421:
455:
1408:
thrown upon the snow appear to be blue, and they painted them blue accordingly. They had also discovered that in summer the light under the trees gives the ground a violet tinge, and therefore in painting woods they made the ground violet. Renoir in particular had painted a ball at
Montmartre, Moulin de la galette, and a picture of a swing, Balançoire, in which the figures underneath sunlit trees are dappled with splashes of light, and the whole canvas is conceived in a general violet tone...The novelty of blue and violet shadows had produced a great outcry. Nobody seriously inquired whether in bright sunlight the shadows on the snow and under the trees might not actually possess the colors which the Impressionists had given them. The fact that such effects had never been seen in pictures before was sufficient to lead the conservative prejudices of the beholders to reject them with contempt."
1223:
1293:
911:
566:
991:
1006:
926:
877:
436:
391:
892:
406:
1259:
976:
109:
57:
470:
941:
683:
267:(1807–1876), who, according to popular anecdote, saved Renoir from a vicious beating by using his cane to beat away attackers who were making fun of Renoir's porcelain smock. Renoir and Díaz had shared interests; they both got their start as decorators of porcelain before turning to painting. Díaz helped mentor Renoir, gave him access to art supplies, and influenced and changed his style, discouraging Renoir's overuse of bitumen and leading him to lighten his palette. Art critic
956:
847:, an early supporter of the Impressionists, praised the work. Thoré wrote: "The dress of white gauze is in full light, but with a slight greenish cast from the reflection of the foliage. The head and neck are held in a delicate half-shadow under the shade of the parasol. The effect is so natural and so true that one might very well find it false, because one is used to nature represented in conventional colors, but does not color depend on the environment which surrounds it?"
1325:
287:
with his friends. Sisley was resistant at first, thinking it was "crazy" to paint colored light ("The idea of making trees blue and the ground purple!") instead of the dark colors used in the classical style they were used to applying. But after playing around with the idea, Sisley soon embraced the new practice, and it was shared with Monet and
Bazille. Renoir's exploratory use of color confirmed what Monet had previously learned from his mentor, Dutch painter
548:, for two months, from July to August. During this time, Maître sent a message to Bazille about how Renoir's technique had changed, writing on August 23, 1867, that although Renoir was now in Chantilly, Maître saw him in Paris earlier in the year where Renoir was "painting strange canvases, having traded turpentine for an infamous sulfate and using, instead of a knife, the little syringe that you know." It is unknown if Renoir completed the painting of
40:
1474:
Stemming from its status as a shop-window, demonstrative of the realities operating elsewhere, the Salon was transformed into a place of confrontation and competition, a place of sales, a place determining the extent of the social existence of the artist." Sylvie Patry: "The Salon was a crucial milestone in an artist's career. Having work accepted and being seen and noticed was absolutely critical for an artist."
1390:. "In 1849 the extension of the railway to the departmental capital of nearby Melun brought hoards of visitors to the forest. A contemporary guide book complains that the once virgin forest was now criss-crossed with countless paths laid out for bourgeois visitors; as one mid-century writer put it: 'everyone today knows Fontainebleau. For the Parisians, above all, the railway has turned it into a suburb.'"
363:(1867), two works featuring Lise as a model. Renoir's innovative work brought great ridicule and poverty, as he was unable to sell his paintings. He survived by devoting himself to painting portraits for wealthy patrons like the Le Cœur family. For about a decade, Renoir painted portraits and still lifes for the Le Cœurs and received a commission from Jules's brother Charles (
498:) submitted to the Salon during that entire time. Before the Impressionists held their first exhibitions in the 1870s, conventional academic art ranked landscape painting lower than history, portraiture, and genre painting. "Despite his attachment to Le Cœur and Marlotte, and to Monet and Sisley", writes art historian
663:". Renoir's decision to name the painting using only the first name of his model indicates, according to House, that this is not a traditional portrait painting, as such works typically used family names or initials. By using Lise's first name as the title, House argues that Renoir was pointing to her status as a
379:
notes, "Like Lise, the Le Coeurs had given moral support and encouragement to Renoir during those bleak years when he was struggling, in the face of poverty and frustration, to overcome the difficulties of allowing his artistic personality and vision to develop. And like Lise, too, they disappear out
286:
In his research on collaboration and friendship dynamics among the French
Impressionists, sociologist Michael P. Farrell notes that the group learned together from their shared successes and failures. The successful application of new knowledge about color Renoir acquired from Díaz was quickly shared
227:
was well underway and technological innovation in porcelain manufacturing replaced porcelain painters with machines, leaving Renoir without a career. He soon found work as a decorative commercial artist during the day, painting fans for ladies, church banners for overseas missionaries, and ornamental
716:
of what would later be known as the
Impressionists in April 1874. "What Claude Monet, Sisley, Guillaumin and Pissarro were doing with landscape", writes Borgmeyer, "Renoir did with figures. He adopted their pure color and bright tonality and under his brush the face, the flesh, even the accessories,
1029:
In a letter from Renoir to Frédéric
Bazille in September 1869, Renoir writes about his desperation for money: "I exhibited Lise and Sisley at Carpentier's. I am going to try to stick him for about 100 francs, and I'm going to put my woman in white up for auction. I'll sell it for whatever price it
154:
posing in a forest. She wears a white muslin dress and holds a black lace parasol to shade her from the sunlight, which filters down through the leaves, contrasting her face in the shadow and her body in the light, highlighting her dress rather than her face. After having several paintings rejected
1407:
at the time, Duret writes: "Owing to their practice of always working face to face with nature, the
Impressionists had learned to catch all its multitudinous aspects, and thus recorded on their canvases certain unsuspected effects. For instance they perceived that in winter sunshine the shadows
724:
notes Renoir's interest in fashion may have originated with family, as his father was a tailor and his mother was a dressmaker. Renoir was interested in female fashion, and would often plan the outfits and accessories his models would wear in his paintings. Accounts from the time indicate that
1473:
The social and economic importance of the Salon as an institution accepting Renoir's work is best explained by Gérard
Monnier: "The Salon in the nineteenth century was the place where the artist established his relationship with power—administrative power, academic power and economic power.
1051:, possibly at an art gallery in Montmartre. Now interested in what Renoir had to offer, Duret went searching for the artist. Renoir told Duret that he was unable to pay rent for his studio and needed to quickly sell his paintings. Duret met with Renoir in his studio and chose to purchase
642:
dress with a long black sash; the dress is modestly buttoned to the neck and has long sheer sleeves. Lise carries a black lace parasol to shade her head while her body is in strong sunlight, standing on a patch of grass. The initials of "A" (Auguste) and "L" (Lise) are marked as an
629:
of a young woman in full-length, standing on the edge of a forest clearing with the shade of a grove of oak trees composing the background. The woman stands in full frontal pose exposed to the full light of the summer sun while her face is partly obscured, turned to the left in
1483:
Renoir came from a family of tailors and dressmakers. His father was a tailor, his mother was a dressmaker, and his brother Victor was a tailor who married a dressmaker. Renoir's elder sister Maria Elisa was also a dressmaker. She married fashion illustrator
Charles Leray in
581:
Renoir submitted the work to the Salon of 1868 with the short and simple title of "Lise". The painting was accepted by the Salon and received positive feedback. It was Renoir's first critically successful work at the Salon, only later surpassed with the greater success of
850:
Tinterow attributes direct criticism of the painting to Renoir's decision to shadow Tréhot's face in darkness and emphasize the reflection of sunlight from her white dress. This unusual contrast was immediately noticed by critics who ridiculed Tréhot's appearance. In
502:, "landscape painting was a secondary endeavor for him." Oddly enough, Renoir's refusal to identify himself as a landscapist to conform to the academic art demands of the day may have worked against his efforts to sell his paintings, as art dealers like
775:(1852). The model for the central figure in that painting is Courbet's sister Juliette, who appears in profile holding a parasol in a similar pose to Renoir's Lise. Critics evoked comparison with previous paintings and artists such as the image of the
606:, a process where his paintings were deliberately hung in areas such as high places and corners where it was difficult for the public to view and would receive the least attention. Art historian Jane M. Roos notes that "relegating works to the
506:
were looking to buy landscapes, not figure paintings. Due to his financial difficulties and his parents' small apartment that had seven adults living in just three rooms, Renoir spent these early years living with his wealthy artist friends
367:, 1874) to paint decorations on the ceiling for a town house he was designing for Romanian Prince George Bibescu. Later, in 1874, the Le Cœurs ten year patronage came to an abrupt end when Renoir sent Charles's 16-year-old daughter Marie, (
1727:
1041:(1834–1917). At the time, Duret was not impressed by Renoir's Bohemian approach. However, Degas praised Renoir's work, which encouraged Duret to seek out his paintings in local galleries. In March 1873, Duret purchased Renoir's
3256:
228:
blinds. Renoir's early decorative and artisanal work gave him the ability to paint both with speed and skill. In addition to this work, Renoir learned to draw in the evenings and spent his free time studying paintings at the
588:(1878) at the Salon of 1879. However, in spite of this achievement, "the jury had stigmatized Renoir as a rebel, along with Courbet, Manet, and Monet", according to Tinterow. The attention Renoir garnered with
420:
1377:
Edward Alden Jewell: "It is amusing to note that if it had not been for the unhappy invention of machine printing on porcelain, Renoir would have remained a decorator of china vases to the end of his days."
291:(1819–1891), a forerunner of Impressionism. But with the success of these experiments also came failures, which were still influential. Monet's experiment with large format painting and his failure with
910:
454:
3709:
375:, leading to Renoir's permanent ban from the Le Cœur residence. The Le Cœur family were the first collectors of Renoir's work and held on to his paintings until the 1920s. Art historian
3253:
435:
515:(1840–1898), and Sisley who also helped him find commissions. By July 1866, Renoir was living with Bazille at 20 rue Visconti on the Left Bank, and stayed there until December 1867.
2538:
1158:
was the first of Renoir's paintings to feature a human figure with light filtering through plant leaves from above. Later works by Renoir that make use of this same style include
351:. From around 1865 to 1872, Lise modeled for Renoir and was his lover and companion during his early Salon period. Meanwhile, Renoir continued to face rejection at the Salon with
3615:
824:. Astruc, who was also Renoir's personal friend, described Lise as the "likeable Parisian girl in the woods", and viewed the painting as part of a trinity beginning with Manet's
891:
166:
The painting was one of Renoir's first critically successful works during his early Salon period, an accomplishment which would only be surpassed more than a decade later with
1082:
who was promoting French paintings in
Germany against the wishes of the Kaiser. Cassirer bought the painting several months later on May 10. Later that same month, on May 23,
1189:
to help Renoir win commissions from future patrons. "Renoir excels in portraiture", writes Duret. "I doubt that any painter has ever depicted women in a more seductive way."
