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Pierre-Auguste Renoir

 
Britannica Concise Encyclopedia:

Pierre-Auguste Renoir

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(born Feb. 25, 1841, Limoges, France — died Dec. 3, 1919, Cagnes) French painter. His father, a tailor in Limoges, moved with his large family to Paris in 1844. Renoir began working as a decorator of porcelain at 13 and studied painting at night. He formed a close friendship with his fellow student Claude Monet and became a leading member of the Paris Impressionists. His early works were typically Impressionist snapshots of real life, full of sparkling colour and light. By using small, multicoloured strokes, Renoir evoked the vibration of the atmosphere, the sparkling effect of foliage, and especially the luminosity of a young woman's skin in the outdoors. Because of his fascination with the human figure, he was distinctive among the others, who were more interested in landscape. Among his early masterpieces are Le Moulin de la Galette (1876) and The Luncheon of the Boating Party (1881). A visit to Italy (1881 – 82) introduced him to Raphael and the expressive force of clear line and smooth painting, and by the mid 1880s he had broken with Impressionism to employ a more disciplined, formal technique. In works such as Bathers (1884 – 87), he emphasized volume, form, contours, and line. In his later works, he departed from the strict rules of Classicism to paint colourful still lifes, portraits, nudes, and landscapes of southern France, where he settled in 1907. Rheumatism confined him to a wheelchair by 1912 but he never ceased to paint, even though often with his brush attached to his hand. The filmmaker Jean Renoir was his son.

For more information on Pierre-Auguste Renoir, visit Britannica.com.

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Oxford Grove Art:

(Pierre-)Auguste Renoir

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(b Limoges, 25 Feb 1841; d Cagnes-sur-Mer, 3 Dec 1919). French painter, printmaker and sculptor. He was one of the founders and leading exponents of IMPRESSIONISM from the late 1860s, producing some of the movement's most famous images of carefree leisure. He broke with his Impressionist colleagues to exhibit at the Salon from 1878, and from c. 1884 he adopted a more linear style indebted to the Old Masters. His critical reputation has suffered from the many minor works he produced during his later years.

See the Abbreviations for further details.


Gale Encyclopedia of Biography:

Pierre Auguste Renoir

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The French painter Pierre Auguste Renoir (1841-1919) was one of the central figures of the impressionist movement. His work is characterized by an extraordinary richness of feeling, a warmth of response to the world and to the people in it.

During the 1870s a revolution erupted in French painting. Encouraged by artists like Gustave Courbet and Édouard Manet, a number of young painters began to seek alternatives to the traditions of Western painting that had prevailed since the beginning of the Renaissance. These artists went directly to nature for their inspiration and into the actual society of which they were a part. As a result, their works revealed a look of freshness and immediacy that in many ways departed from the look of Old Master painting. The new art, for instance, displayed vibrant light and color instead of the somber browns and blacks that had dominated previous painting. These qualities, among others, signaled the beginning of modern art.

Pierre Auguste Renoir was a central figure of this development, particularly in its impressionist phase. Like the other impressionists, he struggled through periods of public ridicule during his early career. But as the new style gradually became accepted, during the 1880s and 1890s, Renoir began to enjoy extensive patronage and international recognition. The high esteem accorded his art at that time has generally continued into the present day.

Renoir was born in Limoges on Feb. 25, 1841. Shortly afterward, his family moved to Paris. Because he showed a remarkable talent for drawing, Renoir became an apprentice in a porcelain factory, where he painted plates. Later, after the factory had gone out of business, he worked for his older brother, decorating fans. Throughout these early years Renoir made frequent visits to the Louvre, where he studied the art of earlier French masters, particularly those of the 18th century - Antoine Watteau, François Boucher, and Jean Honoré Fragonard. His deep respect for these artists informed his own painting throughout his career.

Early Career

In 1862 Renoir decided to study painting seriously and entered the Atelier Gleyre, where he met Claude Monet, Alfred Sisley, and Jean Frédéric Bazille. During the next 6 years Renoir's art showed the influence of Gustave Courbet and Édouard Manet, the two most innovative painters of the 1850s and 1860s. Courbet's influence is especially evident in the bold palette-knife technique of Diane Chasseresse (1867), while Manet's can be seen in the flat tones of Alfred Sisley and His Wife (1868). Still, both paintings reveal a sense of intimacy that is characteristic of Renoir's personal style.

