Jean Renoir Sewing

Pascal Mérigeau, "Renoir Pére Fils," Exh cat. (Musée d'Orsay, The Barnes Foundation/ Flammarion, 2018), 68-77, #22

Philadelphia, Barnes Foundation, Renoir: Father and Son, May 6- September 2, 2018, cat. 22; Paris, Museé d'Orsay, November 5, 2018 - January 28, 2019.

Daniel Marchesseau, Pierre-Auguste Renoir: Revoir Renoir, with contributions by Cécile Bertran, Augustin de Butler, Caroline Durand-Ruel Godfroy, et al., exh. cat. (Fondation Pierre Gianadda, 2014), p. 210 (ill.).

Cologne, Wallraf-Richartz-Museum & Fondation Corboud, Impressionismus: Wie das Licht auf die Leinwand kam, Feb. 29–June 22, 2008, cat. 155 (ill.); Florence, Palazzo Strozzi, as Impressionismo: Dipingere la luce, le tecniche nascoste di Monet, Renoir, e van Gogh, July 11–Sept. 28, 2008 (Cologne only).

Iris Schaefer, Caroline von Saint-George, and Katja Lewerentz, Impressionismo: Dipingere la luce, le tecniche nascoste de Monet, Renoir, e van Gogh, ed. Monica Maroni, exh. cat. (Foundazione Palazzo Strozzi/Wallraf-Richartz-Museum & Foundation Corboud/Skira, 2008), pp. 144; 147, ill. 155; 235.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 32 (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), p. 79, cat. 32 (ill.). 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), p. 79, cat. 32 (ill.).

Iris Schaefer, Caroline von Saint-George, and Katja Lewerentz, Impressionismus: Wie das Licht auf die Leinwand kam, exh. cat. (Wallraf-Richartz-Museum & Fondation Corboud/Skira, 2008), pp. 144; 147, fig. 155; 235. Translated as Iris Schaefer, Caroline von Saint-George, and Katja Lewerentz, Painting Light: The Hidden Techniques of the Impressionists, exh. cat. (Wallraf-Richartz-Museum & Fondation Corboud/Skira, 2008), pp. 147, ill. 155; 151; 235.

Katja Lewerentz, “Brief Report on Technology and Condition: Pierre-Auguste Renoir, Jean Renoir Sewing,” in Research Project: Painting Techniques of Impressionism and Postimpressionism (Wallraf-Richartz-Museum & Fondation Corboud/University of Applied Sciences, Cologne Institute for Conservation Sciences, 2008), pp. 2; 16, fig. 14 and fig. 15.

Columbia (S.C.) Museum of Art, Renoir!, Apr. 25–Oct. 1, 2007, no cat.

Gail Carolyn Sirna, In Praise of the Needlewoman: Embroiderers, Knitters, Lacemakers, and Weavers in Art (Merrell, 2006), pp. 138–39 (ill.).

Raymond Cogniat, Renoir: Enfants (Fernand Hazan, 1958), pl. 3.

Bruno F. Schneider, Renoir (Safari, [1957]), p. 79 (ill.). Translated into English by Desmond and Camille Clayton as Renoir (Crown, 1978), p. 79 (ill.).

Denver Art Museum, The Turn of the Century: Exhibition of Masterpieces, 1880–1920, Oct. 1–Nov. 18, 1956, cat. 38.

Los Angeles County Museum, Pierre Auguste Renoir 1841–1919: Paintings, Drawings, Prints and Sculpture, July 14–Aug. 21, 1955, cat. 58 (ill.); San Francisco Museum of Art, Sept. 1–Oct. 2, 1955.

Dorothy Bridaham, Renoir in the Art Institute of Chicago (Conzett & Huber, 1954), pl. 8.

Peyton Boswell, “Comments,” Art Digest 23, 10 (Feb. 15, 1949), p. 8 (ill.).

Art Institute of Chicago, “Notes,” Bulletin of the Art Institute of Chicago 42, 2, pt. 1 (Feb. 1948), p. 28 (ill.).

Art Digest 16, 17 (June 1, 1942), p. 15 (ill.).

Josephine L. Allen, “The Entire Ryerson Collection Goes to the Chicago Art Institute,” Art News 36, 21 (Feb. 19, 1938), p. 11.