1005:
223:(1841–1919) grew up in Paris, where his father worked as a tailor and his mother as a seamstress. Renoir trained as a porcelain painter for four years in his youth, but the
3990:
656:
3022:
695:
997:
729:, although Lise was a working class seamstress, her appearance in a "fine dress and umbrella suggests some holiday extravagance" in the context of the painting.
3880:
990:
1098:, Germany. In a letter to his wife Gertrude, Osthaus writes, "The Renoir is so incredibly beautiful that I couldn't resist." The painting was moved to
876:
3940:
1016:
390:
338:
4367:
3740:
1185:; it is the only image of a painting from the entire Impressionist movement in the book. In the section on Renoir, Duret speaks glowingly about
314:
279:), happened to meet Renoir in a clearing of the forest and recommended to him to use lighter tones, the very advice he himself had been given by
492:
during the early Salon period from 1863 to 1873, where he created large-scale works featuring figures in the outdoors, with only one landscape (
3920:
522:
in the summer of 1867, possibly in August, when he was 26 years old. Previously, it was assumed that Renoir had composed the painting in the
2959:
2535:
1012:
2763:
925:
293:
4706:
4100:
3293:
584:
168:
3612:
1074:
in Paris on June 5, 1890; Durand-Ruel exhibited the painting in March 1901 in
Hamburg, Germany, at a gallery owned by Berlin art dealer
4721:
3763:
3683:
1353:
1037:(1834–1917), now known as "one of the earliest and most ardent defenders" of the Impressionists, met Renoir for the first time through
283:
thirty years earlier. So a tradition was handed on, and henceforth, it would be the task of other 'sons of light' to bear the torch."
1421:
322:, were accepted by the Salon of 1865. Of all of Renoir's four early Salon submissions between 1863 and 1866, only one work survives (
4300:
3850:
3675:
562:, "we do not know enough about his practice in the 1860s". In spite of that, Renoir "presented his subjects as plein air painting".
777:
3513:
Impressionists and Symbolists: Manet, Degas, Monet, Pissarro, Sisley, Renoir, Cezanne, Seurat, Gauguin, Van Gogh, Toulouse-Lautrec
384:
just at the moment when his style first attains to maturity and shortly before he was to experience his first worldly successes."
1292:
1222:
405:
4140:
3368:
3038:
3429:
3390:
3155:
3117:
1146:, with the private, romantic rendezvous between lovers in the forest, a popular nineteenth century theme. A later painting,
3980:
565:
297:(1865–1866) greatly influenced the close group of friends, with Monet's style helping to later inform Renoir's approach to
4350:
3733:
1464:
argues that the painting was probably completed in Chantilly, not Fontainebleau as commonly assumed according to Vollard.
1387:
737:
In the late 1860s, Renoir was still in the process of developing his own unique style and technique. Critics noted that
3810:
2740:
955:
4377:
4120:
3695:
3649:
3597:
3572:
3549:
3521:
3494:
3469:
3442:
3407:
3328:
3275:
3219:
3194:
3172:
3134:
3001:
2972:
2947:
2923:
2900:
2877:
2849:
2717:
2692:
2664:
2639:
2614:
2485:
2474:(2007). "'The Greatest Illuminosity, Colour, and Harmony': Renoir's Landscapes, 1862-1883". In Colin B. Bailey (ed.)
2437:
1177:, one of the first historical works about the Impressionist movement. For Duret's book, Renoir created a drawing of
1160:
178:
1403:, pp. 35-36. Regarding the novelty of painting colored light and the conservative backlash to the practice by the
614:
words and a sure sign that a painting had displeased the establishment or, perhaps, pleased the public too much."
4726:
4250:
3950:
3840:
2559:
312:
to the Salon of 1864. Despite its acceptance, Renoir once again destroyed his painting. Two of Renoir's works,
940:
4476:
4280:
3726:
2552:
1461:
376:
844:
469:
4330:
4150:
3486:
The Grove Dictionary of Art: From Renaissance to Impressionism: Styles and Movements in Western Art 1400-1900
3089:
782:
766:
4170:
3910:
3263:. Essen. "Acquired in 1901 for the Museum Folkwang, Hagen, since 1922 Essen". Retrieved September 15, 2022.
3016:
975:
4711:
4460:
4010:
1426:
1166:
771:
184:
4404:
3860:
4320:
4040:
4020:
3780:
3770:
3399:
3164:
3126:
743:
536:
343:
308:, was rejected, leading Renoir to destroy his painting. The next year, Renoir tried again, submitting
713:
4679:
4110:
4000:
3900:
1128:
she wears a blue rather than a black sash. House notes the thematic and narrative similarity between
3820:
264:
2956:
611:
558:
in the forest. "Even if Renoir largely worked on the painting in the studio", writes art historian
176:, but he continued to develop his unique style painting filtered light which he would return to in
108:
56:
4070:
4716:
4340:
3790:
749:
359:
256:
3631:
1124:. In both works, she appears in a forest wearing a similar dress and the same earrings, but in
240:
4394:
4310:
4200:
4160:
4130:
4080:
864:
754:
596:, along with paintings by Bazille and Monet, to a remote gallery known as the "rubbish dump" (
4585:
3290:
3970:
3930:
3890:
3749:
1134:
631:
508:
252:
224:
220:
147:
50:
3457:
2868:
4558:
4414:
4260:
4240:
4180:
4090:
2583:
Renoir, Lise and the Le Cœur Family: A Study of Renoir's Early Development-II: The Le Cœurs
1448:
523:
172:(1878) at the Salon of 1879. In the late 1860s, Renoir's technique was still influenced by
1152:(1872), features Lise seated, modeling a similar dress with a red sash, hat, and parasol.
353:
280:
255:(1841–1870). During the summer of 1862, Renoir and his friends painted landscapes in the
8:
4468:
4050:
3870:
3233:
3052:
2820:
1258:
1064:
150:, created in 1867 during his early Salon period. The full-length painting depicts model
2939:
2451:
4731:
4614:
4607:
4290:
4030:
3830:
3588:
3512:
3485:
3319:
2992:
2840:
2708:
2683:
2655:
2630:
2520:
2476:
1083:
1055:, the painting Duret liked most, on the spot for 1,200 francs. Before Duret purchased
1043:
201:
3238:
3210:
1059:, the canvas was sitting on the floor rolled up because Renoir was forced to sell the
4642:
4230:
4220:
3691:
3653:
3645:
3627:
3601:
3593:
3576:
3568:
3553:
3545:
3540:
3525:
3517:
3498:
3490:
3473:
3465:
3446:
3438:
3411:
3403:
3372:
3364:
3349:
3332:
3324:
3279:
3271:
3243:
3223:
3215:
3198:
3190:
3176:
3168:
3138:
3130:
3099:
3094:
3079:
3062:
3042:
3034:
3005:
2997:
2976:
2968:
2943:
2927:
2919:
2904:
2896:
2881:
2873:
2853:
2845:
2825:
2805:
2785:
2780:
2768:
2744:
2736:
2721:
2713:
2696:
2688:
2668:
2660:
2643:
2635:
2618:
2610:
2590:
2571:
2525:
2489:
2481:
2461:
2456:
2441:
2433:
2428:
1182:
626:
2815:
2795:
2781:
Les peintres impressionistes: Claude Monet-Sisley- C. Pissarro-Renoir-Berthe Morisot
1341:
Drawing by Renoir used as a frontispiece by Duret in his 1878 book on Impressionism
1034:
193:
4672:
4592:
4434:
3535:
3507:
2508:
1440:
1087:
1079:
1071:
762:
664:
600:). When Renoir's work was exhibited by the Salon early in his career, it was often
541:
531:
503:
3058:
French Impressionists and their Contemporaries Represented in American Collections
2800:
792:
512:
334:
4685:
4635:
4513:
4210:
3713:
3619:
3433:
3426:
3394:
3387:
3344:
3301:
3297:
3260:
3159:
3152:
3121:
3114:
3074:
3026:
2987:
2963:
2563:
2557:
Renoir, Lise and the Le Cœur Family: A Study of Renoir's Early Development-1 Lise
2542:
2471:
1103:
809:
797:
787:
758:
545:
527:
499:
272:
260:
209:
173:
135:
95:
3684:
From Bohemia to Arcadia: Renoir between Nervous Modernity and Primitive Eternity
2764:
Decorative Modernity and Avant-Garde Classicism In Renoir’s Late Work, 1892-1919
4505:
4060:
3421:
3307:
3147:
3109:
2863:
1099:
721:
672:
660:
489:
288:
268:
243:
in April 1861. In Gleyre's studio, Renoir became friends with fellow students
236:
4600:
3311:
3057:
2755:
330:
276:
151:
4700:
4664:
4657:
4628:
4621:
4566:
4542:
4521:
4485:
4190:
3637:
3382:
2835:
2605:
2500:
1247:
1075:
1060:
1030:
goes for; it's all the same to me." Renoir was unable to sell the painting.
559:
494:
304:
Renoir began submitting his work to the Salon in 1863. His first submission,
248:
197:
156:
143:
2937:
Hansen, Dorothee (2015). "Durand Ruel and German". In Patry, Sylvie (ed.).
1444:
982:
856:
813:
682:
4649:
4550:
3605:
3353:
2789:
2647:
1275:
1048:
802:
694:
would later be drawn upon by the artist in future works, writes art critic
676:
635:
554:
244:
3657:
3580:
3544:. Trans. by Harold L. Van Doren and Randolph T. Weaver. Alfred A. Knopf.
3477:
3376:
3336:
3283:
3247:
3202:
3083:
3046:
2931:
2908:
2809:
2772:
2748:
2672:
2622:
2465:
1324:
540:(1866). More recent scholarship points to Renoir painting the work in the
4529:
3557:
3502:
3450:
3415:
3300:". Jubiläumsvortragsreihe 1922/2022. (Jubilee Lecture Series 1922/2022).
3227:
3180:
3142:
3009:
2980:
2885:
2857:
2725:
2700:
2678:
2594:
2575:
2493:
2445:
1038:
867:
described the painting as "the figure of a fat woman daubed with white".