The 1860s were difficult years for Renoir. At times he was too poor to buy paints or canvas, and the Salons of 1866 and 1867 rejected his works. The following year the Salon accepted his painting Lise. He continued to develop his work and to study the paintings of his contemporaries - not only Courbet and Manet, but Camille Corot and Euge‧ne Delacroix as well. Renoir's indebtedness to Delacroix is apparent in the lush painterliness of the Odalisque (1870).

Renoir and Impressionism

In 1869 Renoir and Monet worked together at La Grenouille‧re, a bathing spot on the Seine. Both artists became obsessed with painting light and water. According to Phoebe Pool (1967), this was a decisive moment in the development of impressionism, for "It was there that Renoir and Monet made their discovery that shadows are not brown or black but are coloured by their surroundings, and that the 'local colour' of an object is modified by the light in which it is seen, by reflections from other objects and by contrast with juxtaposed colours."

The styles of Renoir and Monet were virtually identical at this time, an indication of the dedication with which they pursued and shared their new discoveries. During the 1870s they still occasionally worked together, although their styles generally developed in more personal directions.

In 1874 Renoir participated in the first impressionist exhibition. His works included the Opera Box (1874), a painting which shows the artist's penchant for rich and freely handled figurative expression. Of all the impressionists, Renoir most consistently and thoroughly adapted the new style - in its inspiration, essentially a landscape style - to the great tradition of figure painting.

Although the impressionist exhibitions were the targets of much public ridicule during the 1870s, Renoir's patronage gradually increased during the decade. He became a friend of Caillebotte, one of the first patrons of the impressionists, and he was also backed by the art dealer Durand-Ruel and by collectors like Victor Choquet, the Charpentiers, and the Daidets. The artist's connection with these individuals is documented by a number of handsome portraits, for instance, Madame Charpentier and Her Children (1878).

In the 1870s Renoir also produced some of his most celebrated impressionist genre scenes, including the Swing and the Moulin de la Galette (both 1876). These works embody his most basic attitudes about art and life. They show men and women together, openly and casually enjoying a society diffused with warm, radiant sunlight. Figures blend softly into one another and into their surrounding space. Such worlds are pleasurable, sensuous, and generously endowed with human feeling.

Renoir's "Dry" Period

During the 1880s Renoir gradually separated himself from the impressionists, largely because he became dissatisfied with the direction the new style was taking in his own hands. In paintings like the Luncheon of the Boating Party (1880-1881), he felt that his style was becoming too loose, that forms were losing their distinctiveness and sense of mass. As a result, he looked to the past for a fresh inspiration. In 1881 he traveled to Italy and was particularly impressed by the art of Raphael.

During the next 6 years Renoir's paintings became increasingly dry: he began to draw in a tight, classical manner, carefully outlining his figures in an effort to give them plastic clarity. The works from this period, such as the Umbrellas (1883) and the Grandes baigneuses (1884-1887), are generally considered the least successful of Renoir's mature expressions. Their classicizing effort seems self-conscious, a contradiction to the warm sensuality that came naturally to him.

Late Career

By the end of the 1880s Renoir had passed through his dry period. His late work is truly extraordinary: a glorious outpouring of monumental nude figures, beautiful young girls, and lush landscapes. Examples of this style include the Music Lesson (1891), Young Girl Reading (1892), and Sleeping Bather (1897). In many ways, the generosity of feeling in these paintings expands upon the achievements of his great work in the 1870s.

Renoir's health declined severely in his later years. In 1903 he suffered his first attack of rheumatoid arthritis and settled for the winter at Cagnes-sur-Mer. By this time he faced no financial problems, but the arthritis made painting painful and often impossible. Nevertheless, he continued to work, at times with a brush tied to his crippled hand. Renoir died at Cagnes-sur-Mer on Dec. 3, 1919, but his death was preceded by an experience of supreme triumph: the state had purchased his portrait Madame Georges Charpentier (1877), and he traveled to Paris in August to see it hanging in the Louvre.

Further Reading

An intimate biography of Renoir is by his son, Jean Renoir, Renoir: My Father (trans. 1962). A standard monograph on the artist is Albert C. Barnes and Violette De Mazia, The Art of Renoir (1935). Renoir's drawings are richly represented in Renoir Drawings, edited by John Rewald (1946). For a complete survey of impressionism and Renoir's relation to the movement see Rewald's The History of Impressionism (1946; rev. ed. 1961). A more general survey, also of high quality, is Phoebe Pool, Impressionism (1967).

