bertall (1877/04/09) indicated that it hung below ‘la balançoire’ (R90I,p132). Renoir painted several portraits of children. I will render 4 of them made in 1876 and 77.
The seventh ‘impressionist’ exposition 1882:
- catalogue numbers: 137-160
- Moffett (p395) suggests that Renoir showed two works outside the catalogue (=hc = hors catalogue); Berson claims there were 4.
- all numbers represent one work, so Renoir showed 25+4hc=29 works
- Note: Paul de Charry (1882/03/14) writes about 24 works (R90I,p384)
- 6 of them were portraits (note: this is much less than at the other expositions)
- 5 works were still lives
- 11x an indication of place
- 0x an indication of time, season or weather
- 0x a study
- I will refer to the suggestions of Moffett (1986=R2,p395), Berson (1996=R90II,p210-3+229-233), Dony / Braun (1976=R30) and Raeburn (1985=R31). They all refer to the Catalogue Raisonné de l’oeuvre peint of Daulte (1971=R108). I sometimes refer to the new catalogue raisonné des tableaux, pastels, dessins et aquarelles of Dauberville (2007-2014=R185). Whenever Berson omits a work, this means there are no contemporary reviews.
- See link for the pictures.
The catalogue numbers:
7IE-1882-137 Jeune fille au chat
Moffett suggests (p395) CR330 ; CAI ; 120x92cm ; Girl with a cat, 1880. Berson affirms (R90II,p229). Also exhibited at the Salon of 1880. Compare with no.148+160, which is the same model Angèle (R15,p208). Compare also no.141.
7IE-1882-138 les deux sœurs
Moffett suggests (p395) CR378 ; Chicago ; 1881, Two Sisters (also known as On the Terrace), 101×81, AI Chicago. Berson affirms (R90II,p229). The location was the restaurant Fournaise and the model was the actrice Darlaud (R30,no471).
7IE-1882-139 une loge à l’Opéra
Moffett suggests (p395) CR329 ; Clark Art Inst. ; 99,2×80,6cm ; at the concert, 1880. Berson affirms (R90II,p229).
7IE-1882-140 un déjeuner à Bougival
Moffett suggests (p395) CR379 ; Philips collection, Washington, 130×173, The luncheon of the boating party (le déjeuner des canotiers), 1880-81. Berson affirms (R90II,p229). Painted on the terrace of the restaurant Fournaise. More info see wikipedia.
Moffett doesn’t give a suggestion. Berson suggests CR356, Jeune fille assise, 62×50, private (R90I,p210). Referring to a cartoon of Draner (1882/03/09), see R90I,p417. But as far as I can see, this work is not depicted by Draner. I will render the suggestion of Berson in black and white. It seems to be made at the same location as no.138. I question the suggestion of Berson, because the woman doesn’t have a dreamy look. Renoir painted many woman with a dreamy look, so it is hard to indicate this picture. Also because this work is not mentioned in the reviews (R90II,p417). I render two other (uncertain) suggestions: 1877, reflection; 1879, the dreamer, 51×62, St. Louis. The model of this last one looks like Angèle, see no 137. It was part of the Bérard collection.
7IE-1882-142 femme cueillant des fleurs
Moffett suggests (p395) CR74 ; Clark Art Inst., Williamstown ; woman gathering flowers, ca 1872. Berson affirms this suggestion (R90II,p230).
7IE-1882-143 champ de bananiers près d’Alger
Moffett suggests (p395) a work in musée d’Orsay; probably: 1881, Field of Banana Trees, Orsay. Berson affirms this suggestion and leaves out the probably (R90II,p230). Nor the musée d’Orsay, nor Joconde (iR23) affirm this suggestion.
7IE-1882-144 assiette de prunes
Moffett doesn’t give a suggestion. Berson suggests: 1882-84, Still life a plate of plums , 56×46, private (R90II,p210+230). Berson affirms this suggestion (R90II,p230).