726:
372:
3718:
3529:
3066:
2841:
An Outline of 19th Century European Painting: From David through Cézanne
667:(or an unmarried female lover and companion). Renoir's presentation of
119:
3103:
2829:
2529:
644:
602:
271:
writes: "Diaz, still wearing his old porcelain decorator's smock (like
2582:
2556:
341:, Lise's sister. Jules was featured in two of Renoir's works in 1866,
39:
4270:
2986:
House, John (2007). "The Public Face of Renoir as a Landscapist". In
2512:
1404:
659:
notes that the work "explore the borderlines between portraiture and
76:
3017:
The Many Faces of Lise Tréhot: Pierre-Auguste Renoir's Portraits of
3314:". The Frick Collection. Alex Gordon Lecture in the History of Art.
2940:
Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market
3033:. The Richard R. Brettell Lecture Series. Yale University Press.
3960:
1726:(in Romanian) Roseti, Roxana; Teodorescu, Vlad (March 20, 2010).
704:
3031:
Impressionism and Post-Impressionism at the Dallas Museum of Art
725:
Renoir took a particular interest in female hats. According to
610:
was a favorite tactic of the administration, a 'humiliation' in
3676:
Catalogue of the Museu de Arte de São Paulo Assis Chateaubriand
769:
both note the influence of Courbet, particularly from his work
639:
229:
188:(1876). The almost life-size portrait and unusual contrast in
3268:
Das Ruhrgebiet: vom "goldenen" Mittelalter zur Industriekultur
2536:
Portrait de Lise (Lise tenant un bouquet de fleurs des champs)
2521:
The Barbizon School and 19th Century French Landscape Painting
753:(1867), showed the influence of other artists, notably French
200:, bought the painting from Renoir, who was unable to sell it.
2893:
Collaborative Circles: Friendship Dynamics and Creative Work.
2687:. Trans. by Barbara Perroud-Benson. Harry N. Abrams. p. 53.
1095:
3991:
In the Garden - Under the Arbour at the Moulin de la Galette
3348:. Trans. by Desmond and Camille Clayton. Crown Publishers.
699:
3214:. Art Gallery of New South Wales. Yale University Press.
2712:. "Abrams Discoveries" series. New York: Harry N. Abrams.
2609:. Trans. by Andrew Cannon and Jay Hyams. Arch Cape Press.
690:
Renoir's early use of the misty effect in his portrait of
1229:
Portrait of Lise (Lise holding a bouquet of wild flowers)
1120:(1867), was completed around the same time as the larger
1117:
Portrait of Lise (Lise holding a bouquet of wild flowers)
263:
before them. It was in the forest where Renoir first met
3688:
Renoir. Between Bohemia and Bourgeoisie: The Early Years
1460:
There is some debate about where the painting was made.
18:
Painting by Pierre-Auguste Renoir in the Museum Folkwang
3462:
Manet/Velázquez: The French Taste for Spanish Painting
2429:
The Barbizon School & the Origins of Impressionism
1246:. Once owned by French haute couture fashion designer
1063:. "Nobody wanted the canvas", wrote German art critic
3361:
Nineteenth-century European Art: A Topical Dictionary
3320:
Early impressionism and the French state (1866-1874)
2631:
The Thames and Hudson Encyclopaedia of Impressionism
1138:(1870), as the expectations of the waiting woman in
1086:, a patron of the European avant-garde, paid 18,000
863:
to "a nice semisoft cheese out for a stroll", while
2869:
Pierre-Auguste Renoir 1841–1919: A Dream of Harmony
235:In November 1860, he entered the private studio of
87:
184 cm (72 in) × 115 cm (45 in)
4141:Portrait of Irène Cahen d'Anvers (La Petite Irène)
970:Caricatures contemporaneous with the Salon of 1868
647:on the trunk of the tree in the shade behind her.
3941:Claude Monet Painting in His Garden at Argenteuil
3673:Migliaccio, Luciano (2008). Marques, Luiz (ed.).
671:in the full-length, life-size format was, writes
333:through his friend, former architect and painter
4698:
2824:. Trans. by J. E. Crawford Flitch. G. Richards.
2524:. Thames and Hudson. New York Graphic Society.
163:was finally accepted and exhibited in May 1868.
4368:Portrait of Ambroise Vollard in a Red Headscarf
2758:". The Frick Collection. Retrieved May 1, 2023.
702:, best exemplified by the figure of the man in
698:. At least two later paintings featuring this
686:Visitor to scale. The large format is apparent.
204:, a German patron of avant-garde art, acquired
3095:Impressionism: Biographical and Critical Study
741:, like several of Renoir's earlier paintings,
634:, shadowed by her parasol. She wears a small,
3734:
3690:. Ostfildern: Hatje Cantz Verlag. pp. 15-50.
3613:Review: Impressionism, Fashion, and Modernity
3242:. (in German) R. Piper. p. 10–14, 110.
638:straw hat with red ribbons, and a long white
3437:. Metropolitan Museum of Art. pp. 410, 454.
592:led the administrators of the Salon to move
4101:Madame Georges Charpentier and Her Children
3516:. Trans. by Francis Steegmuller. Scribner.
2942:. National Gallery. Yale University Press.
585:Madame Georges Charpentier and Her Children
192:led several critics to ridicule the work.
169:Madame Georges Charpentier and Her Children
3741:
3727:
3291:In search of Lise, Renoir's model and muse
2457:Exposition A. Renoir: Galeries Durand-Ruel
1354:List of paintings by Pierre-Auguste Renoir
919:(1861–62) by James Abbott McNeill Whistler
708:(1874) and the figure of the ballerina in
337:, who was involved in a relationship with
239:(1806–1874) and was later admitted to the
107:
55:
38:
4301:Yvonne and Christine Lerolle at the Piano
3748:
2801:Histoire d'Edouard Manet et de son oeuvre
1102:when the museum relocated in 1922 as the
1094:and brought it to his Folkwang Museum in
897:Comparison between the central figure of
3642:The Concise New Makers of Modern Culture
2934:. pp. 37, 51, 75, 94, 96-97, 284, 305.
2761:Donahue, Nathaniel J. (September 2013).
2499:Borgmeyer, Charles Louis (March 1913). "
917:Symphony in White, No. 1: The White Girl
778:Symphony in White, No. 1: The White Girl
681:
564:
444:(1866). The extant remaining portion of
196:, a passionate supporter of the nascent
2996:. National Gallery Company. pp. 10-17.
2916:Impressionism, Fashion, & Modernity
2480:. National Gallery Company. pp. 50-81.
2364:
2362:
2005:
2003:
1877:
1875:
1754:
1752:
1671:
1669:
1467:
1359:
1299:Woman with Parasol Seated in the Garden
1149:Woman with Parasol Seated in the Garden
4699:
3189:. Yale University Press. pp. 1–2, 69.
2967:. Getty Publications. pp. 17, 55, 57.
2501:The Master Impressionists (Chapter IV)
1894:
1892:
1890:
1686:
1684:
1639:, "Chapter XI. Last Years", pp. 93-94.
1454:
1173:In May 1878, Théodore Duret published
3722:
3679:. MASP. Retrieved September 26, 2022.
1642:
1544:
1542:
1540:
1527:
1525:
1477:
1439:Prince George Bibescu was the son of
1433:
1393:
1371:
1280:The romantic rendezvous hinted at in
732:
427:Jules Le Cœur in Fontainebleau Forest
349:Jules Le Cœur in Fontainebleau Forest
4586:Musée de Montmartre, home and studio
4021:Nude woman sitting on a couch (Anna)
3981:Portrait of the Painter Claude Monet
3098:. Trans. by James Emmons. Volume I.
2359:
2000:
1872:
1749:
1666:
625:is a large format, almost life-size
259:, following in the tradition of the
4351:The Coast at Cagnes, Sea, Mountains
3851:Léonard Renoir, The Artist's Father
3385:(1994a). "Figures in a Landscape".
3312:Renoir and the Democracy of Fashion
3254:Museum Folkwang - Collection Online
2957:Pierre-Auguste Renoir: La Promenade
2821:Manet and the French Impressionists
2767:(PhD thesis). New York University.
2684:Impressionism: The First Collectors
2581:Cooper, Douglas (Sept–Oct 1959b). "
2220:, p. 53; House 1997, pp. 45-46; 57.
2108:, p. 51-52; Distel 1995, pp. 24-26.
1956:
1887:
1785:, pp. 10-11; Bailey 2007, p. 51-53.
1681:
1498:
1411:
1388:history of rail transport in France
1380:
650:
13:
4707:Portraits by Pierre-Auguste Renoir
3666:
3640:(2009). "Renoir, Pierre-Auguste".
3565:Renoir: His Life, Art, and Letters
3112:(1994a). "Portraits and Figures".
3075:A History of French Art, 1100–1899
2735:. Abbeville Press. pp. 23, 62–73.
2096:, p. 99; Leymarie 1955, pp. 48-49.
1537:
1522:
14:
4743:
4722:Collection of the Museum Folkwang
4378:The Farm at Les Collettes, Cagnes
4121:Lunch at the Restaurant Fournaise
3703:
3289:Patry, Sylvie (March 24, 2022). "
3185:Lucy, Martha. John House (2012).
2156:, p. 111; Borgmeyer 1913, p. 146.
1070:Duret later sold the painting to
839:There was no major opposition to
3686:" (PDF). In Zimmer, Nina (ed.).
3682:Zimmermann, Michael F. (2012). "
3624:Nineteenth-Century Art Worldwide
3611:Whitmore, Janet (Spring 2014). "
3072:Kingsley, Rose Georgina (1899).
2918:. The Art Institute of Chicago.
2754:Distel, Anne (March 7, 2012). "
1323:
1291:
1257:
1221:
1148:
1116:
1004:
989:
974:
954:
939:
924:
909:
890:
875:
468:
453:
434:
419:
404:
399:(1858) by Narcisse Virgilio Díaz
389:
185:Dance at Le Moulin de la Galette
3841:Skaters in the Bois de Boulogne
3586:White, Barbara Ehrlich (2017).
3563:White, Barbara Ehrlich (2010).
3187:Renoir in the Barnes Foundation
3078:. Longmans, Green and Company.
2589:, 101 (678/679): 320, 322–329.