Oxford Companion to French Literature:

Auguste Renoir

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Renoir, Auguste (1841-1919). One of the founders and major figures of the Impressionist movement, Renoir has become identified with its world of Parisian leisure (gardens, cafés, dances, boatingscenes) which he infused with a luminous sensuality derived from his apprenticeship as a painter on porcelain of 18th-c. rococo scenes. His later work is devoted primarily to the representation of the female nude, with which he is most associated. Among writers, support came from Zola, Huysmans, Verhaeren, and above all Mallarmé, one of his closest friends, whose portrait he painted in 1892.

— James Kearns

Columbia Encyclopedia:

Pierre Auguste Renoir

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Renoir, Pierre Auguste (pyĕr ōgüst' rənwär'), 1841-1919, French impressionist painter and sculptor, b. Limoges. Renoir went to work at the age of 13 in Paris as a decorator of factory-made porcelain, copying the works of Boucher. In 1862 he entered M. C. Gleyre's studio, where he formed lasting friendships with Bazille, Monet and Sisley. His early work reflected myriad influences including those of Courbet, Manet, Corot, Ingres and Delacroix. He began to earn his living with portraiture in the 1870s; an important work of this period was Madame Charpentier and her Children (1876; Metropolitan Mus.). Simultaneously he developed the ability to paint joyous, shimmering color and flickering light in outdoor scenes such as The Swing and the festive Moulin de la Galette (both: 1876; Louvre). Renoir traveled in Algeria and in Italy (1881-82), returning to Paris where a successful exhibition (1883) established him financially. He had gone beyond impressionism. His ecstatic sensuality, particularly in his opulent, generalized images of women, and his admiration of the Italian masters removed him from the primary impressionist concern: to imitate the effects of natural light. After a brief period, often termed "harsh" or "tight," in which his forms were closely defined in outline (e.g., The Bathers, 1884-87; private coll.), his style of the 1890s changed, diffusing both light and outline, and with dazzling, opalescent colors describing voluptuous nudes, radiant children, and lush summer landscapes. From 1903, Renoir fought the encroaching paralysis of arthritis at the same time that his work attained its greatest sensual power and monumentality. Despite illness and personal tragedy he began to produce major works of sculpture (e.g., Victorious Venus, Renoir Mus., Cagnes-sur-Mer). Among his most celebrated paintings are: Luncheon of the Boating Party (1881; Phillips Coll., Washington, D.C.); Dance at Bougival (1883; Mus. of Fine Arts, Boston); Lady Sewing (Art Inst., Chicago); and Bather (1917-18; Philadelphia Mus. of Art). Renoir's work is represented in most of the important galleries in the world. The Art Institute of Chicago; the Barnes Collection, Merion, Pa.; Clark Institute, Williamstown, Mass.; and the Louvre have large collections. His son, the film director Jean Renoir, wrote a biography (tr. 1962).

Bibliography

See studies by W. Gaunt (1983), D. Rouart (1985), and A. Distel (1995).

Dictionary of Cultural Literacy: Fine Arts:

Renoir, Pierre-Auguste

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(ren-wahr)

A French impressionist (see impressionism) painter and sculptor of the late nineteenth and early twentieth centuries. One of the most popular of the impressionists, Renoir is known for his extravagant use of light and color, especially red, and for frequent use of the impressionist technique of small brushstrokes. His most famous paintings include Dance at Bougival and the series The Bathers.

Quotes By:

Pierre Auguste Renoir

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Quotes:

"I consider that women who are authors, lawyers, and politicians are monsters."

"I've been forty years discovering that the queen of all colors is black."

"He bores me. He ought to have stuck to his flying machine. [On Leonardo Da Vinci]"

Wikipedia on Answers.com:

Pierre-Auguste Renoir

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For other people named Renoir, see Renoir (surname).
Pierre-Auguste Renoir
Birth name Pierre-Auguste Renoir
Born 25 February 1841(1841-02-25)
Limoges, Haute-Vienne, France
Died 3 December 1919(1919-12-03) (aged 78)
Cagnes-sur-Mer, Provence-Alpes-Côte d'Azur, France
Nationality French
Field Painting
Movement Impressionism
Works Bal du moulin de la Galette, 1876
Luncheon of the Boating Party, 1880
Nude, 1910

Pierre-Auguste Renoir (US play /rɛnˈwɑr/ or UK /ˈrɛnwɑr/; French: [pjɛʁ oɡyst ʁənwaʁ]; 1841–1919) was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty, and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau."[1]

Pierre-Auguste was the father of actor Pierre Renoir and filmmaker Jean Renoir.

