fig. 46

Detail of the signature in Renoir’s Lunch at the Restaurant Fournaise (the Rowers' Lunch) (1875). The Art Institute of Chicago, 1922.437. See cat. 2.
fig. 1.2

Detail of the signature in Renoir’s Alfred Sisley (1876). The Art Institute of Chicago, 1933.453. See cat. 4.
fig. 1.1

Detail of the signature in Renoir’s Workers' Daughters on the Outer Boulevard (Illustration for Emile Zola's L'Assommoir) (1877/78). The Art Institute of Chicago, 1986.420. See cat. 5.
fig. 5.11

Detail of the signature in Renoir’s The Laundress (1877/79). The Art Institute of Chicago, 1947.102. See cat. 6.
fig. 1.3

Detail of the signature in Renoir’s Young Woman Sewing (1879). The Art Institute of Chicago, 1933.452. See cat. 7.
fig. 1.4

Detail of the signature in Renoir’s Seascape (1879). The Art Institute of Chicago, 1922.438. See cat. 8.
fig. 6.14

Detail of the signature in Renoir’s Acrobats at the Cirque Fernando (Francisca and Angelina Wartenberg) (1879). The Art Institute of Chicago, 1922.438. See cat. 9.
fig. 5.12

Detail of the signature in Renoir’s Near the Lake (1879/80). The Art Institute of Chicago, 1922.439. See cat. 10.
fig. 5.10

Detail of the signature in Renoir’s Two Sisters (On the Terrace) (1881). The Art Institute of Chicago, 1933.455. See cat. 11.
fig. 5.5

Detail of the signature in Renoir’s On the Terrace of a Hotel in Bordighera: The Painter Jean Martin Reviews his Bill (1881). The Art Institute of Chicago, 1977.491. See cat. 12.
fig. 5.7

Detail of the signature in Renoir’s Fruits of the Midi (1881). The Art Institute of Chicago, 1933.1176. See cat. 14.
fig. 5.8

Detail of the signature in Renoir’s Chrysanthemums (1881/2). The Art Institute of Chicago, 1933.1173. See cat. 15.
fig. 5.9

Detail of the signature in Renoir’s Lucie Berard (Child in White) (1883). The Art Institute of Chicago, 1933.1172. See cat. 16.
fig. 5.13

Detail of the signature in Renoir’s Madame Léon Clapisson (1883). The Art Institute of Chicago, 1933.1174. See cat. 17.
fig. 5.6

Detail of the signature in Renoir’s Jean Renoir Sewing (1899/1900). The Art Institute of Chicago, 1937.1027. See cat. 24.
fig. 6.15

Detail of the signature in Renoir’s Seated Bather (1914). The Art Institute of Chicago, 1945.27. See cat. 25.
fig. 6.16

Detail of the signature in Renoir’s Woman at the Piano (1875/76). The Art Institute of Chicago, 1922.437. See cat. 3.
fig. 6.17

Detail of the signature in Renoir's Woman Seated in a Chair (recto) (c. 1883). The Art Institute of Chicago, 1943.520R. See cat. 18.
fig. 6.18

Detail of the signature in Renoir's Grove of Trees (1888/90). The Art Institute of Chicago, 1982.1827. See cat. 22.
fig. 6.19

Detail of the signature in Renoir's Study for "Bathers in a Forest" (1895/97). The Art Institute of Chicago, 2013.1010. See cat. 23.
fig. fig#

Pierre-Auguste Renoir (French, 1841–1919). La loge, 1874. Oil on canvas; 80 × 63.5 cm (31 1/2 × 25 in.). The Courtauld Gallery, London. © The Samuel Courtauld Trust, The Courtauld Gallery, London.
fig. cat#.fig#

Photomicrograph of a cross section of the ground and canvas in Renoir’s The Laundress (1877/79). Original magnification: 200×. The Art Institute of Chicago, 1947.102.
fig. cat#.fig#

Detail of Renoir’s Vase of Flowers (1857) showing the fine graphite lines. The Art Institute of Chicago, 2013.1011.
fig. cat#.fig#

Detail of Renoir’s Vase of Flowers (1857) showing sketchbook binding holes. The Art Institute of Chicago, 2013.1011.
fig. cat#.fig#

Detail of Renoir’s Workers’ Daughters on the Outer Boulevard (Illustration for Émile Zola’s "L’assommoir”) (1877/78) showing the finely spaced lines that bleed together to form the dog’s spots. The Art Institute of Chicago, 1986.420.
fig. cat#.fig#

Detail of Renoir’s Vase of Flowers (1857) showing the inscribed date. The Art Institute of Chicago, 2013.1011.