2418:
2398:
2382:
2347:
2335:
2323:
2311:
2295:
2283:
2271:
2259:
2247:
2235:
2223:
2211:
2199:
2183:
2171:
2159:
2147:
2135:
2123:
2120:p. 140; Loyrette 1994a, p. 210.
2111:
2099:
2087:
2075:
2063:
2051:
2039:
2027:
2015:
1980:
1968:
1944:
1932:
1920:
1904:
1860:
1848:
1836:
1824:
1812:
1800:
1788:
1776:
1764:
1737:
1720:
1708:
1696:
1654:
1630:
1618:
1602:
1590:
1424:from Victor Hugo's 1831 novel
1109:
717:took on exceptional radiance."
4281:Young Woman with a Blue Ribbon
3464:. Metropolitan Museum of Art.
3323:. Cambridge University Press.
3029:." In Heather MacDonald (ed.)
2844:. Volume I. Harper & Row.
2656:The Chronicle of Impressionism
2460:. Impr. de l'art, E. Ménard.
1578:
1566:
1554:
1510:
1318:
1286:
1252:
1216:
712:(1874), were presented at the
677:typically reserved for royalty
617:
483:
329:In that same year, Renoir met
1:
4439:
4382:
4355:
4151:Luncheon of the Boating Party
3811:Frédéric Bazille at his Easel
3589:Renoir: An Intimate Biography
3150:(1994b). "History Painting".
2895:University of Chicago Press.
2756:Renoir and the Woman of Paris
1331:Lise with a Parasol (drawing)
1175:Les Peintres Impressionnistes
1024:
820:as a continuation of Monet's
783:James Abbott McNeill Whistler
576:
534:, just like he had done with
215:
4171:Two Sisters (On the Terrace)
3304:. Retrieved April 11, 2023.
2993:Renoir landscapes: 1865-1883
2891:Farrell, Michael P. (2001).
2477:Renoir landscapes: 1865-1883
2308:. Event occurs at 00:00:50.
2292:. Event occurs at 00:03:18.
1420:draws upon the character of
140:Lise – La femme à l'ombrelle
7:
4461:A Studio at Les Batignolles
4011:Bal du moulin de la Galette
3359:Strieter, Terry W. (1999).
3342:Schneider, Bruno F. (1958)
2775:. Retrieved August 2, 2023.
2603:De Grada, Raffaele (1989).
1997:. Event occurs at 0:15:15.
1427:The Hunchback of Notre-Dame
1347:
1167:Bal du moulin de la Galette
899:Young Ladies of the Village
883:Young Ladies of the Village
772:Young Ladies of the Village
10:
4748:
4321:Gabrielle with Open Blouse
4041:A Girl with a Watering Can
3771:Portrait of William Sisley
3541:Renoir: An Intimate Record
3489:. Macmillan. p. 163.
3400:Metropolitan Museum of Art
3165:Metropolitan Museum of Art
3127:Metropolitan Museum of Art
1977:. Event occurs at 0:07:02.
1705:. Event occurs at 0:12:07.
1306:46 cm × 37.9 cm
1272:813 cm × 648 cm
1236:156 cm × 129 cm
679:in the Western tradition.
324:Portrait de William Sisley
315:Portrait de William Sisley
146:painting by French artist
4680:Pays des Impressionnistes
4577:
4497:
4452:
4426:
4111:Portrait of Jeanne Samary
3901:Bather with a Griffon Dog
3756:
2709:Renoir: A Sensuous Vision
2578:. (subscription required)
2392:
2388:
2376:
2353:
2329:
2217:
2205:
2193:
2189:
2177:
2153:
2129:
2117:
2105:
2072:. Event occurs at 11:16.
2069:
1986:
1950:
1929:. Event occurs at 11:41.
1881:
1866:
1854:
1842:
1833:, pp. 208, 234, 239, 255.
1818:
1782:
1770:
1758:
1743:
1714:
1675:
1660:
1636:
1608:
1560:
1504:
885:(1852) by Gustave Courbet
843:at the Salon. Art critic
488:Renoir sold himself as a
461:Portrait of Marie Le Cœur
446:Paysage avec deux figures
369:Portrait of Marie Le Cœur
354:Paysage avec deux figures
116:
101:
91:
83:
72:
64:
46:
37:
30:
25:
4405:Portrait of Adèle Besson
3427:Origins of Impressionism
3388:Origins of Impressionism
3317:Roos, Jane Mayo (1996).
3208:Maloon, Terence (2005).
3153:Origins of Impressionism
3115:Origins of Impressionism
2784:. Librairie Parisienne.
2778:Duret, Théodore (1878).
2653:Denvir, Bernard (1993).
2628:Denvir, Bernard (1990).
2408:
2404:
2372:
2368:
2341:
2317:
2305:
2301:
2289:
2277:
2265:
2253:
2241:
2229:
2165:
2141:
2093:
2081:
2060:. Event occurs at 10:58.
2057:
2045:
2033:
2021:
2009:
1994:
1990:
1974:
1962:
1938:
1926:
1914:
1910:
1898:
1830:
1806:
1794:
1702:
1690:
1648:
1624:
1612:
1596:
1584:
1572:
1548:
1531:
1516:
1400:
1181:, which Duret used as a
3781:Mother Anthony's Tavern
3592:. Thames & Hudson.
3266:Parent, Thomas (2000).
2599:(subscription required)
2587:The Burlington Magazine
2568:The Burlington Magazine
1242:The sister painting to
934:(1863) by Edouard Manet
744:Mother Anthony's Tavern
696:Charles Louis Borgmeyer
537:Mother Anthony's Tavern
412:Mother Anthony's Tavern
397:Forest of Fontainebleau
344:Mother Anthony's Tavern
257:Forest of Fontainebleau
4727:19th-century portraits
4395:Blond Girl with a Rose
4311:Woman Playing a Guitar
4251:Les Grandes Baigneuses
4131:Paysage Bords de Seine
3821:A Couple (Les Fiancés)
3270:. DuMont Reiseverlag.
3061:. The Hyperion Press.
3015:House, John. (2013). "
2914:Groom, Gloria (2012).
2570:, 101 (674): 162–171.
2426:Adams, Steven (1994).
1913:, p. 129, as cited in
1047:(1868) for 400 or 500
964:(1866) by Claude Monet
949:(1866) by Claude Monet
865:Ferdinand de Lasteyrie
855:, French caricaturist
795:, and the painting of
687:
573:
265:Narcisse Virgilio Díaz
139:
4569:(great-granddaughter)
3750:Pierre-Auguste Renoir
3483:Turner, Jane (2000).
2731:Distel, Anne (2010).
2706:Distel, Anne (1995).
2659:. Thames and Hudson.
2634:. Thames and Hudson.
2010:Lucy & House 2012
1991:Lucy & House 2012
1549:Lucy & House 2012
1015:, with a quatrain by
998:Henri-Charles Oulevay
816:both viewed Renoir's
685:
632:three-quarter profile
568:
511:(1841–1870),Le Cœur,
294:Luncheon on the Grass
225:Industrial Revolution
221:Pierre-Auguste Renoir
148:Pierre-Auguste Renoir
51:Pierre-Auguste Renoir
32:Lise with an umbrella
4595:(nanny, later model)
4559:Pierre Roland Renoir
4261:Nature morte: fleurs
4241:Dance in the Country
4181:Young Women in Black
4091:The Cup of Chocolate
3971:The Grand Boulevards
3234:Meier-Graefe, Julius
3053:Jewell, Edward Alden
2954:House, John (1997).
2302:Museum Folkwang 2022
1360:Notes and references
524:Fontainebleau forest
241:École des Beaux-Arts
4537:Claude Renoir (son)
4051:Mother and Children
3911:Woman with Parakeet
3871:A Nymph by a Stream
3801:Lise with a Parasol
3363:. Greenwood Press.
3310:(March 28, 2012). "
2518:Bouret, Jean (1973)
2507:, 28 (3): 132-162.
2344:, pp. 346-347; 359.
1728:"Prințul rătăcitor"
1314:Lise with a Parasol
1309:Private collection
1282:Lise with a Parasol
1244:Lise with a Parasol
1239:Private collection
1187:Lise with a Parasol
1179:Lise with a Parasol
1156:Lise with a Parasol
1140:Lise with a Parasol
1130:Lise with a Parasol
1122:Lise with a Parasol
1114:A sister painting,
1092:Lise with a Parasol
1078:, a manager of the
1065:Julius Meier-Graefe
962:Women in the Garden
903:Lise with a Parasol
861:Lise with a Parasol
841:Lise with a Parasol
834:Lise with a Parasol
818:Lise with a Parasol
739:Lise with a Parasol
692:Lise with a Parasol
669:Lise with a Parasol
623:Lise with a Parasol
550:Lise with a Parasol
520:Lise with a Parasol
299:Lise with a Parasol
206:Lise with a Parasol
190:Lise with a Parasol
161:Lise with a Parasol
131:Lise with a Parasol
26:Lise with a Parasol
4712:Portraits of women
4668:(his only student)
4615:Catherine Hessling
4608:Marguerite Legrand
4477:The Impressionists
4291:Girls at the Piano
4204:(1880–81, 1885–86)
3626:, 13(1): 338-359.
3618:2016-05-21 at the
3458:Geneviève Lacambre
3432:2016-06-03 at the
3393:2016-06-03 at the
3296:2022-09-20 at the
3259:2022-02-17 at the
3158:2016-06-03 at the
3120:2016-06-03 at the
3025:2022-02-17 at the
2962:2015-07-03 at the
2562:2019-03-02 at the
2541:2015-09-24 at the
1312:Similar outfit to
1084:Karl Ernst Osthaus
859:likened Tréhot in
853:Le Salon Pour Rire
733:Critical reception
688:
574:
518:He began painting
202:Karl Ernst Osthaus
102:Accession No.
4694:
4693:
4643:Henriette Henriot
4231:Dance in the City
4221:Dance at Bougival
3764:List of paintings
3536:Vollard, Ambroise
3508:Venturi, Lionello
3369:978-0-313-29898-1
3039:978-0-300-18757-1
2505:Fine Arts Journal
2452:Alexandre, Arsène
2432:. Phaidon Press.