Contents

Biography

Youth

Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, the child of a working class family. As a boy, he worked in a porcelain factory where his drawing talents led to him being chosen to paint designs on fine china.[2] He also painted hangings for overseas missionaries and decorations on fans before he enrolled in art school.[3] During those early years, he often visited the Louvre to study the French master painters.

The Theater Box, 1874 by Pierre-Auguste Renoir, Courtauld Institute Galleries, London

In 1862, he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet.[4] At times during the 1860s, he did not have enough money to buy paint. Although Renoir first started exhibiting paintings at the Paris Salon in 1864,[5] recognition did not come for another ten years, due, in part, to the turmoil of the Franco-Prussian War.

During the Paris Commune in 1871, while he painted on the banks of the Seine River, some Communards thought he was a spy, and were about to throw him into the river when a leader of the Commune, Raoul Rigault, recognized Renoir as the man who had protected him on an earlier occasion.[6]

In 1874, a ten-year friendship with Jules Le Cœur and his family ended,[7] and Renoir lost not only the valuable support gained by the association, but a generous welcome to stay on their property near Fontainebleau and its scenic forest. This loss of a favorite painting location resulted in a distinct change of subjects.

Maturity

Renoir experienced his initial acclaim when six of his paintings were hung in the first Impressionist exhibition in 1874. In the same year, two of his works were shown with Durand-Ruel in London.[7]

The Swing (La Balançoire), 1876, oil on canvas, Musée d'Orsay, Paris

In 1881, he traveled to Algeria, a country he associated with Eugène Delacroix,[8] then to Madrid, to see the work of Diego Velázquez. Following that, he traveled to Italy to see Titian's masterpieces in Florence and the paintings of Raphael in Rome. On 15 January 1882 Renoir met the composer Richard Wagner at his home in Palermo, Sicily. Renoir painted Wagner's portrait in just thirty-five minutes. In the same year, Renoir convalesced for six weeks in Algeria after contracting pneumonia, which permanently damaged his respiratory system.[9]

In 1883, he spent the summer in Guernsey, creating fifteen paintings in little over a month. Most of these feature Moulin Huet, a bay in Saint Martin's, Guernsey. Guernsey is one of the Channel Islands in the English Channel, and it has a varied landscape that includes beaches, cliffs and bays. These paintings were the subject of a set of commemorative postage stamps issued by the Bailiwick of Guernsey in 1983.

While living and working in Montmartre, Renoir employed as a model Suzanne Valadon, who posed for him (The Bathers, 1885–87; Dance at Bougival, 1883)[10] and many of his fellow painters while studying their techniques; eventually she became one of the leading painters of the day.

In 1887, the year when Queen Victoria celebrated her Golden Jubilee, and upon the request of the queen's associate, Phillip Richbourg, he donated several paintings to the "French Impressionist Paintings" catalog as a token of his loyalty.

In 1890, he married Aline Victorine Charigot, who, along with a number of the artist's friends, had already served as a model for Le Déjeuner des canotiers (Luncheon of the Boating Party, 1881), and with whom he already had a child, Pierre, in 1885.[9] After his marriage, Renoir painted many scenes of his wife and daily family life, including their children and their nurse, Aline's cousin Gabrielle Renard. The Renoirs had three sons, one of whom, Jean, became a filmmaker of note and another, Pierre, became a stage and film actor.

Girls at the Piano, 1892, by Pierre-Auguste Renoir, Musée d'Orsay, Paris.

Later years

Around 1892, Renoir developed rheumatoid arthritis. In 1907, he moved to the warmer climate of "Les Collettes," a farm at Cagnes-sur-Mer, close to the Mediterranean coast.[11] Renoir painted during the last twenty years of his life, even when arthritis severely limited his movement, and he was wheelchair-bound. He developed progressive deformities in his hands and ankylosis of his right shoulder, requiring him to adapt his painting technique. It has often been reported that in the advanced stages of his arthritis, he painted by having a brush strapped to his paralyzed fingers,[12] but this is erroneous; Renoir remained able to grasp a brush, although he required an assistant to place it in his hand.[13] The wrapping of his hands with bandages, apparent in late photographs of the artist, served to prevent skin irritation.[13]

During this period, he created sculptures by cooperating with a young artist, Richard Guino, who worked the clay. Renoir also used a moving canvas, or picture roll, to facilitate painting large works with his limited joint mobility.[13]

Renoir's portrait of Austrian actress Tilla Durieux (1914) contains playful flecks of vibrant color on her shawl that offset the classical pose of the actress and highlight Renoir's skill just 5 years before his death.

