Lunch at the Restaurant Fournaise (The Rowers' Lunch)

The artist

Paris, 11, rue Le Peletier, 2e exposition de peinture [second Impressionist exhibition], Apr. 1876, cat. 221, as Déjeûner chez Fournaise.

by descent to the Palmer family

Catalogue de la 2e exposition de peinture, exh. cat. (Alcan-Lévy, 1876), p. 21, cat. 221.

Washington, D.C., The Phillips Collection, Renoir and Friends: Luncheon of the Boating Party, Oct. 7, 2017-January 7, 2018, cat. 22 (ill.).

Eliza E. Rathbone, ed., Renoir and Friends: Luncheon of the Boating Party, exh. cat. (The Phillips Collection/ D Giles Limited, 2017), p. 45, cat. 22, 73, 110, 133.

Guillermo Solano, ed., Renoir: Intimacy, exh. cat. (Museo Thyssen-Bornemisza, 2016), cover page (ill).

Madrid, Museo Thyssen-Bornemisza, Renoir: Intimacy, Oct. 18 2016 - January 22 2017.

“Cat. 2: Lunch at the Restaurant Fournaise (The Rowers’ Lunch), 1875,” in Renoir Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https://publications.artic.edu/renoir/reader/paintingsanddrawings/section/138973.

Christopher Lloyd, “Coastal Adventures, Riparian Pleasures: The Impressionists and Boating,” in Christopher Lloyd, Daniel Charles, and Phillip Dennis Cate, with a contribution by Giles Chardeau, Impressionists on the Water, exh. cat. (Fine Arts Museums of San Francisco/Skira Rizzoli, 2013), pp. 28; 29, ill. 24.

Stefanie Manthey, “Chronology,” in Renoir: Between Bohemia and Bourgeoisie; The Early Years, ed. Nina Zimmer, exh. cat. (Kunstmuseum Basel/Hatje Cantz, 2012), p. 286.

Kunstmuseum Basel, Renoir: Between Bohemia and Bourgeoisie; The Early Years, Apr. 1–Aug. 12, 2012, cat. 40 (ill.).

Stefanie Manthey and Nina Zimmer, “Catalogue of Exhibited Works,” in Renoir: Between Bohemia and Bourgeoisie; The Early Years, ed. Nina Zimmer, exh. cat. (Kunstmuseum Basel/Hatje Cantz, 2012), pp. 114–15; 200–01, cat. 40 (ill.).

John House, “Catalogue 4: Luncheon (Le Déjeuner),” in Martha Lucy and John House, Renoir in the Barnes Foundation (Barnes Foundation/Yale University Press, 2012), p. 75, fig. 1.

John House, The Genius of Renoir: Paintings from the Clark, with an essay by James A. Ganz, exh. cat. (Sterling and Francine Clark Art Institute/Museo Nacional del Prado/Yale University Press, 2010), p. 59.

Art Institute of Chicago, A Case for Wine: From King Tut to Today, July 11–Sept. 20, 2009, no cat.

Anne Distel, Renoir (Citadelles & Mazenod, 2009), pp. 118–19, ill. 101; 190; 192.

Adrien Goetz, Comment Regarder . . . Renoir (Hazan, 2009), pp. 160–61 (ill.).

Peter Bürger, “Media Differences: Caillebotte and Maupassant as Storytellers,” in Anne Birgitte Fonsmark, Dorothee Hansen, and Gry Hedin, Gustave Caillebotte, exh. cat. (Hatje Cantz, 2008), pp. 24; 25, fig. 3.

Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), cover (detail); pp. 20 (ill.); 64–65, cat. 23 (ill.); 73; 111. Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2008), front cover (detail); pp. 20 (ill.); 64–65, cat. 23 (ill.); 73; 111.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 23 (ill.).

London, National Gallery, Renoir Landscapes, 1865–1883, Feb. 21–May 20, 2007, cat. 34 (ill.); Ottawa, National Gallery of Canada, June 8–Sept. 9, 2007; Philadelphia Museum of Art, Oct. 4, 2007–Jan. 6, 2008.

Guy-Patrice Dauberville and Michel Dauberville, with the collaboration of Camille Frémontier-Murphy, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 1, 1858–1881 (Bernheim-Jeune, 2007), p. 262, cat. 218 (ill.).

Colin B. Bailey, “‘The Greatest Luminosity, Colour, and Harmony’: Renoir’s Landscapes, 1862–1883,” in Renoir Landscapes, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, exh. cat. (National Gallery, London, 2007), pp. 58, fig. 38; 59. Translated as Colin B. Bailey, “‘Un maximum de luminosité; de coloration, et d’harmonie”: Les paysages de Renoir, 1862–1883,” in Les paysages de Renoir, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, trans. Marie-Françoise Dispa, Lise-Éliane Pomier, and Laura Meijer, exh. cat. (National Gallery, London/5 Continents, 2007), pp. 58, fig. 38; 59.

Robert McDonald Parker, “Topographical Chronology 1860–1883,” in Renoir Landscapes, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, exh. cat. (National Gallery, London, 2007), p. 275. Translated as Robert McDonald Parker, “Chronologie,” in Les paysages de Renoir, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, trans. Marie-Françoise Dispa, Lise-Éliane Pomier, and Laura Meijer, exh. cat. (National Gallery, London/5 Continents, 2007), p. 275.