2405:Schlumberger 1963
2242:Meier-Graefe 1920
1732:Jurnalul Național
1345:
1344:
1142:are fulfilled in
761:. Art historians
627:portrait painting
552:in the studio or
251:(1839–1899), and
127:
126:
4739:
4682:
4675:
4673:Maison Fournaise
4667:
4660:
4652:
4645:
4638:
4631:
4624:
4617:
4610:
4603:
4596:
4593:Gabrielle Renard
4588:
4570:
4562:
4561:(great-grandson)
4554:
4546:
4538:
4533:
4525:
4517:
4509:
4490:
4469:Bazille's Studio
4444:
4441:
4435:Venus Victorious
4419:
4409:
4399:
4389:
4387:
4384:
4372:
4362:
4360:
4357:
4345:
4335:
4325:
4315:
4305:
4295:
4285:
4275:
4265:
4255:
4245:
4235:
4225:
4215:
4205:
4195:
4194:(1881 and 1882)
4185:
4175:
4165:
4155:
4145:
4135:
4125:
4115:
4105:
4095:
4085:
4075:
4065:
4055:
4045:
4035:
4025:
4015:
4005:
4001:Woman with a Cat
3995:
3985:
3975:
3965:
3955:
3945:
3935:
3925:
3915:
3905:
3895:
3885:
3875:
3865:
3855:
3845:
3835:
3825:
3815:
3805:
3795:
3785:
3775:
3743:
3736:
3729:
3720:
3719:
3456:Tinterow, Gary;
3420:Tinterow, Gary.
3211:Camille Pissarro
2950:. pp. 152-170.
2600:
2549:. June 24, 2008.
2513:10.2307/25587164
2472:Bailey, Colin B.
2412:
2402:
2396:
2386:
2380:
2366:
2357:
2351:
2345:
2339:
2333:
2332:, pp. 45-46; 57.
2327:
2321:
2315:
2309:
2299:
2293:
2287:
2281:
2275:
2269:
2263:
2257:
2251:
2245:
2239:
2233:
2227:
2221:
2215:
2209:
2203:
2197:
2187:
2181:
2175:
2169:
2163:
2157:
2151:
2145:
2139:
2133:
2127:
2121:
2115:
2109:
2103:
2097:
2091:
2085:
2079:
2073:
2067:
2061:
2055:
2049:
2043:
2037:
2031:
2025:
2019:
2013:
2007:
1998:
1984:
1978:
1972:
1966:
1960:
1954:
1948:
1942:
1936:
1930:
1924:
1918:
1908:
1902:
1896:
1885:
1879:
1870:
1864:
1858:
1852:
1846:
1840:
1834:
1828:
1822:
1816:
1810:
1804:
1798:
1792:
1786:
1780:
1774:
1768:
1762:
1756:
1747:
1741:
1735:
1724:
1718:
1712:
1706:
1700:
1694:
1688:
1679:
1673:
1664:
1658:
1652:
1646:
1640:
1634:
1628:
1622:
1616:
1611:, pp. 306, 453;
1606:
1600:
1594:
1588:
1582:
1576:
1570:
1564:
1558:
1552:
1546:
1535:
1529:
1520:
1514:
1508:
1502:
1485:
1481:
1475:
1471:
1465:
1458:
1452:
1441:Gheorghe Bibescu
1437:
1431:
1415:
1409:
1397:
1391:
1384:
1378:
1375:
1327:
1295:
1261:
1225:
1192:
1191:
1126:Portrait of Lise
1080:Berlin Secession
1072:Paul Durand-Ruel
1008:
993:
978:
958:
943:
928:
913:
894:
879:
832:and ending with
763:Lionello Venturi
714:first exhibition
651:Style and themes
542:Chantilly Forest
532:Bourron-Marlotte
509:Frédéric Bazille
504:Paul Durand-Ruel
472:
457:
438:
423:
408:
393:
253:Frédéric Bazille
208:in 1901 for the
120:edit on Wikidata
112:
111:
60:
59:
42:
23:
22:
4747:
4746:
4742:
4741:
4740:
4738:
4737:
4736:
4697:
4696:
4695:
4690:
4686:Renoir (crater)
4678:
4671:
4663:
4656:
4648:
4641:
4636:Suzanne Valadon
4634:
4627:
4620:
4613:
4606:
4599:
4591:
4584:
4573:
4565:
4557:
4549:
4541:
4536:
4528:
4520:
4514:Lucienne Bisson
4512:
4504:
4493:
4483:
4472:(1870 painting)
4464:(1870 painting)
4448:
4442:
4422:
4412:
4402:
4392:
4385:
4375:
4365:
4358:
4348:
4338:
4328:
4318:
4308:
4298:
4288:
4278:
4268:
4258:
4248:
4238:
4228:
4218:
4211:By the Seashore
4208:
4198:
4188:
4178:
4168:
4158:
4148:
4138:
4128:
4118:
4108:
4098:
4088:
4078:
4068:
4058:
4048:
4038:
4028:
4018:
4008:
3998:
3988:
3978:
3968:
3958:
3948:
3938:
3928:
3918:
3908:
3898:
3888:
3878:
3868:
3861:La Grenouillère
3858:
3848:
3838:
3828:
3818:
3808:
3798:
3788:
3778:
3768:
3752:
3747:
3714:Museum Folkwang
3706:
3701:
3669:
3667:Further reading
3664:
3663:
3620:Wayback Machine
3434:Wayback Machine
3402:. pp. 125–148.
3395:Wayback Machine
3308:Ribeiro, Aileen
3302:Museum Folkwang
3298:Wayback Machine
3261:Wayback Machine
3160:Wayback Machine
3148:Loyrette, Henri
3129:. pp. 183-232.
3122:Wayback Machine
3110:Loyrette, Henri
3027:Wayback Machine
2988:Colin B. Bailey
2964:Wayback Machine
2864:Feist, Peter H.
2816:Duret, Théodore
2796:Duret, Théodore
2598:
2564:Wayback Machine
2553:Cooper, Douglas
2543:Wayback Machine
2421:
2416:
2415:
2409:Christie's 2008
2403:
2399:
2387:
2383:
2367:
2360:
2352:
2348:
2340:
2336:
2328:
2324:
2318:Christie's 2008
2316:
2312:
2300:
2296:
2288:
2284:
2276:
2272:
2264:
2260:
2252:
2248:
2240:
2236:
2228:
2224:
2216:
2212:
2204:
2200:
2188:
2184:
2176:
2172:
2164:
2160:
2152:
2148:
2140:
2136:
2128:
2124:
2116:
2112:
2104:
2100:
2092:
2088:
2080:
2076:
2068:
2064:
2056:
2052:
2044:
2040:
2032:
2028:
2020:
2016:
2008:
2001:
1985:
1981:
1973:
1969:
1961:
1957:
1949:
1945:
1937:
1933:
1925:
1921:
1909:
1905:
1897:
1888:
1880:
1873:
1865:
1861:
1853:
1849:
1841:
1837:
1829:
1825:
1817:
1813:
1805:
1801:
1793:
1789:
1781:
1777:
1769:
1765:
1757:
1750:
1742:
1738:
1725:
1721:
1713:
1709:
1701:
1697:
1689:
1682:
1674:
1667:
1659:
1655:
1647:
1643:
1635:
1631:
1623:
1619:
1607:
1603:
1595:
1591:
1583:
1579:
1571:
1567:
1559:
1555:
1547:
1538:
1530:
1523:
1515:
1511:
1503:
1499:
1489:
1488:
1482:
1478:
1472:
1468:
1459:
1455:
1445:Zoe Brâncoveanu
1438:
1434:
1416:
1412:
1398:
1394:
1385:
1381:
1376:
1372:
1362:
1350:
1112:
1104:Museum Folkwang
1027:
1020:
1017:Philippe Dubois
1009:
1000:
994:
985:
979:
965:
959:
950:
944:
935:
929:
920:
914:
905:
895:
886:
880:
845:Théophile Thoré
810:Zacharie Astruc
785:, the image of
759:Gustave Courbet
735:
653:
620:
579:
572:(1876), age 35.
546:Chantilly, Oise
528:Chailly-en-Brie
500:Colin B. Bailey
486:
479:
476:Charles Le Cœur
473:
464:
458:
449:
442:Woman with Bird
439:
430:
424:
415:
409:
400:
394:
365:Charles Le Cœur
261:Barbizon school
218:
210:Museum Folkwang
174:Gustave Courbet
123:
106:
96:Museum Folkwang
54:
19:
12:
11:
5:
4745:
4735:
4734:
4729:
4724:
4719:
4717:1867 paintings
4714:
4709:
4692:
4691:
4689:
4688:
4683:
4676:
4669:
4661:
4654:
4646:
4639:
4632:
4625:
4618:
4611:
4604:
4597:
4589:
4581:
4579:
4575:
4574:
4572:
4571:
4563:
4555:
4547:
4539:
4534:
4526:
4518:
4510:
4506:Aline Charigot
4501:
4499:
4495:
4494:
4492:
4491:
4481:
4473:
4465:
4456:
4454:
4450:
4449:
4447:
4446:
4430:
4428:
4424:
4423:
4421:
4420:
4410:
4400:
4390:
4373:
4363:
4346:
4341:After the Bath
4336:
4326:
4316:
4306:
4296:
4286:
4276:
4266:
4256:
4246:
4236:
4226:
4216:
4206:
4196:
4186:
4176:
4166:
4156:
4146:
4136:
4126:
4116:
4106:
4096:
4086:
4076:
4066:
4061:At the Theatre
4056:
4046:
4036:
4026:
4016:
4006:
3996:
3986:
3976:
3966:
3956:
3946:
3936:
3926:
3916:
3906:
3896:
3886:
3876:
3866:
3856:
3846:
3836:
3826:
3816:
3806:
3796:
3786:
3776:
3766:
3760:
3758:
3754:
3753:
3746:
3745:
3738:
3731:
3723:
3717:
3716:
3705:
3704:External links
3702:
3700:
3699:
3680:
3670:
3668:
3665:
3662:
3661:
3638:Wintle, Justin
3635:
3609:
3584:
3561:
3533:
3505:
3481:
3454:
3422:Henri Loyrette
3418:
3383:Tinterow, Gary
3380:
3357:
3340:
3315:
3305:
3287:
3264:
3251:
3239:Auguste Renoir
3231:
3206:
3183:
3145:
3107:
3090:Leymarie, Jean
3087:
3070:
3050:
3013:
2984:
2952:
2935:
2912:
2889:
2861:
2836:Eitner, Lorenz
2833:
2813:
2793:
2776:
2759:
2752:
2741:978-0789210579
2729:
2704:
2676:
2651:
2626:
2601:
2579:
2555:(May 1959a). "
2550:
2533:
2516:
2497:
2469:
2449:
2423:
2422:
2420:
2417:
2414:
2413:
2397:
2381:
2358:
2346:
2334:
2322:
2310:
2294:
2282:
2270:
2258:
2246:
2234:
2230:Alexandre 1892
2222:
2210:
2198:
2190:Tinterow 1994a
2182:
2170:
2166:Schneider 1958
2158:
2146:
2142:Loyrette 1994a
2134:
2122:
2118:Tinterow 1994a
2110:
2098:
2086:
2074:
2062:
2050:
2038:
2034:Borgmeyer 1913
2026:
2014:
1999:
1979:
1967:
1963:Borgmeyer 1913
1955:
1943:
1931:
1919:
1903:
1886:
1882:Tinterow 1994a
1871:
1867:Tinterow 1994a
1859:
1855:Tinterow 1994b
1847:
1835:
1823:
1811:
1799:
1787:
1775:
1763:
1748:
1736:
1719:
1707:
1695:
1693:, pp. 442–443.
