Fruits of the Midi

Possibly Durand-Ruel, Paris, Catalogue de l’exposition des oeuvres de P.-A. Renoir, exh. cat. (Pillet & Dumoulin, 1883), p. 12, cat. 27.

Moore’s Art Galleries, New York, The Durand-Ruel Collection of French Paintings, sale cat. (Moore’s Art Galleries, May 5–6, 1887), p. 28, lot 92, as Fruit of the South.

Probably Paris, Durand-Ruel, Exposition des oeuvres de P.-A. Renoir, Apr. 1–25, 1883, cat. 27, as Nature morte (Naples).

“Cat. 14: Fruits of the Midi, 1881,” 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.

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. 96.

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. 135, cat. 44 (ill.).

Kyoko Kagawa, Runowaru [Pierre-Auguste Renoir], Seiyo Kaiga no Kyosho [Great masters of Western art] 4 (Shogakukan, 2006), p. 97 (ill.).

Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley, exh. cat. (Berry-Hill Galleries, 2003), p. 15, fig. 6.

Katsumi Miyazaki, “The Formal Elements of Renoir’s Art and His Relationship with Cézanne,” in Bridgestone Museum of Art and Nagoya City Art Museum, Renoir: From Outsider to Old Master, 1870–1892, trans. Yumiko Yamazaki, exh. cat. (Bridgestone Museum of Art/Nagoya City Art Museum/Chunichi Shimbun, 2001), pp. 183, fig. 64; 184; 237, fig. 64; 238.

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), p. 65 (ill.).

Bruno F. Schneider, Renoir (Safari, [1957]), pp. 61 (ill.), 68, 86. Translated into English by Desmond and Camille Clayton as Renoir (Crown, 1978), pp. 61 (ill.), 68, 86.

Michel Drucker, Renoir (Pierre Tisné, 1955), pl. 74; p. 154.

Dorothy Bridaham, Renoir in the Art Institute of Chicago (Conzett & Huber, 1954), pl. 6.

Walter Pach, Pierre-August Renoir, Library of Great Painters (Abrams, 1950), pp. 72–73 (ill.). Translated as Auguste Renoir: Leben und Werk (M. DuMont Schauberg, 1976), pp. 109, pl. 13; 116; 168.

Cambridge, Mass., Fogg Art Museum, Loan Exhibition of Paintings of Still Life, Apr. 28–May 24, 1947, no cat.

“Chicago Perfects Its Renoir Group,” Art News 44, 16, pt. 1 (Dec. 1–14, 1945), p. 18 (ill.).

Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Art Institute of Chicago, 1945), p. 36.

Rosamund Frost, Pierre August Renoir, Hyperion Art Monographs, ed. Aimèe Crane (Hyperion/Duell, Sloan and Pearce, 1944), p. 43 (ill.).

Henry McBride, “The Renoirs of America: An Appreciation of the Metropolitan Museum’s Exhibition,” Art News 35, 31 (May 1, 1937), p. 60.

Albert C. Barnes and Violette de Mazia, The Art of Renoir (Minton, Balch, 1935), pp. 77; 79; 88; 132; 453, no. 115.

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 232.

Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture, 1934, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1934), p. 39, cat. 232.

Daniel Catton Rich, “The Paintings of Martin A. Ryerson,” Bulletin of the Art Institute of Chicago 27, 1 (Jan. 1933), p. 9.

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 53 (detail); 54–55; 57; 94, pl. 13; 110.

Pamela Todd, The Impressionists’ Table: A Celebration of Regional French Food through the Palettes of the Great Impressionists (Pavilion, 1997), pp. 156 (ill.), 192.

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. 18.

Natalia Brodskaïa, Auguste Renoir: He Made Colour Sing, trans. Paul Williams, Great Painters (Parkstone/Aurora Art, 1996), pp. 134–135, no. 29.

Francesca Castellani, Pierre-Auguste Renoir: La vita e l’opera (Mondadori, 1996), p. 156 (ill.).

Gerhard Gruitrooy, Renoir: A Master of Impressionism (Todtri, 1994), pp. 56–57 (detail), 65 (ill.).

Art Institute of Chicago, Chicago’s Dream, a World’s Treasure: The Art Institute of Chicago, 1893–1993, Nov. 1, 1993–Jan. 9, 1994, not in cat.

Art Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago, with an introduction by James N. Wood (Art Institute of Chicago/Abbeville, 1993), p. 85 (ill.).

Richard Verdi, Cézanne (Thames & Hudson, 1992), pp. 11, ill. 5; 211.

James Yood, Feasting: A Celebration of Food in Art; Paintings from the Art Institute of Chicago (Art Institute of Chicago/Universe, 1992), pp. 56–57, pl. 19 (ill. and detail).

Lesley Stevenson, Renoir (Bison, 1991), p. 119 (ill.).

Gilles Plazy, Cézanne, Profils de l’art (Chêne, 1991), p. 100, no. 2 (ill.).

Sophie Monneret, Renoir, Profils de l’art (Chêne, 1989), p. 98, no. 1 (ill.).

Leningrad [St. Petersburg], Hermitage Museum, Ot Delakrua do Matissa: shedevry frantsuzskoĭ zhivopici XIX-nachala XX veka, iz Muieia Metropoliten v Niu-Ĭorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great Paintings From the XIX century to the Beginning of the XXth century From Metropolitan Museum of Art in New York and the Art Institute of Chicago], March 15-May 19, 1988, cat. 22; Moscow, Pushkin Museum, June 10-July 30, 1988.

Leningrad (now Saint Petersburg), State Hermitage Museum, Ot Delakrua do Matissa: Shedevry frantsuzskoi zhivopisi XIX–nachala XX veka, iz Muzeia Metropoliten v N’iu-Iorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great masterpieces of French painting of the nineteenth to the beginning of the twentieth century from the Metropolitan Museum of Art, New York, and the Art Institute of Chicago], exh. cat. (Avrora, 1988), cat. 22 (ill.).

Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 66–67 (detail), 69 (ill.), 119.

Barbara Ehrlich White, Renoir: His Life, Art, and Letters (Abrams, 1984), p. 166.

Sophie Monneret, L’impressionnisme et son époque: Dictionnaire international illustré, vol. 2 (Denoël, 1979), p. 178 (ill.).

Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pp. 100–01, cat. 36 (ill.); 210; 211.

Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. 1, 1973, cat. 36 (ill.).

Elda Fezzi, L’opera completa di Renoir: Nel periodo impressionista, 1869–1883, Classici dell’arte 59 (Rizzoli, 1972), pp. 72, pl. 56; 110, cat. 486 (ill.).

François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. 1, Figures, 1860–1890 (Durand-Ruel, 1971), pp. 12–13.

Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 52, pl. 38; 160.

Barbara Ehrlich White, “Renoir’s Trip to Italy,” Art Bulletin 51, 4 (Dec. 1969), pp. 338; 339; 341; fig. 26; 346, no. 20.

New York, Acquavella Galleries, Four Masters of Impressionism, Oct. 24–Nov. 30, 1968, cat. 29 (ill.).

Acquavella Galleries, Four Master of Impressionism, exh. cat. (Acquavella Galleries, 1968), cat. 29 (ill.).