Lilas=Eng.: lilac; Nl.: sering. Moffett suggests (p395) CR224 with a perhaps in a private collection. Berson gives as suggestion: 1878ca, Bouquet of Flowers, 65×54, private NY (iRx;R90II,p230;R30,no326). She refers to the review of de Nivelle (1882), who only mentions the work as a ‘Bouquet de lilas’ (R90II,p210). As another option I render: 1875-80, bouquet of lilacs, 54×65, NSM Pasadena (iR22).
7IE-1882-146 Vue de Venise (grand canal)
Moffett suggests (p395) a painting now in the MFA Boston. Berson affirms this suggestion (R90II,p230).
7IE-1882-147 Vue de Venise
Moffett suggests (p395 + 415) a work now in the Kreeger collection in Washington, 45×60, view of Venice, 1881. He refers to the Nivelle review. He mentions another option, that is preferred by Berson (R90II,p211) following House (R31,p231), now in the Clark Art Inst., Williamstown. Jean de Nivelle (1882/03/04) reviews of an ‘orgy of colours’ and ’the artist has given the impression of a storm in the Grand Canal’ (R90I,p406). The work from the Kreeger collection depicts a fog, not a storm. The Williamstown work depicts more this ‘orgy of colours’. Leroy (1882/03/17) reviews ‘Mr Renoir’s Views of Venice stopped me for a long time. One of them has intertwined reflections like a glazed tile roof. Transparency has nothing to do with it. The painter posed himself this problem: to make water… solid, on which gondolas with wheels could evolve, without, however, this shredded, zebraised, spotted surface being taken for any kind of ground; and he admirably overcame the difficulty. This is nothing like anything we have ever seen before. ‘(R90I,p402). This solidness is more to be seen in the Williamstown version. The review of Paul Leroi (1882) doesn’t help us much further: ’this unbridled solemnity the most unheard of series of ferocious smears that a slandererer in Venice can imagine.’ (R90I,p401) All the other reviews just mention the works together, sometimes referring to the work of Ziem, but not describing it (R90I). So I think the Williamstown option is better, but I will render them both.
7IE-1882-148 Jeune fille endormie
Moffett suggests (p395) CR328 ; private Paris or Switzerland; young girl sleeping, 1880. Berson affirms this suggestion (R90II,p231). Compare with no.137+160 which is the same model Angèle (R15,p208). Compare also no.141.
7IE-1882-149 la lecture
Moffett suggests (p395) CR333 ; Frankfurt, now: 1880-86ca, Young Girl Reading (Lesendes Mädchen), 57×48, Städel Frankfurt. Berson affirms this suggestion (R90II,p231).
7IE-1882-150 Au bord de la Seine
Eng: At the banks of the Seine. Moffett doesn’t give a suggestion, Berson omits this work (R90II,p211). Compare no.152.
as uncertain options I give: 1878ca, Landscape by the Seine, the Argenteuil Bridge (The River), 47×51, private; and: 1880, The Banks of the Seine at Argenteuil, private; and: 1880ca, Landscape, Banks of the River, 35×25, private;
7IE-1882-151 Les Canotiers
Moffett suggests (p395) CR307 with a perhaps 1879, Oarsmen at Chatou, 81×100, NGA Washington. Berson affirms this suggestion (R90II,p231). This work is mentioned but not described by Silvestre (1882/03/11) (R90I,p413).
7IE-1882-152 Les bords de la Seine
Eng.: the banks of the Seine. Moffett doesn’t give a suggestion. Berson omits this work (R90II,p211). Compare no. 150.
as an uncertain option I give: 1880ca, Landscape, Banks of the River, 35×25, private; and: 1879-81, The Seine at Bougival, 32×41, private (iRx;R30,no469;R2,p395)
7IE-1882-153 Femme assisse sur l’herbe
Moffett suggests (p395) CR355 with a perhaps, private Paris. Now: 1880, Madame Renoir with a dog, private. Berson affirms this suggestion (R90II,p231).