1680:
1678:, pp. 160-169.
1665:
1661:Loyrette 1994b
1653:
1641:
1629:
1617:
1609:Tinterow 1994b
1601:
1589:
1577:
1565:
1563:, pp. 304-305.
1561:Tinterow 1994b
1553:
1536:
1521:
1509:
1496:
1495:
1487:
1486:
1476:
1466:
1462:Douglas Cooper
1453:
1432:
1410:
1392:
1379:
1369:
1368:
1361:
1358:
1357:
1356:
1349:
1346:
1343:
1342:
1339:
1337:
1335:
1333:
1328:
1321:
1317:
1316:
1310:
1307:
1304:
1303:Oil on canvas
1301:
1296:
1289:
1285:
1284:
1278:
1273:
1270:
1269:Oil on canvas
1267:
1262:
1255:
1251:
1250:
1240:
1237:
1234:
1233:Oil on canvas
1231:
1226:
1219:
1215:
1214:
1211:
1208:
1205:
1202:
1199:
1196:
1111:
1108:
1035:Théodore Duret
1026:
1023:
1022:
1021:
1019:(Vabontrain).
1010:
1003:
1001:
995:
988:
986:
980:
973:
971:
967:
966:
960:
953:
951:
945:
938:
936:
930:
923:
921:
915:
908:
906:
896:
889:
887:
881:
874:
872:
828:, followed by
734:
731:
722:Aileen Ribeiro
673:Peter H. Feist
661:genre painting
655:Art historian
652:
649:
619:
616:
578:
575:
490:figure painter
485:
482:
481:
480:
474:
467:
465:
459:
452:
450:
448:featuring Lise
440:
433:
431:
425:
418:
416:
410:
403:
401:
395:
388:
377:Douglas Cooper
306:Nymph and Faun
289:Johan Jongkind
237:Charles Gleyre
217:
214:
198:Impressionists
194:Théodore Duret
125:
124:
117:
114:
113:
103:
99:
98:
93:
89:
88:
85:
81:
80:
74:
70:
69:
66:
62:
61:
48:
44:
43:
35:
34:
28:
27:
17:
9:
6:
4:
3:
2:
4744:
4733:
4730:
4728:
4725:
4723:
4720:
4718:
4715:
4713:
4710:
4708:
4705:
4704:
4702:
4687:
4684:
4681:
4677:
4674:
4670:
4666:
4665:Jeanne Baudot
4662:
4659:
4658:Raoul Rigault
4655:
4653:(child model)
4651:
4647:
4644:
4640:
4637:
4633:
4630:
4629:Jeanne Samary
4626:
4623:
4622:Richard Guino
4619:
4616:
4612:
4609:
4605:
4602:
4598:
4594:
4590:
4587:
4583:
4582:
4580:
4576:
4568:
4567:Sophie Renoir
4564:
4560:
4556:
4552:
4548:
4544:
4543:Claude Renoir
4540:
4535:
4531:
4527:
4523:
4522:Pierre Renoir
4519:
4515:
4511:
4507:
4503:
4502:
4500:
4496:
4488:
4487:
4482:
4480:(2006 series)
4479:
4478:
4474:
4471:
4470:
4466:
4463:
4462:
4458:
4457:
4455:
4451:
4437:
4436:
4432:
4431:
4429:
4425:
4417:
4416:
4411:
4407:
4406:
4401:
4397:
4396:
4391:
4380:
4379:
4374:
4370:
4369:
4364:
4353:
4352:
4347:
4343:
4342:
4337:
4333:
4332:
4327:
4323:
4322:
4317:
4313:
4312:
4307:
4303:
4302:
4297:
4293:
4292:
4287:
4283:
4282:
4277:
4273:
4272:
4267:
4263:
4262:
4257:
4253:
4252:
4247:
4243:
4242:
4237:
4233:
4232:
4227:
4223:
4222:
4217:
4213:
4212:
4207:
4203:
4202:
4201:The Umbrellas
4197:
4193:
4192:
4191:Blonde Bather
4187:
4183:
4182:
4177:
4173:
4172:
4167:
4163:
4162:
4161:Pink and Blue
4157:
4153:
4152:
4147:
4143:
4142:
4137:
4133:
4132:
4127:
4123:
4122:
4117:
4113:
4112:
4107:
4103:
4102:
4097:
4093:
4092:
4087:
4083:
4082:
4081:The Day Dream
4077:
4073:
4072:
4067:
4063:
4062:
4057:
4053:
4052:
4047:
4043:
4042:
4037:
4033:
4032:
4027:
4023:
4022:
4017:
4013:
4012:
4007:
4003:
4002:
3997:
3993:
3992:
3987:
3983:
3982:
3977:
3973:
3972:
3967:
3963:
3962:
3957:
3953:
3952:
3951:La Parisienne
3947:
3943:
3942:
3937:
3933:
3932:
3927:
3923:
3922:
3917:
3913:
3912:
3907:
3903:
3902:
3897:
3893:
3892:
3887:
3883:
3882:
3877:
3873:
3872:
3867:
3863:
3862:
3857:
3853:
3852:
3847:
3843:
3842:
3837:
3833:
3832:
3827:
3823:
3822:
3817:
3813:
3812:
3807:
3803:
3802:
3797:
3793:
3792:
3787:
3783:
3782:
3777:
3773:
3772:
3767:
3765:
3762:
3761:
3759:
3755:
3751:
3744:
3739:
3737:
3732:
3730:
3725:
3724:
3721:
3715:
3711:
3708:
3707:
3697:
3696:9783720402002
3693:
3689:
3685:
3681:
3678:
3677:
3672:
3671:
3659:
3655:
3651:
3650:9781134021390
3647:
3644:. Routledge.
3643:
3639:
3636:
3633:
3629:
3625:
3621:
3617:
3614:
3610:
3607:
3603:
3599:
3598:9780500774038
3595:
3591:
3590:
3585:
3582:
3578:
3574:
3573:9780810996076
3570:
3566:
3562:
3559:
3555:
3551:
3550:9780486264882
3547:
3543:
3542:
3537:
3534:
3531:
3527:
3523:
3522:9780815404590
3519:
3515:
3514:
3509:
3506:
3504:
3500:
3496:
3495:9780312229757
3492:
3488:
3487:
3482:
3479:
3475:
3471:
3470:9781588390400
3467:
3463:
3459:
3455:
3452:
3448:
3444:
3443:9780870997174
3440:
3436:
3435:
3431:
3428:
3423:
3419:
3417:
3413:
3409:
3408:9780870997174
3405:
3401:
3397:
3396:
3392:
3389:
3384:
3381:
3378:
3374:
3370:
3366:
3362:
3358:
3355:
3351:
3347:
3346:
3341:
3338:
3334:
3330:
3329:9780521552448
3326:
3322:
3321:
3316:
3313:
3309:
3306:
3303:
3299:
3295:
3292:
3288:
3285:
3281:
3277:
3276:9783770131594
3273:
3269:
3265:
3262:
3258:
3255:
3252:
3249:
3245:
3241:
3240:
3235:
3232:
3229:
3225:
3221:
3220:9780300115529
3217:
3213:
3212:
3207:
3204:
3200:
3196:
3195:9780300151008
3192:
3188:
3184:
3182:
3178:
3174:
3173:9780870997174
3170:
3167:. pp. 29-54.
3166:
3162:
3161:
3157:
3154:
3149:
3146:
3144:
3140:
3136:
3135:9780870997174
3132:
3128:
3124:
3123:
3119:
3116:
3111:
3108:
3105:
3101:
3097:
3096:
3091:
3088:
3085:
3081:
3077:
3076:
3071:
3068:
3064:
3060:
3059:
3054:
3051:
3048:
3044:
3040:
3036:
3032:
3028:
3024:
3021:
3020:
3014:
3011:
3007:
3003:
3002:9781857093179
2999:
2995:
2994:
2989:
2985:
2982:
2978:
2974:
2973:9780892363650
2970:
2966:
2965:
2961:
2958:
2953:
2951:
2949:
2948:9781857095845
2945:
2941:
2936:
2933:
2929:
2925:
2924:9780300184518
2921:
2917:
2913:
2910:
2906:
2902:
2901:9780226238661
2898:
2894:
2890:
2887:
2883:
2879:
2878:9783822800652
2875:
2871:
2870:
2865:
2862:
2859:
2855:
2851:
2850:0-06-432976-3
2847:
2843:
2842:
2837:
2834:
2831:
2827:
2823:
2822:
2817:
2814:
2811:
2807:
2804:. H. Floury.
2803:
2802:
2797:
2794:
2791:
2787:
2783:
2782:
2777:
2774:
2770:
2766:
2765:
2760:
2757:
2753:
2750:
2746:
2742:
2738:
2734:
2730:
2727:
2723:
2719:
2718:9780810928756
2715:
2711:
2710:
2705:
2702:
2698:
2694:
2693:0-8109-3160-5
2690:
2686:
2685:
2680:
2677:
2674:
2670:
2666:
2665:9780500236659
2662:
2658:
2657:
2652:
2649:
2645:
2641:
2640:9780500202395
2637:
2633:
2632:
2627:
2624:
2620:
2616:
2615:0-517-68372-5
2612:
2608:
2607:
2602:
2596:
2592:
2588:
2584:
2580:
2577:
2573:
2569:
2565:
2561:
2558:
2554:
2551:
2548:
2544:
2540:
2537:
2534:
2531:
2527:
2523:
2522:
2517:
2514:
2510:
2506:
2502:
2498:
2495:
2491:
2487:
2486:9781857093179
2483:
2479:
2478:
2473:
2470:
2467:
2463:
2459:
2458:
2453:
2450:
2447:
2443:
2439:
2438:0-7148-2919-6
2435:
2431:
2430:
2425:
2424:
2410:
2406:
2401:
2394:
2391:, p. 67. See
2390:
2385:
2378:
2374:
2370:
2369:De Grada 1989
2365:
2363:
2356:, p. 162-163.