In 1919, Renoir visited the Louvre to see his paintings hanging with those of the old masters. He died in the village of Cagnes-sur-Mer, Provence-Alpes-Côte d'Azur, on December 3.

Artworks

Dance at Le Moulin de la Galette (Bal du moulin de la Galette), 1876, Pierre-Auguste Renoir

Renoir's paintings are notable for their vibrant light and saturated color, most often focusing on people in intimate and candid compositions. The female nude was one of his primary subjects. In characteristic Impressionist style, Renoir suggested the details of a scene through freely brushed touches of color, so that his figures softly fuse with one another and their surroundings.

His initial paintings show the influence of the colorism of Eugène Delacroix and the luminosity of Camille Corot. He also admired the realism of Gustave Courbet and Édouard Manet, and his early work resembles theirs in his use of black as a color. As well, Renoir admired Edgar Degas' sense of movement. Another painter Renoir greatly admired was the 18th century master François Boucher.[14]

A fine example of Renoir's early work, and evidence of the influence of Courbet's realism, is Diana, 1867. Ostensibly a mythological subject, the painting is a naturalistic studio work, the figure carefully observed, solidly modeled, and superimposed upon a contrived landscape. If the work is still a 'student' piece, already Renoir's heightened personal response to female sensuality is present. The model was Lise Tréhot, then the artist's mistress and inspiration for a number of paintings.[15]

In the late 1860s, through the practice of painting light and water en plein air (in the open air), he and his friend Claude Monet discovered that the color of shadows is not brown or black, but the reflected color of the objects surrounding them, an effect today known as diffuse reflection. Several pairs of paintings exist in which Renoir and Monet, working side-by-side, depicted the same scenes (La Grenouillère, 1869).[16][17]

One of the best known Impressionist works is Renoir's 1876 Dance at Le Moulin de la Galette (Bal du moulin de la Galette). The painting depicts an open-air scene, crowded with people, at a popular dance garden on the Butte Montmartre, close to where he lived.

On the Terrace, oil on canvas, 1881, Art Institute of Chicago

The works of his early maturity were typically Impressionist snapshots of real life, full of sparkling colour and light. By the mid 1880s, however, he had broken with the movement to apply a more disciplined, formal technique to portraits and figure paintings, particularly of women, such as The Bathers, which was created during 1884–87. It was a trip to Italy in 1881, when he saw works by Raphael and other Renaissance masters, that convinced him that he was on the wrong path, and for the next several years he painted in a more severe style, in an attempt to return to classicism.[18] This is sometimes called his "Ingres period", as he concentrated on his drawing and emphasized the outlines of figures.[19]

After 1890, however, he changed direction again, returning to thinly brushed color to dissolve outlines as in his earlier work. From this period onward he concentrated especially on monumental nudes and domestic scenes, fine examples of which are Girls at the Piano, 1892, and Grandes Baigneuses, 1887. The latter painting is the most typical and successful of Renoir's late, abundantly fleshed nudes.[20]

A prolific artist, he made several thousand paintings. The warm sensuality of Renoir's style made his paintings some of the most well-known and frequently-reproduced works in the history of art. The single largest collection of his works—181 paintings in all—is at the Barnes Foundation, near Philadelphia, Pennsylvania.

Posthumous prints

In 1919, Ambroise Vollard, a renowned art dealer, published a book on the life and work of Renoir, La Vie et l'Œuvre de Pierre-Auguste Renoir, in an edition of 1000 copies. In 1986, Vollard's heirs started reprinting the copper plates, generally etchings with hand applied watercolor. These prints are signed by Renoir in the plate and are embossed “Vollard” in the old fashion low margin. They are unnumbered, undated and not signed in pencil.

Posthumous sales

Two of Renoir's paintings have sold for more than US$70 million. Bal au moulin de la Galette sold for $78.1 million in 1990.