7IE-1882-154 La Seine à Chatou
Moffett suggests (p395) with a perhaps 1881, The Seine at Chatou, 73×92, MFA Boston, referring to House/Raeburn no.56 (sic) (=R31,no57), who makes his suggestion with a ‘?’. Berson affirms this suggestion; there were no reviews (R90II,p231). As another suggestion I also render: 1874ca, La Seine à Chatou, 54×65, Dallas MA (iR6;iR22;R30,no118). A work in the former Durand-Ruel collection.
7IE-1882-155 Marronniers en fleurs
=Eng.: chestnut trees; Nl.:kastanje bomen. Moffett doesn’t give a suggestion. I give: 1881, Chestnut tree blooming , 71×89, private. Berson affirms this suggestion (R90II,p231).
Moffett suggests (p395) with a perhaps ‘House, no. 59 (=R31,no59), per Isaacson’. Note: Raeburn / House add an ‘?’ to their suggestion. Now: 1881, Geraniums and Cats, 91×73, NY private. Berson affirms this suggestion (R90II,p232). The reviews of Flor (1882/03/03; R90I,p388), Hepp (1882/03/03;R90I,p394), Jean de Nivelle (1882/03/04;R90I,p406) and Robert (1882/03/05; R90I,p410) don’t give a discription. They don’t refer to a cat. I also render another option: 1880, Geraniums in a Copper Basin, 81×61, private.
7IE-1882-157 Jardin Desaix à Alger
Moffett doesn’t give a suggestion. Berson suggests: 1881, Algiers, the garden of Essai, 81×65, private (R90II,p211+232). She refers to the Draner cartoon (1882/03/09) (R90I,p417) and the reviews of Flor and De Nivelle. ‘Jardin Desaix’ should be ‘jardin d’Essai’, a garden with palm trees in Algiers.
Eng.: Peonies; Nl.: pioenrozen. Moffett doesn’t give a suggestion. Berson suggests: 1880ca, Peonies, 55×65, CAI Williamstown (R90II,p211+232). The reviews of La Fare (1882/03/02;R90I,p400), Jean de Nivelle (1882/03/04;R90I,p406) and Robert (1882/03/05; R90I,p410) don’t give a discription. I also render as an suggestion: 1876-78, Peonies, xx, private (iRx;R30,no268).
7IE-1882-159 Les pêches
Moffett doesn’t give a suggestion. Berson suggests 1881, Still life with peaches, 53×65, Metropolitan (R90II,p232). The reviews of La Fare (1882/03/02;R90I,p400) and Sallanches (1882/03/03; R90I,p412) don’t give a discription. Jacques de Biez (1882/03/08) reviews ‘a certain peach composition, of which the execution of the velvety texture borders on optical illusion’ (R90I,p381).
7IE-1882-160 Femme à l’éventail
Moffett suggests (p395) CR332 ; Hermitage ; 65x50cm ; woman with a fan, 1880. Berson affirms this suggestion (R90II,p232). Compare with no. 137+148, which is the same model Angèle (R15,p206-209). Braun / Dony suggest: 1879-81ca, Girl with Fan (Jean Samary), 65×54, CAI Williamstown (iRx;R30,no456). Hustin (1882/03/03) reviews ‘You will notice the expression in the Femme a l’eventail, despite her burned red eyes and her hair of which only a recent colouring would explain the purplish tonality. ‘ (R90I,p394) Meurville (1882/03/21) reviews ‘You see this pretty person sitting in an armchair and holding in her hand one of those tricolour fans that Japan sends us for the sum of two or three pennies. The most remarkable aspect of this person is her eyes. Two very alert black eyes, too alert even, but at last eyes of a siren that invincibly attract you; The nose is straight and fine, the mouth is graceful and carmine, then you can see a white patch, probably representing teeth, and finally something tricolour that flickers on something that looks like a hand.’ (R90I,p402) Both reviews plead for CR332. To compare I will also render the one in the Clark.