2355:
2350:
2343:
2342:Whitmore 2014
2338:
2331:
2326:
2319:
2314:
2307:
2303:
2298:
2291:
2286:
2279:
2274:
2267:
2262:
2256:, p. 164-165.
2255:
2250:
2243:
2238:
2231:
2226:
2219:
2214:
2207:
2202:
2195:
2191:
2186:
2179:
2174:
2167:
2162:
2155:
2150:
2143:
2138:
2131:
2126:
2119:
2114:
2107:
2102:
2095:
2090:
2083:
2078:
2071:
2066:
2059:
2054:
2047:
2042:
2035:
2030:
2023:
2018:
2011:
2006:
2004:
1996:
1993:, pp. 2, 69;
1992:
1988:
1983:
1976:
1971:
1964:
1959:
1952:
1951:Tinterow 2003
1947:
1940:
1935:
1928:
1923:
1916:
1912:
1907:
1901:, p. 118-119.
1900:
1895:
1893:
1891:
1883:
1878:
1876:
1868:
1863:
1856:
1851:
1844:
1839:
1832:
1827:
1820:
1815:
1808:
1803:
1796:
1791:
1784:
1779:
1772:
1767:
1760:
1755:
1753:
1745:
1740:
1733:
1729:
1723:
1716:
1711:
1704:
1699:
1692:
1691:Kingsley 1899
1687:
1685:
1677:
1672:
1670:
1662:
1657:
1650:
1645:
1638:
1633:
1626:
1621:
1614:
1610:
1605:
1598:
1593:
1586:
1581:
1574:
1569:
1562:
1557:
1550:
1545:
1543:
1541:
1533:
1528:
1526:
1518:
1513:
1506:
1501:
1497:
1494:
1493:
1480:
1470:
1463:
1457:
1450:
1449:Mavrocordatos
1446:
1442:
1436:
1429:
1428:
1423:
1419:
1414:
1406:
1402:
1399:As quoted in
1396:
1389:
1383:
1374:
1370:
1367:
1366:
1355:
1352:
1351:
1340:
1338:
1336:
1334:
1332:
1329:
1326:
1322:
1319:
1315:
1311:
1308:
1305:
1302:
1300:
1297:
1294:
1290:
1287:
1283:
1279:
1277:
1274:
1271:
1268:
1266:
1263:
1260:
1256:
1253:
1249:
1248:Jeanne Lanvin
1245:
1241:
1238:
1235:
1232:
1230:
1227:
1224:
1220:
1217:
1212:
1209:
1206:
1203:
1200:
1197:
1194:
1193:
1190:
1188:
1184:
1180:
1176:
1171:
1169:
1168:
1163:
1162:
1157:
1153:
1151:
1150:
1145:
1141:
1137:
1136:
1131:
1127:
1123:
1119:
1118:
1107:
1105:
1101:
1097:
1093:
1089:
1085:
1081:
1077:
1076:Paul Cassirer
1073:
1068:
1066:
1062:
1061:stretcher bar
1058:
1054:
1050:
1046:
1045:
1040:
1036:
1031:
1018:
1014:
1007:
1002:
999:
992:
987:
984:
977:
972:
969:
968:
963:
957:
952:
948:
942:
937:
933:
927:
922:
918:
912:
907:
904:
900:
893:
888:
884:
878:
873:
870:
869:
868:
866:
862:
858:
854:
848:
846:
842:
837:
835:
831:
827:
823:
819:
815:
811:
806:
804:
800:
799:
794:
793:Édouard Manet
790:
789:
784:
781:(1861–62) by
780:
779:
774:
773:
768:
767:Jean Leymarie
764:
760:
756:
752:
751:
746:
745:
740:
730:
728:
723:
718:
715:
711:
707:
706:
701:
697:
693:
684:
680:
678:
674:
670:
666:
662:
658:
648:
646:
641:
637:
633:
628:
624:
615:
613:
609:
605:
604:
599:
595:
591:
587:
586:
571:
570:Self-portrait
567:
563:
561:
560:Gary Tinterow
557:
556:
551:
547:
543:
539:
538:
533:
529:
525:
521:
516:
514:
513:Edmond Maître
510:
505:
501:
497:
496:
491:
477:
471:
466:
462:
456:
451:
447:
443:
437:
432:
428:
422:
417:
413:
407:
402:
398:
392:
387:
386:
385:
383:
378:
374:
370:
366:
362:
361:
356:
355:
350:
346:
345:
340:
336:
335:Jules Le Cœur
332:
327:
325:
321:
317:
316:
311:
307:
302:
300:
296:
295:
290:
284:
282:
278:
274:
270:
266:
262:
258:
254:
250:
249:Alfred Sisley
247:(1840–1926),
246:
242:
238:
233:
231:
226:
222:
213:
211:
207:
203:
199:
195:
191:
187:
186:
181:
180:
175:
171:
170:
164:
162:
158:
153:
149:
145:
144:oil on canvas
141:
137:
133:
132:
121:
115:
110:
104:
100:
97:
94:
90:
86:
82:
78:
75:
71:
67:
63:
58:
52:
49:
45:
41:
36:
33:
29:
24:
21:
16:
4650:Jane Henriot
4551:Alain Renoir
4484:
4475:
4467:
4459:
4433:
4413:
4403:
4393:
4376:
4366:
4349:
4339:
4329:
4319:
4309:
4299:
4289:
4279:
4269:
4259:
4249:
4239:
4229:
4219:
4209:
4199:
4189:
4179:
4169:
4159:
4149:
4139:
4129:
4119:
4109:
4099:
4089:
4079:
4071:Eugène Murer
4069:
4059:
4049:
4039:
4029:
4019:
4009:
3999:
3989:
3979:
3969:
3959:
3949:
3939:
3931:Le Pont-Neuf
3929:
3919:
3909:
3899:
3891:La Promenade
3889:
3881:L'Algérienne
3879:
3869:
3859:
3849:
3839:
3829:
3819:
3809:
3800:
3799:
3789:
3779:
3769:
3687:
3674:
3641:
3623:
3587:
3564:
3539:
3511:
3484:
3461:
3425:
3386:
3360:
3343:
3318:
3267:
3237:
3209:
3186:
3151:
3113:
3093:
3073:
3056:
3030:
3018:
2991:
2955:
2938:
2915:
2892:
2867:
2839:
2819:
2799:
2779:
2762:
2732:
2707:
2682:
2679:Distel, Anne
2654:
2629:
2604:
2586:
2567:
2546:
2519:
2504:
2475:
2455:
2427:
2419:Bibliography
2407:as cited in
2400:
2395:, pp. 27–28.
2384:
2349:
2337:
2325:
2313:
2297:
2285:
2273:
2261:
2249:
2237:
2232:, pp. 13-14.
2225:
2213:
2201:
2185:
2173:
2161:
2149:
2137:
2132:, pp. 29-30.
2125:
2113:
2101:
2094:Venturi 1950
2089:
2077:
2065:
2058:Ribeiro 2019
2053:
2041:
2029:
2024:, pp. 17-18.
2017:
1982:
1970:
1958:
1946:
1939:Donahue 2013
1934:
1922:
1911:Monnier 1995
1906:
1862:
1850:
1843:Cooper 1959a
1838:
1826:
1821:, pp. 64-67.
1814:
1802:
1790:
1778:
1773:, pp. 11-16.
1766:
1759:Cooper 1959b
1746:, pp. 37-38.
1739:
1731:
1722:
1717:, pp. 21-24.
1710:
1698:
1656:
1651:, pp. 35-36.
1649:Farrell 2001
1644:
1632:
1620:
1615:, pp. 33-34.
1613:Vollard 1925
1604:
1599:, pp. 33-34.
1597:Vollard 1925
1592:
1580:
1568:
1556:
1512:
1500:
1491:
1490:
1479:
1469:
1456:
1435:
1425:
1418:La Esméralda
1417:
1413:
1401:Farrell 2001
1395:
1382:
1373:
1364:
1363:
1330:
1313:
1298:
1281:
1276:Getty Center
1265:La Promenade
1264:
1243:
1228:
1186:
1183:frontispiece
1178:
1174:
1172:
1165:
1159:
1155:
1154:
1147:
1144:La Promenade
1143:
1139:
1135:La Promenade
1133:
1129:
1125:
1121:
1115:
1113:
1110:Related work
1091:
1069:
1056:
1052:
1042:
1032:
1028:
961:
946:
931:
916:
902:
898:
882:
860:
852:
849:
840:
838:
833:
829:
825:
821:
817:
808:Art critic
807:
803:Claude Monet
796:
786:
776:
770:
748:
742:
738:
736:
719:
709:
703:
691:
689:
668:
654:
622:
621:
612:Castagnary's
607:
601:
597:
593:
589:
583:
580:
569:
555:en plein air
553:
549:
535:
526:, close to
519:
517:
495:Soirée d'été
493:
487:
475:
460:
445:
441:
426:
411:
396:
381:
380:of Renoir's
368:
364:
358:
352:
348:
342:
328:
323:
320:Soirée d'été
319:
313:
310:La Esméralda
309:
305:
303:
298:
292:
285:
245:Claude Monet
234:
219:
205:
189:
183:
177:
167:
165:
160:
130:
129:
128:
31:
20:
15:
4601:Lise Tréhot
4530:Jean Renoir
4489:(2012 film)
4443: 1914
4415:The Bathers
4398:(1915–1917)
4386: 1908
4359: 1910
4274:(1886–1887)
4254:(1884–1887)
4184:(1880–1882)
4064:(1876–1877)
3710:Description
3019:Parisiennes
2872:. Taschen.
2373:Denvir 1993
2278:Parent 2000
2254:Hansen 2015
2244:, p. 10-12.