Gallery

Self-portraits

Nudes

Selected works

  • Mademoiselle Romaine Lacaux (1864)
  • La Promenade (1870)
  • Monet Painting in His Garden at Argenteuil (1873)
  • La Loge (1874)
  • The Dancer (1874)
  • Woman with Fan (1875)
  • The Swing (1876)
  • Lunch at the Restaurant Fournaise (The Rowers' Lunch) (French: Déjeuner au Restaurant Fournaise (Déjeuner des Rameurs)) (1875)
  • Girl with a Watering Can (1876)
  • Bal du moulin de la Galette (1876)
  • Nude in the Sunlight (1876)
  • At the Theatre (La Première Sortie) (1877)
  • Madame Charpentier and Her Children (1878)
  • Jeanne Samary (1879)
  • Acrobats at the Cirque Fernando (Francisca and Angelina Wartenberg) (1879)
  • Two Women with Umbrellas (1879)
  • On the Terrace (1881)
  • Luncheon of the Boating Party (1881)
  • The Piazza San Marco, Venice (1881)
  • Blonde Bather (1881)
  • Alice and Elisabeth Cahen d'Anvers (Pink and Blue) (1881)
  • By the Seashore (1883)
  • Umbrellas (1883)
  • Dance at Bougival (1883)
  • Fog at Guernsey (1883)
  • Dance in the City (1883)
  • Children on the Sea Shore in Guernsey (1883)
  • The Bay of Moulin Huet Seen Through the Trees (1883)
  • Girl with a Hoop (1885)
  • Bathers (1887)
  • The Bather (After the Bath) (1888)
  • Young Girl with Daisies (1889)
  • In the Meadow (1890)
  • The Apple Sellers (1890)
  • Two Girls at the Piano (1892)
  • Vase of Chrysanthemums (1895)
  • Coco (1905)
  • Standing Bather (1906)
  • Nude (1910)
  • The Farm at Les Collettes, Cagnes (1908–1914)
  • The Concert (1918)

Bibliography

  • Claude Roger-Marx (1952). Les Lithographies de Renoir. Monte-Carlo: Andre Sauret. 
  • Joseph G. Stella (1975). The Graphic Work of Renoir: Catalogue Raisonne. London: Lund Humphries. 
  • Jean Leymarie et Michel Melot (1971). Les Gravures Des Impressionistes, Manet, Pissarro, Renoir, Cezanne, Sisley. Paris: Arts et Metiers Graphiques. 
  • Michel Melot (1996). The Impressionist Print. New Haven: Yale University Press. 
  • Theodore Duret (1924). Renoir. Paris: Bernheim-Jeune. 
  • Paul Haeserts (1947). Renoir Sculpteur. Bruxelles: Hermès. 

See also

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References

  1. ^ Read, Herbert: The Meaning of Art, page 127. Faber, 1931.
  2. ^ Renoir, Jean: Renoir, My Father, pages 57–67. Collins, 1962.
  3. ^ Vollard, Ambroise: Renoir, An Intimate Record, pages 24–29. Knopf, 1925.
  4. ^ Vollard, page 30.
  5. ^ Wadley, Nicholas: Renoir, A Retrospective, page 15. Park Lane, 1989.
  6. ^ Renoir, Jean, pages 118–21. Different and less life-threatening versions are offered by Paul Valéry and Vollard. In all accounts, however, their re-acquaintance led to great celebration.
  7. ^ a b Wadley, page 15.
  8. ^ Poulet, A. L., & Murphy, A. R. (1979). Corot to Braque: French Paintings from the Museum of Fine Arts, Boston, page 117. Boston: The Museum. ISBN 0-87846-134-5.
  9. ^ a b Wadley, page 25.
  10. ^ Wadley, pages 371, 374.
  11. ^ Wadley, page 28.
  12. ^ André, Albert: Renoir. Crés, 1928.
  13. ^ a b c Boonen, A.; van de Rest, J.; Dequeker, J.; van der Linden, S.: "How Renoir Coped with Rheumatoid Arthritis". British Medical Journal, 1997:315:1704–1708.
  14. ^ Rey, Robert: La Peinture française à la fin du XIXe siècle, la renaissance du sentiment classique : Degas, Renoir, Cézanne, Gauguin, Seurat, Les Beaux-Arts, Van Oest, 1931 (thesis).
  15. ^ "From the Tour: Mary Cassatt", August Renoir. Accessed 7 March 2007.
  16. ^ [:commons:File:Renoir11.jpg ] Wikimedia Commons at commons.wikimedia.org
  17. ^ Claude Monet La GrenouillÃre – Wikimedia Commons] at commons.wikimedia.org
  18. ^ Clark, Kenneth: The Nude, pages 154–61. Penguin, 1960.
  19. ^ Asked late in life if he felt an affinity to Ingres, he responded: "I should very much like to". Rey, quoted in Wadley, page 336.
  20. ^ " For me, Renoir becomes a really great artist in the late nudes, above all in Les Grandes Baigneuses". David Sylvester, quoted by Wadley, page 378.

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