7IE-1882-161 Près de Bougival
Moffett doesn’t give a suggestion, nor does Berson (R90II,p212). De Nivelle writes about ‘prés de Bougival’, which means meadows instead of ‘près’ which means near. And he invites the reader to ‘recognize yourself in it, if you can’. The meaning of it is not clear to me. I render 2 uncertain suggestions: Uncertain option 1: 1881ca, Canotage à Bougival, 54×65, A2017/02/28 (iR10;iR15;R185I,no146;R30,no453;R2,p394); part of the Durand-Ruel collection; and: Uncertain option 2: 1871ca, Bords de la Seine à Bougival, 43×55, AM Denver (iR94;iR10;iR94;R30,no678;R2,p394;M158).
7IE-1882-161+hc1 Jongleuses au Cirque Fernando
Moffett suggests (p395) CR297 ; AI Chicago ; 132×100, Jugglers at the Cirque Fernando, 1879. The picture depicts Francisca & Angelina Wartenberg. Berson renders it as hc40 (R90II,p212).
7IE-1882-161+hc2 Jeune fille Pêcheuse de Crevettes
Crevettes= Eng.: shrimps; Nl.: garnalen. Moffett suggests (p395) CR281 with a perhaps ; private Geneva ; or: CR282 ; private NY. Berson renders CR281 as HC41 (R90II,p232), now: 1879, The Little Fishergirl (Marthe Bérard), 61×46, private (iRx;R30,no347) This work maybe also was exhibited at the Salon of 1880. Berson also mentions CR282 (R90II,p212). Berson refers to the review of Paul de Charry (1882/03/14) who only mentions the work (R90I,p384). So I also render CR282 as a second option.
7IE-1882-161+hc3 Un verger Normand
Eng.: a Normandy orchard. Berson also mentions another work exhibited outside the catalogue (giving it no.HC42), referring to the review of Flor, who just mentions the work, but doesn’t describe it. Berson doesn’t identify the work. (R90II,p212). To compare I render a work made in Chatou: Compare: 1872-75ca (1878), Spring at Chatou, 59×74, private (iR7;R31,no24;R30,no312;R90II,p212;R2,p394); and also: 1879, The Vintagers, 54×65, NGA Washington (iRx;R30,no371;R90II,p212;R2,p394), but there is no orchard depicted.
7IE-1882-161+hc4 Tête de petite garçon
Berson also mentions another work exhibited outside the catalogue (giving it no.HC43), referring to the review of de Charry (1882/03/14), who writes ‘a delightful little boy’s head’ (R90I,p384) . Berson doesn’t identify the work. (R90II,p212). I render some uncertain options: Uncertain option 1: 1879, Portrait of André Bérard as a child, 41×32, A2016/02/04 (iR11;R30,no342;r90II,p212;R90I,p384); and: Uncertain option 2: 1880, Fernand Halphen as a Boy, 46×38, Orsay (iR52;R30,no418;R90II,p212;R90I,p384;M1); and: Uncertain option 3: 1875ca, Boy with a Toy Soldier (Portrait of Jean de La Pommeraye), 35×27, private (iR10;iR6;R30,no156);R90II,p212;R90I,p384); and: Uncertain option 4: 1881, (Head) Portrait of a child, 37×32, private (iRx;R30,no459;R90II,p212;R90I,p384).
Renoir at the Salon:
My main sources are the Salon database of Musée d’Orsay see, Raeburn (R31,p294-315) and Braun (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. So every time only one work was accepted or rejected you can ask if Renoir only did admit one work or that an unknown work was rejected. See link for the pictures. Note: 1880 onwards the Salon was organised by the Société des Artistes Français (=SdAF).
S1863-rejected (Une Nymphe avec un faune):
First admission to the Salon ”Une Nymphe avec un faune’ (according to Arsène Alexandre) was rejected and later destroyed by Renoir (R31,p295). To compare I render a work of Cabanel.