Art Institute of Chicago, “Exhibition of the Ryerson Gift,” Bulletin of the Art Institute of Chicago 32, 1 (Jan. 1938), p. 4.

Toledo (Ohio) Museum of Art, Paintings by French Impressionists and Post-Impressionists, exh. cat. (Toledo Museum of Art, 1937), cat. 23 (ill.).

Toledo (Ohio) Museum of Art, Paintings by French Impressionists and Post-Impressionists, Nov. 7–Dec. 12, 1937, cat. 23 (ill.).

bequeathed to the Art Institute of Chicago, 1937.

Michel Florisoone, Renoir (Hypérion, 1937), pp. 69 (ill.), 166. Translated by into English by George Frederic Lees as Renoir (Hyperion, 1938), pp. 69 (ill.), 166.

Claude Roger-Marx, Renoir (H. Floury, 1933), p. 157.

sold to Martin A. Ryerson (d. 1932), Chicago, 1914

by descent to his wife Carrie Hutchinson Ryerson (1859–1937), Chicago, 1932 [Last Will and Testament of Martin A. Ryerson, Died August 11, 1932, copy in Institutional Archives, Art Institute of Chicago]

Renaissance Society of the University of Chicago, Some Modern Primitives: International Exhibition of Paintings and Prints, Summer 1931, July 2–Aug. 16, 1931, cat. 72.

Renaissance Society of the University of Chicago, Some Modern Primitives: International Exhibition of Paintings and Prints, Summer 1931, exh. cat. (Renaissance Society of the University of Chicago, 1931), cat. 72.

Denver Art Museum, The Turn of the Century: Exhibition of Masterpieces, 1880–1920, exh. cat. (Denver Art Museum, 1956), cat. 38.

Los Angeles County Museum and San Francisco Museum of Art, Pierre Auguste Renoir, 1841–1919: Paintings, Drawings, Prints, and Sculpture, exh. cat. (Los Angeles County Museum, 1955), pp. 17, cat. 58 (ill.); 52.

Art Institute of Chicago, “Notes,” Bulletin of the Art Institute of Chicago 9, 3 (Mar. 1, 1915), p. 40.

Possibly Durand-Ruel, Paris, by Apr. 1912. [this and the following per Dauberville and Dauberville 2010]

Durand-Ruel, Paris, Exposition de tableaux par Renoir, exh. cat. (Durand-Ruel, Paris, 1912), p. 4, no. 14.

Sakura, Kawamura Memorial Museum of Art, Runowāru ten/Renoir: Modern Eyes, April 3–May 16, 1999, cat. 67; Sendai, Miyagi Museum of Art, May 25–July 4, 1999; Sapporo, Hokkaido Museum of Modern Art, July 15–Aug. 29, 1999.

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), pp. 160–61, cat. 67 (ill.).

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 69; 72; 102, pl. 21; 111.

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 and Fort Worth only).

Birmingham (Ala.) Museum of Art, Fifty Years of French Painting: The Emergence of Modern Art, with a text by Barbara Chenoweth Shelton, exh. cat. (Birmingham Museum of Art, 1980), cat. 14 (ill.).

A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (University of Chicago Press, 1980), pp. 12; 66, cat. 3E9; microfiche 3, no. E9 (ill.).

Birmingham (Ala.) Museum of Art, Fifty Years of French Painting: The Emergence of Modern Art, Feb.1–Mar. 30, 1980, cat. 14 (ill.).

Walter Pach, Auguste Renoir: Leben und Werk (M. DuMont Schauberg, 1976), pp. 175; 183, fig. 75.

Roger Ebert, “Renoir’s Last, Fond Testament,” Chicago Sun Times, Aug. 30, 1974, p. 49 (ill.).

Thomas Willis, “Renoir on Renoir,” Chicago Tribune, Jan. 28, 1973, p. K55 (ill.).

Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pp. 164–65, cat. 69 (ill.); 184.

Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. 1, 1973, cat. 69 (ill.).

François Daulte, “Renoir: Son oeuvre regardé sous l’angle d’un album de famille,” Connaissance des arts 153 (Nov. 1964), p. 78, fig. 16.

Jean Renoir, Renoir (Hachette, 1962), p. 390. Translated by Randolph and Dorothy Weaver as Renoir: My Father (Little, Brown, 1962), p. 391.