Madame Léon Clapisson

Catalogue illustré du Salon, under the direction of F.-G. Dumas, exh. cat. (Librairie d’Art L. Baschet, 1883), p. 44, cat. 2031.

Explication des ouvrages de peinture, sculpture, architecture, gravure et lithographie des artistes vivants (Bernard, 1883), p. 185, cat. 2031.

Paris, Palais des Champs-Élysées, Société des Artistes Français, Salon, May 1–June, 1883, cat. 2031, as Portrait de Mme C. . . .

by descent to Marie Henriette Valentine Billet Clapisson (wife), Neuilly, 1894

photocopy in curatorial object file]

Galerie Georges Petit, Exposition internationale de peinture et de sculpture, cinquième année, exh. cat. (Renou & Maulde, 1886), p. 23, cat. 125.

Elisabeth Malkin, "When Europe's Art Turned Red: A Mexico City Exhibition Celebrates a Dye Made from Cochineal Insects. It Changed the Colors in Paintings," New York Times, November 28, 2017, ill.

Mexico City, El Museo del Palacio de Bellas Artes, Rojo mexicano: la grana cochinilla en el arte [Mexican Red: Cochineal and its Use by the Great Painters], Nov. 10, 2017-Feb. 4, 2018, cat. 43.

Museo del Palacio de Bellas Artes, Rojo mexicano: la grana cochinilla en el arte, exh. cat. Instituto Nacional de Bellas Artes/ Museo del Palacio de Bellas Artes, 2017), p. 56, cat. 43, 57, 379.

“Cat. 17: Madame Léon Clapisson, 1883,” 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.

Art Institute of Chicago, Renoir's True Colors: Science Solves a Mystery, Feb. 12 - April 27, 2014, no cat.

Colin B. Bailey, Renoir, Impressionism, and Full-Length Painting, exh. cat. (Frick Collection/Yale University Press, 2012), pp. 168; 170, fig. 2.

Julie L’Enfant, Pioneer Modernists: Minnesota’s First Generation of Women Artists (Afton, 2011), p. 161 (ill.).

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. 77.

Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 2, 1882–1894 (Bernheim-Jeune, 2009), p. 242, cat. 1065 (ill.).

Anne Distel, Renoir (Citadelles & Mazenod, 2009), pp. 178, ill. 164; 182–83; 186; 240; 380–81.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 31 (ill.).

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), pp. 77; 78, cat. 31 (ill.); 83. 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), pp. 77; 78, cat. 31 (ill.); 83.

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. 278. 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. 279.

Christie’s, London, Impressionist and Modern Art Evening Sale, sale cat. (Christie’s, London, Feb. 2, 2004), p. 26, fig. 1 (ill.).

Christie’s, London, Impressionist and Modern Art Evening Sale, sale cat. (Christie’s, London, June 24, 2003), p. 68, fig. 3.

San Diego Museum of Art, Idol of the Moderns: Pierre-Auguste Renoir and American Painting, June 29–Sept. 15, 2002, cat. 3 (ill.); El Paso (Tex.) Museum of Art, Nov. 3, 2002–Feb. 16, 2003.

Anne E. Dawson, Idol of the Moderns: Pierre-August Renoir and American Painting, exh. cat. (San Diego Museum of Art, 2002), pp. 22, no. 3 (ill.); 72.

Sona Johnston, with the assistance of Susan Bollendorf, Faces of Impressionism: Portraits from American Collections, exh. cat. (Baltimore Museum of Art/Rizzoli, 1999), p. 25.

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. 202–03, cat. 46 (ill.); 204; 316–17, cat. 46; 319, n. 10. 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. 202–03, cat. 46 (ill.); 204; 316–17, cat. 46; 319, n. 10.

Anne Distel, “Appendix II: The Notebooks of Léon Clapisson,” in 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), p. 354. Translated as Anne Distel, “Annexe II: Les carnets de Léon Clapisson,” in Colin B. Bailey, with the assistance of John B. Collins, Les portraits de Renoir: Impressions d’une époque, trans. Danielle Chaput and Julie Desgagné, exh. cat. (Gallimard/Musée des Beaux-Arts du Canada, 1997), p. 354.