2218:Distel 1990
2194:Distel 1995
2178:Denvir 1990
2106:Denvir 1993
2082:Wintle 2009
2070:Distel 2012
1987:Distel 2010
1915:Maloon 2005
1831:Bouret 1973
1807:Bailey 2007
1795:Bailey 2007
1771:Distel 1990
1715:Distel 1995
1625:Bouret 1973
1573:Eitner 1992
1517:Jewell 1944
1505:Distel 2010
1164:(1876) and
1039:Edgar Degas
812:and writer
747:(1866) and
727:Anne Distel
675:, a style
618:Description
484:Development
373:love letter
357:(1866) and
331:Lise Tréhot
318:(1864) and
269:Jean Bouret
182:(1876) and
159:, Renoir's
152:Lise Tréhot
105:G 144
4701:Categories
4553:(grandson)
4545:(grandson)
4516:(daughter)
4453:Portrayals
4427:Sculptures
3606:1012226709
3567:. Abrams.
3354:1154531114
2790:1333449543
2648:1334629510
2547:Christie's
2393:Duret 1878
2389:White 2017
2377:Duret 1878
2375:, p. 109;
2354:Duret 1910
2330:House 1997
2306:Patry 2022
2290:Patry 2022
2266:Patry 2022
2206:White 2010
2154:Duret 1910
2130:House 2013
2046:Groom 2012
2022:Feist 1987
1995:Patry 2022
1975:Patry 2022
1927:Patry 2022
1819:White 2017
1783:House 2007
1744:White 2017
1703:Patry 2022
1676:Duret 1910
1637:Duret 1910
1585:Adams 1994
1532:Feist 1987
1492:References
1207:Dimensions
1025:Provenance
1013:Chassagnol
983:André Gill
857:André Gill
814:Émile Zola
801:(1866) by
791:(1863) by
720:Historian
710:The Dancer
657:John House
645:arborglyph
577:Exhibition
371:, 1870) a
216:Background
84:Dimensions
4732:Umbrellas
4418:(1918–19)
4271:The Braid
4031:The Swing
3921:The Harem
3874:(1869-70)
3831:In Summer
3757:Paintings
3658:228374446
3632:1543-1002
3581:503442731
3478:216911741
3424:(1994b).
3377:185705650
3337:185335700
3284:237374514
3248:697606917
3203:742017633
3084:192135341
3047:844731572
2932:816976764
2909:472808666
2810:768310014
2773:872612917
2749:435419243
2673:954795365
2623:983886287
2466:889838110
2371:, p. 14;
2280:, p. 124.
2144:, p. 210.
2084:, p. 634.
2048:, p. 249.
2036:, p. 155.
1965:, p. 146.
1953:, p. 516.
1917:, p. 244.
1899:Roos 1996
1884:, p. 140.
1869:, p. 141.
1857:, p. 319.
1845:, p. 167.
1761:, p. 328.
1627:, p. 239.
1575:, p. 369.
1422:Esméralda
1405:art world
1161:The Swing
1088:Goldmarks
1044:In Summer
1033:In 1872,
700:mistiness
301:in 1867.
179:The Swing
77:oil paint
3616:Archived
3558:23082906
3538:(1925).
3510:(1950).
3503:43076942
3460:(2003).
3451:30623473
3430:Archived
3416:30623473
3391:Archived
3294:Archived
3257:Archived
3236:(1920).
3228:68187386
3181:30623473
3156:Archived
3143:30623473
3118:Archived
3092:(1955).
3055:(1944).
3023:Archived
3010:72868889
2981:37109128
2960:Archived
2886:19524758
2866:(1987).
2858:49225406
2838:(1992).
2818:(1910).
2798:(1902).
2726:34704757
2701:20566765
2681:(1990).
2595:53397979
2576:53397979
2560:Archived
2539:Archived
2494:72868889
2454:(1892).
2446:34355336
2208:, p. 28.
2196:, p. 25.
2192:p. 140;
2180:, p. 36.
2168:, p. 91.
2012:, p. 69.
1941:, p. 20.
1809:, p. 54.
1797:, p. 53.
1519:, p. 36.
1386:See the
1348:See also
1170:(1876).
757:painter
665:mistress
636:pork pie
608:dépotoir
598:dépotoir
382:ambiance
339:Clémence
281:Rousseau
142:) is an
92:Location
79:, canvas
4578:Related
4174:(1881)
3961:La Loge
3712:at the
3530:1305096
3067:1216969
1587:, p. 8.
1551:, p. 1.
1534:, p. 8.
1210:Gallery
947:Camille
932:Olympia
830:Camille
826:Olympia
822:Camille
798:Camille
788:Olympia
755:Realist
705:La Loge
155:by the
4508:(wife)
4498:Family
4486:Renoir
4408:(1918)
4388:–1914)
4371:(1911)
4344:(1910)
4334:(1910)
4324:(1907)
4314:(1897)
4304:(1897)
4294:(1892)
4284:(1888)
4264:(1885)
4244:(1883)
4234:(1883)
4224:(1883)
4214:(1883)
4164:(1881)
4154:(1881)
4144:(1880)
4134:(1879)
4124:(1879)
4114:(1878)
4104:(1878)
4094:(1878)
4084:(1877)
4074:(1877)
4054:(1876)
4044:(1876)
4034:(1876)
4024:(1876)
4014:(1876)
4004:(1875)
3994:(1875)
3984:(1875)
3974:(1875)
3964:(1874)
3954:(1874)
3944:(1873)
3934:(1872)
3924:(1872)
3914:(1871)
3904:(1870)
3894:(1870)
3884:(1870)
3864:(1869)
3854:(1869)
3844:(1868)
3834:(1868)
3824:(1868)
3814:(1867)
3804:(1867)
3794:(1867)
3784:(1866)
3774:(1864)
3694:
3656:
3648:
3630:
3604:
3596:
3579:
3571:
3556:
3548:
3528:
3520:
3501:
3493:
3476:
3468:
3449:
3441:
3414:
3406:
3375:
3367:
3352:
3345:Renoir
3335:
3327:
3282:
3274:
3246:
3226:
3218:
3201:
3193:
3179:
3171:
3141:
3133:
3104:592843
3102:
3082:
3065:
3045:
3037:
3008:
3000:
2990:(ed.)
2979:
2971:
2946:
2930:
2922:
2907:
2899:
2884:
2876:
2856:
2848:
2830:744658
2828:
2808:
2788:
2771:
2747:
2739:
2733:Renoir
2724:
2716:
2699:
2691:
2671:
2663:
2646:
2638:
2621:
2613:
2606:Renoir
2593:
2574:
2530:949368
2528:
2492:
2484:
2464:
2444:
2436:
1663:p. 39.
1447:(born
1213:Notes
1049:francs
640:muslin
478:(1872)
463:(1870)
429:(1866)
414:(1866)
273:Troyon
230:Louvre
136:French
73:Medium
53:
47:Artist
4532:(son)
4524:(son)
3791:Diana
1484:1864.
1365:Notes
1320:1878
1288:1872
1254:1870
1218:1867
1201:Title
1198:Image
1100:Essen
1096:Hagen
871:Works
750:Diana
603:skied
530:near
360:Diana
277:Dupré
157:Salon
118:[
4331:Nude
3692:ISBN
3654:OCLC
3646:ISBN
3628:ISSN
3602:OCLC
3594:ISBN
3577:OCLC
3569:ISBN
3554:OCLC
3546:ISBN
3526:OCLC
3518:ISBN
3499:OCLC
3491:ISBN
3474:OCLC
3466:ISBN
3447:OCLC
3439:ISBN
3412:OCLC
3404:ISBN
3373:OCLC
3365:ISBN
3350:OCLC
3333:OCLC
3325:ISBN
3280:OCLC
3272:ISBN
3244:OCLC
3224:OCLC
3216:ISBN
3199:OCLC
3191:ISBN
3177:OCLC
3169:ISBN
3139:OCLC
3131:ISBN
3100:OCLC
3080:OCLC
3063:OCLC
3043:OCLC
3035:ISBN
3006:OCLC
2998:ISBN
2977:OCLC
2969:ISBN
2944:ISBN
2928:OCLC
2920:ISBN
2905:OCLC
2897:ISBN
2882:OCLC
2874:ISBN
2854:OCLC
2846:ISBN
2826:OCLC
2806:OCLC
2786:OCLC
2769:OCLC
2745:OCLC
2737:ISBN
2722:OCLC
2714:ISBN
2697:OCLC
2689:ISBN
2669:OCLC
2661:ISBN
2644:OCLC
2636:ISBN
2619:OCLC
2611:ISBN
2591:OCLC
2572:OCLC
2526:OCLC
2490:OCLC
2482:ISBN
2462:OCLC
2442:OCLC
2434:ISBN
1443:and
1204:Type
1195:Year
1132:and
1090:for
1057:Lise
1053:Lise
901:and
765:and
594:Lise
590:Lise
347:and
275:and
68:1867
65:Year
3622:."
2585:."
2566:."
2509:doi
2503:."
1011:By
996:By
981:By
544:of
326:).
4703::
4440:c.
4383:c.
4356:c.
3652:.
3600:.
3575:.
3552:.
3524:.
3497:.
3472:.
3445:.
3410:.
3398:.
3371:.
3331:.
3278:.
3222:.
3197:.
3175:.
3163:.
3137:.
3125:.
3041:.
3004:.
2975:.
2926:.
2903:.
2880:.
2852:.
2743:.
2720:.
2695:.
2667:.
2642:.
2617:.
2597:.
2545:.
2488:.
2440:.
2361:^
2304:;
2002:^
1989:;
1889:^
1874:^
1751:^
1730:.
1683:^
1668:^
1539:^
1524:^
1451:).
1106:.
1067:.
836:.
805:.
232:.
212:.
138::
4445:)
4438:(
4381:(
4361:)
4354:(
3742:e
3735:t
3728:v
3698:.
3660:.
3634:.
3608:.
3583:.
3560:.
3532:.
3480:.
3453:.
3379:.
3356:.
3339:.
3286:.
3250:.
3230:.
3205:.
3106:.
3086:.
3069:.
3049:.
3012:.
2983:.
2911:.
2888:.
2860:.
2832:.
2812:.
2792:.
2751:.
2728:.
2703:.
2675:.
2650:.
2625:.
2532:.
2515:.
2511::
2496:.
2468:.
2448:.
2411:.
2379:.
2320:.
2268:.
1734:.
1507:.
1430:.
134:(
122:]
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