Loc/Neg#FormatPurposeDateLighting, Notes
40380Digital UnknownRecto
G22529Digital Nov. 29, 2004Recto
G40580Digital 5-Jul-12Recto
ConservationDigitalOSCIDec. 10, 2012Recto, detail

 

fig. cat#.fig#
fig. cat#.fig#

Pierre-Auguste Renoir (French, 1841–1919). Le premier pas, 1876. Oil on canvas; 111 × 80.5 cm (43 11/16 × 31 11/16 in.). Sold, Christie’s, London, Feb. 4, 2002, lot 17. Photograph © Christie’s Images/Bridgeman Images.

 
fig. cat#.fig#

Detail of transmitted-infrared image (Fuji, 1.0–1.1 µm) of Renoir’s Workers’ Daughters on the Outer Boulevard (Illustration for Émile Zola’s “L’assommoir”) (1877/78) showing the sheet’s watermark. The Art Institute of Chicago, 1986.420.
fig. cat#.fig#

Infrared image (Fuji, 1.0–1.1 µm) of Renoir’s Workers’ Daughters on the Outer Boulevard (Illustration for Émile Zola’s “L’assommoir”) (1877/78) showing the black-chalk underdrawing. The Art Institute of Chicago, 1986.420.
fig. cat#.fig#

Pierre-Auguste Renoir (French, 1841–1919). Les filles d’ouvriers se promenant sur le boulevard extérieur, n.d. Ink wash over crayon; 29 × 43 cm (11 7/16 × 16 15/16 in.). Jean Bonna Collection.
fig. cat#.fig#

Pierre-Auguste Renoir (French, 1841–1919). Dance at the Moulin de la Galette, 1876. Oil on canvas; 131 × 175 cm (51 9/16 × 68 15/16 in.). Musée d’Orsay, Paris, bequest of Gustave Caillebotte, 1894, RF 2739. Gianni Dagli Orti/The Art Archive at Art Resource, NY.
fig. cat#.fig#

Pierre-Auguste Renoir (French, 1841-1919). The Laundress, 1877/79. Oil on canvas; 80 .8 × 56.5 cm (31 13/16 × 22 1/4 in.). The Art Institute of Chicago, Charles H. and Mary F. S. Worcester Collection, 1947.102.
fig. cat#.fig#

Pierre-Auguste Renoir (French, 1841–1919). Washerwomen, c. 1886. Oil on canvas; 56.5 × 47.5 cm (22 1/4 × 18 11/16 in.). The Baltimore Museum of Art, London, The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, 1950.282.

Loc/Neg#FormatPurposeDateLighting, Notes
E102434 × 5 CT UnknownRecto
D1432035 mm slide UnknownRecto
G40591Digital 3-Jul-12Recto
ConservationDigitalOSCISept. 10, 2012Infrared (Fuji, 1000B/2 mm filter), recto, overall
ConservationDigitalOSCISept. 12, 2013Transmitted infrared (Fuji, 1000B/2 mm filter), watermark

 

fig. cat#.fig#
fig. cat#.fig#

Photomicrograph of Renoir’s The Laundress (1877/79) showing areas of abrasion that reveal lower white ground layer and canvas threads. The Art Institute of Chicago, 1947.102.
fig. cat#.fig#

Photomicograph of a cross section of the ground with blue and yellow paint layers in Renoir’s The Laundress (1877/79). Original magnification: 200×. The Art Institute of Chicago, 1947.102.
fig. cat#.fig#

Raking-light detail of Renoir’s The Laundress (1877/79) showing the heavy paint application around the figure covering the changes made by the artist. The Art Institute of Chicago, 1947.102.
fig. cat#.fig#

Pierre-Auguste Renoir (French, 1841–1919). Madame Georges Charpentier and Her Children, 1878. Oil on canvas; 153.7 × 190.2 cm (60 1/2 × 74 7/8 in.). The Metropolitan Museum of Art, New York, Catherine Lorillard Wolfe Collection, 07.122. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY.

 
fig. cat#.fig#

Verso of Renoir’s The Laundress (1877/79) showing the keyable stretcher and labels. The Art Institute of Chicago, 1947.102.