Christie’s, New York, Impressionist and Modern Paintings, Drawings and Sculpture, pt. 2, sale cat. (Christie’s, New York, Nov. 11, 1997), p. 44 (ill.).

Colin B. Bailey, “Portrait of the Artist as a Portrait Painter,” in 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. 8, 19. Translated as Colin B. Bailey, “Portrait de l’artiste en portraitiste,” in Colin B. Bailey, with the assistance of John B. Collins, Les portraits de Renoir: Impressions d’une époque, trans. Danielle Chaput and Julie Desgagné, exh. cat. (Gallimard/Musée des Beaux-Arts du Canada, 1997), pp. 11, 19.

Commissioned by Louis Léon Clapisson (husband of sitter), Neuilly, for 3,000 francs [per Bailey 1997]

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 56; 57–59; 60; 96, pl. 15 (ill.); 110.

Anne Distel, “Léon Clapisson: Patron and Collector,” in 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. 77; 78, cat. 46 (ill.); 80; 85, n. 33. Translated as Anne Distel, “Portrait de Monsieur Clapisson en mécène,” in Colin B. Bailey, with the assistance of John B. Collins, Les portraits de Renoir: Impressions d’une époque, trans. Danielle Chaput and Julie Desgagné, exh. cat. (Gallimard/Musée des Beaux-Arts du Canada, 1997), pp. 77; 78, cat. 46 (ill.); 80; 86, n. 33.

Ottawa, National Gallery of Canada, Renoir’s Portraits: Impressions of an Age, June 27–Sept. 14, 1997, cat. 46 (ill.); Art Institute of Chicago, Oct. 17, 1997–Jan. 4, 1998; Fort Worth, Tex., Kimbell Art Museum, Feb. 8–Apr. 26, 1998.

Raffaele De Grada, Renoir (Giorgio Mondadori, 1989), p. 15.

Sophie Monneret, Renoir, Profils de l’art (Chêne, 1989), p. 154, fig. 7.

Nicholas Wadley, ed., Renoir: A Retrospective (Hugh Lauter Levin/Macmillan, 1987), pp. 158, 161, 162 (ill.).

Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Arts Council of Great Britain, 1985), pp. 113, cat. 70 (ill.); 221; 238, cat. 70 (ill.); 301.

Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 176; 224–25, cat. 69 (ill.); 380.

London, Hayward Gallery, Renoir, Jan. 30–Apr. 21, 1985, cat. 70 (ill.); Paris, Galeries Nationales du Grand Palais, May 14–Sept. 2, 1985, cat. 69 (ill.); Boston, Museum of Fine Arts, Oct. 9, 1985–Jan. 5, 1986.

Barbara Ehrlich White, Renoir: His Life, Art, and Letters (Abrams, 1984), pp. 126, 129, 132 (ill.), 298.

Diane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. 256 (ill.), 438.

Diane Kelder, The Great Book of French Impressionism, Tiny Folios (Abbeville, 1980), p. 163, pl. 22.

Sophie Monneret, L’impressionnisme et son époque: Dictionnaire international illustré, vol. 2 (Denoël, 1979), pp. 173, 175.

J. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Crown, 1979), pp. 74–75 (ill.).

Sophie Monneret, L’impressionnisme et son époque: Dictionnaire international illustré, vol. 1 (Denoël, 1979), p. 138.

Wildenstein, Renoir: The Gentle Rebel; A Loan Exhibition for the Benefit of the Association for Mentally Ill Children, with a foreword by François Daulte, exh. cat. (Wildenstein, 1974), cat. 26 (ill.).

New York, Wildenstein, Renoir: The Gentle Rebel; A Loan Exhibition for the Benefit of the Association for Mentally Ill Children, Oct. 24–Nov. 30, 1974, cat. 26 (ill.).

Barbara Ehrlich White, “The Bathers of 1887 and Renoir’s Anti-Impressionism,” Art Bulletin 55, 1 (Mar. 1973), p. 122.

Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. 1, 1973, cat. 45 (ill.).

Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pl. 8; pp. 15; 100; 118–19, cat 45 (ill.); 182; 202; 208 (detail); 209 (detail); 211; 214.