S1864-1618 La Esmeralda: (R31,p295; iR1)
Debut at the Salon with ‘Esmeralda dancing with her goat’ ; Renoir later destroys the painting, because Diaz rejected the use of bitumen-black (R32,p12;R30,p4+9;R31,p295). Esmeralda is a character in the Victor Hugo (1802-85) novel the hunchback of Notre-Dame (1831). There also is a ballet made after it. (iR3) I render an unknown painting depicting Esmeralda.
S1865-1802 portrait de M. W. S…: (R31,p295; iR1)
Raeburn and Braun suggest ‘portrait of William Sisley’ (R31, no.2; R30, no.6). Note the many blacks and browns. The painting wasn’t noticed by a single critic (Raeburn, no.2)
S1865-1803 Soirée d’été: (R31,p295; iR1)
Eng.: summer evening. The work of Renoir stayed unnoticed and later got lost. (R31,p179) In 2016 someone claimed he found it (iR10), but the style doesn’t seem that of Renoir (HW); still I will render it. To compare I also render a work of Rousseau.
S1866-R, landscape with two figures:
‘Landscape with two figures’ was rejected in spite of pleas of Corot and Daubigny who were members of the jury (R31,p295 + R30)
S1866-A, a quick sketch (Paysage à Marlotte):
A quick sketch was accepted, but Renoir withdraw it (R31,p295). Venturi writes that ‘Paysage à Marlotte’ was accepted (R88II,p391). I render as an uncertain suggestion: 1865-66, Two Figures in a Landscape (Road near Marlotte), 33×24, private (iR10;iR64;iR1;R88II,p391;R1,p132) Info: Renoir gave this painting as a gift to Lise Tréhot.
S1867-rejected: (Diana the huntress)
‘Diana the huntress’ was rejected (R31,p296 + R30, no.20). The way Renoir rendered his model (Lise Tréhot), didn’t comply with the Neo-Classicist standards of beauty.
S1868-2113: ‘Lise’ (R31,p296; iR1)
Raeburn and Braun both suggest ‘Portrait of Lise with umbrella’. Note: the effect of sun and shade (blue-ish). Info: it hung quite high, still there are several reviews. Astruc and others gave a positive judgement (R31,p181 + R30, no.22); it was painted outdoors in Chailly-en-Bière (Fontainebleau) in the summer of 1867; in 1873 bought by Duret (R30,no22+p5+10).
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 Braun both suggest ’the gypsy girl’. The model, Lise Tréhot was painted quite smoothly in the studio. The background is very freely painted, maybe that’s why Renoir called it a study. Duret bought it in 1873 for 400fr from Durand-Ruel (R31, no.8; R30, no.31).
S1870-2405: ‘baigneuse’ (R31,p296; iR1)
Raeburn and Braun both suggest ‘bather with dwarfgriffon’ (=sort of little dog); Lisa Tréhot was the model. It got attention from the art-critics. Combines a classical theme with realist details. (R31, no. 15; R30, no.50). Note: the strange horizontal (male/female?) figure on the right.
S1870-2406: ‘Femme d’Alger’ ((R31,p296; iR1)
Raeburn and Braun both suggest ’the Algerian woman’ (or: Odalisque); Lise Tréhot was model; the painting was inspired by Delacroix (R31,p194;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).
SdR1873-90: ”Allée cavalière au Bois de Boulogne’ (R31,p297; iR1)
Rejected for the Salon and exhibited at the Salon des Refusés. Raeburn and Braun both suggest ‘Riding in the Bois du Boulogne’, showing madame Darras and Joseph le Coeur. Criticized for the drawing of the horses (not very true) and the blues in the horses skin. (R31,p196; R30, no.104). Rouart later on bought this picture (R45;R1,p304).
SdR1873-91 ‘portrait’ (R31,p297; iR1)
Rejected for the Salon and exhibited at the Salon des Refusés. Raeburn and Braun 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);
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).
Braun (R30,no.271) suggests there was a picture exhibited called ‘spring’ exhibited at the Salon of 1877: Spring 1877ca, paysage de printemps, 38×53, MBA Algiers. The Musée d’Orsay database (iR1) doesn’t confirm this, nor does Raeburn (R31). This work 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) of 1877.