Colin B. Bailey and Christopher Riopelle, eds., Renoir Landscapes, 1865–1883, exh. cat. (National Gallery, London, 2007), pp. 168; 170–71, cat. 34 (ill.); 210; 214. Translated by Marie-Françoise Dispa, Lise-Éliane Pomier, and Laura Meijer as Les paysages de Renoir, 1865–1883, exh. cat. (National Gallery, London/5 Continents, 2007), pp. 168; 170–71, cat. 34 (ill.); 210; 214.

Kyoko Kagawa, Runowaru [Pierre-Auguste Renoir], Seiyo kaiga no kyosho [Great masters of Western art] 4 (Shogakukan, 2006), p. 70 (ill.).

Eleanor Dwight, ed., The Letters of Pauline Palmer: A Great Lady of Chicago’s First Family (M. T. Train/Scala, 2005), pp. 301, 302–03 (ill.).

Art Institute of Chicago, Seurat and the Making of ‘La Grande Jatte,’ June 16-September 19, 2004, cat. 107 (ill.).

Robert L. Herbert et al., Seurat and the Making of “La Grande Jatte,” exh. cat. (Art Institute of Chicago/University of California Press, 2004), pp. 112, cat. 107 (ill.); 113; 277.

Norio Shimada, Inshoha bijutsukan [The history of Impressionism] (Shogakukan, 2004), pp. 144–45 (ill.).

Christie’s, London, Impressionist and Modern Art Evening Sale, sale cat. (Christie’s, Feb. 3, 2003), p. 31 (ill.).

Sylvie Patin, L’impressionisme (Bibliothèque des Arts, 2002), p. 119.

Art Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 2000), pp. 9, 43, 45 (ill.), 50, 71, 77.

Amsterdam, Van Gogh Museum, Theo van Gogh (1857–1891): Art Dealer, Collector, and Brother of Vincent, June 24–Sept. 5, 1999, cat. 125 (ill.); Paris, Musée d’Orsay, Sept. 27, 1999–Jan. 9, 2000.

Charlotte Gere and Marina Vaizey, Great Woman Collectors (Philip Wilson/Abrams, 1999), p. 133.

Richard Thomson, “Theo van Gogh: An Honest Broker,” in Chris Stolwijk and Richard Thomson, with a contribution by Sjraar van Heugten, Theo van Gogh (1857–1891): Art Dealer, Collector, and Brother of Vincent, exh. cat. (Van Gogh Museum/Waanders, 1999), pp. 123; 125, cat. 125 (ill.).

Kawamura Memorial Museum of Art, Miyagi Museum of Art, and Hokkaido Museum of Modern Art, Runowāru ten/Renoir: Modern Eyes, exh. cat. (Hokkaido Shinbunsha, 1999), p. 185, fig. 5.

Chris Stolwijk and Richard Thomson, with a contribution by Sjraar van Heugten, Theo van Gogh (1857–1891): Art Dealer, Collector, and Brother of Vincent, exh. cat. (Van Gogh Museum/Waanders, 1999), p. 216, cat. 125.

Colin B. Bailey, with the assistance of John B. Collins, Renoir’s Portraits: Impressions of an Age, exh. cat. (National Gallery of Canada/Yale University Press, 1997), pp. 186; 308, n. 8. Translated by Danielle Chaput and Julie Desgagné, with support from Nada Kerpan for the texts by Linda Nochlin, as Les portraits de Renoir: Impressions d’une époque, exh. cat. (Gallimard/Musée des Beaux-Arts du Canada, 1997), pp. 186; 308, n. 8.

Washington, D.C., Phillips Collection, Impressionists on the Seine: A Celebration of Renoir’s “Luncheon of the Boating Party,” Sept. 21, 1996–Feb. 23, 1997, cat. 40 (ill.).

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 6; 8 (detail); 27–28; 30; 35; 47–48; 59; 72; 83, pl. 2; 109.

Ottawa, National Gallery of Canada, Renoir’s Portraits: Impressions of an Age, June 27–Sept. 14, 1997, not in cat.; Art Institute of Chicago, Oct. 17, 1997–Jan. 4, 1998; Fort Worth, Tex., Kimbell Art Museum, Feb. 8–Apr. 26, 1998 (Chicago only).

see John Collins to the Art Institute of Chicago, July 28, 1997, curatorial object file, Art Institute of Chicago]

Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 51, 103.

Eliza E. Rathbone, “Renoir’s Luncheon of the Boating Party: Tradition and the New,” in Eliza E. Rathbone, Katherine Rothkopf, Richard R. Brettell, and Charles S. Moffett, Impressionists on the Seine: A Celebration of Renoir’s “Luncheon of the Boating Party,” exh. cat. (Phillips Collection/Counterpoint, 1996), p. 32.

Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. 2, Exhibited Works (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 44–45, 63 (ill.).

Eliza E. Rathbone, Katherine Rothkopf, Richard R. Brettell, and Charles S. Moffett, Impressionists on the Seine: A Celebration of Renoir’s “Luncheon of the Boating Party,” exh. cat. (Phillips Collection/Counterpoint, 1996), pp. 198, pl. 40; 258.

Francesca Castellani, Pierre-Auguste Renoir: La vita e l’opera (Mondadori, 1996), p. 129 (ill.).