S1878-1883: ‘le café’ (R31,p299; iR1)
Braun identifies it as ’the cup of chocolate or: woman drinking coffee’; Raeburn mentions it as CR272; the model was Margot (R31; R30, no.315).
S1879-2527: ‘portrait de Mme. G. C… et de ses enfants’ (R31,p299; iR1)
Raeburn and Braun 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) (R31,no44;R30,no321). Braun / Dony states that it is Georgette who is sitting on the dog, but I think it is the younger of the two children, so Paul, who looks by the way like a girl, a fashion that was more common in those days. 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 Braun 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 Braun 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 Braun don’t give a suggestion. As an uncertain option I give the pastel ‘portret of a young boy’
SdAF-1880-3195: ‘Pêcheuses de moules à Berneval’ (iR1)
Raeburn and Braun 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)
SdAF-1880-3196: ‘Jeune fille endormie’ (iR1; R31,p300)
Raeburn and Braun 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)
SdAF-1880-5703: ‘portrait de Lucien Daudet’ (pastel) (R31,p300; iR1)
Raeburn and Braun 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 ;
SdAF-1880-5704: ‘Portrait de Mlle M.B. (pastel) (R31,p300; iR1)
Raeburn and Braun 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), a work maybe also exhibited outside the catalogue in 1882 (7IE-1882-161+hc2).
SdAF-1881-1986 ‘portrait de Mlle xxx (R31,p300; iR1)
SdAF-1881-1987: ‘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. 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).
SdAF-1882-2268 ‘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)
SdAF-1883-2031 ‘portrait de Mme. C.’ (iR1; R31,p301)
Raeburn and Braun suggest Portrait of Mme Clapisson (R31, no.70; R30, no.559)
SdAF-1890-2024 ‘Portraits de Mlles M…’ (iR1)
Raeburn suggests the daughters of Catulle mendès at the piano; CR545 (R31,p304). Braun doesn’t give a suggestion
Renoir at regional exhibitions:
Renoir exhibited several times at regional exhibitions. On the page regional exhibitions you will find more info on these exhibitions and on the locations.
In 1912 Renoir exhibited two paintings at the ‘Salon de Mai’ where he was honorary president. In 1913 he exhibited 1 painting.
SdM-1912-8, Baigneuse s’essuyant.
SdM-1912-9, Le Bouquet de Renoncules.
SdM-1913-11, Femme au pot de fleurs.
1886/10/10 – 11/30: Exposition des Beaux-Arts, cours Saint-Pierre; Renoir exhibited 2 works (R31,p315)
1891/04/04 – 05/04: 2me exposition de la Société de amis des arts; Renoir exhibited 2 works (R31,p315)
1900/04: maybe Renoir again exhibited (R31,p319).
In Pau Renoir joined the ‘Société des Amis des Beaux-Arts (R31,p315).
1866/01 – 1866/03: Renoir exhibited 3 works.
1876/02 – 1876/03: Renoir exhibited 2 works.
1884/06 (or: 1886/05): in Rouen, Hôtel du Dauphin et de l’Espagne: ‘Magnifique collection d’impressionnistes’ (collection Murer = Meunier), with 30 works of Renoir (R31,p315;R5,p140;R22IV,p1016). Note: this was more an exhibition of a private collection, than a regional exhibition.
Rouen-1907-225, Gardienne de bétail dans les champs, lent by M.M. Bernheim.
Rouen-1907-226, Portrait de Mme Chocquet, lent by M. Durand-Ruel.
Rouen-1907-227, Baigneuse, lent by M. Durand-Ruel.
In 1907 in March and April there was the exhibition ‘Art Français contemporain’ in the Château des Rohan. Renoir exhibited 3 works. (R31,p316)
1882/10/01: Durand-Ruel send in works of Renoir and others to a regional exhibition in Tours (R5,p130)
Renoir at the Exposition Universelle:
Works of Renoir were exhibited at the Exposition Universelle in Ghent (1913).
Ghent-EU-1913-341. Renoir (Auguste): Portrait de Marsy
Ghent-EU-1913-342. Renoir (Auguste): Nu
Ghent-EU-1913-343. Renoir (Auguste): Les bords de la Seine
Ghent-EU-1913-344. Renoir (Auguste): Confidences
Renoir at Centennial exhibitions:
Works of Renoir were exhibited at centennial exhibitions. In 1912 in Saint-Petersbourg no less than 23 works!
Saint-Petersbourg-1912-518. Portrait d᾿Homme (Male Portrait]
Saint-Petersbourg-1912-519. Les amants (Lovers] [Vollard in Paris]
Saint-Petersbourg-1912-520. La Grenouillère (Paddling Pool] [Theo Behrens in Hamburg]
Saint-Petersbourg-1912-521. Portrait d’homme (Male Portrait]
Saint-Petersbourg-1912-522. Portrait de femme (Female Portrait]
Saint-Petersbourg-1912-523. Petit nu (Nude]
Saint-Petersbourg-1912-524. Les Champs-Elysées en 1867
Saint-Petersbourg-1912-525. Le petit déjeuner (Breakfast]
Saint-Petersbourg-1912-526. La matinée rose (Rose Morning]
Saint-Petersbourg-1912-527. La Libellule (Dragonfly]
Saint-Petersbourg-1912-528. La dame au châle (Lady with Scarf]
Saint-Petersbourg-1912-529. La bonne de chez Duval (The Handmaid]
Saint-Petersbourg-1912-530. La grisette (Grisette]
Saint-Petersbourg-1912-531. Femme au corsage bleu (Woman with a Blue Corsage]
Saint-Petersbourg-1912-532. Jeune fille aux fleurs (Young Girl with Flowers]
Saint-Petersbourg-1912-533. Mme de Purtales [Barbazanges in Paris]
Saint-Petersbourg-1912-535. Portrait de Mlle Fournaise
Saint-Petersbourg-1912-556 (sic 536). Fruits et fleurs (Flowers and Fruits]
Saint-Petersbourg-1912-537. Vase de fleurs (Vase with Flowers]
Saint-Petersbourg-1912-538. Femme couchée (Lying Woman] [Durand-Ruel in Paris]
Saint-Petersbourg-1912-539. Portrait de Sisley (Portrait of the Artist Sisley] [Lapauze in Paris]
Saint-Petersbourg-1912-540. Tête d᾿enfants (Children’s Heads] [Pra in Paris]
Renoir at La Libre Esthétique in Brussels:
15LE-1908-157. Femme couchée
15LE-1908-158. Sortie du bain
15LE-1908-159. Baigneuse couchée
15LE-1908-161. Baigneuses, drawing
15LE-1908-162. Marchande d’oranges, drawing
15LE-1908-163. Deux jeunes filles, drawing
15LE-1908-164. Femme à sa toilette, drawing
16LE-1909-235. Portrait de Mme A. E. (appartient à Mme Alfred Edwards)
17LE-1910-158. Auguste Renoir: Automne ; petit bras à Argenteuil (1874)
17LE-1910-159. Auguste Renoir: Le Poirier (1877)
17LE-1910-160. Auguste Renoir: La Prairie (1882)
20LE-1913-198. Jardin à Nice (appartient à M. Paul Gallimard)
20LE-1913-199. Les Collettes (Cagnes)
20LE-1913-200. Le Cannet
20LE-1913-201. Allée d’oliviers au Cannet
Renoir at Les XX:
Renoir exhibited with Les XX in Brussels in 1886 (R88II,p209).
3XX-1886-?, La Danse
3XX-1886-?, Mme Charpentier et ses enfants
3XX-1886-?, Margot étude
3XX-1886-?, Yvonne Grimprel
3XX-1886-?, Sur le banc
3XX-1886-?, étude de torse.
Recommanded citation: “Auguste Renoir, an account of his exhibited works. Last modified 2023/07/16. https://www.impressionism.nl/renoir-account/.”