Woman at the Piano

Possibly London, Dowdeswell and Dowdeswell, Paintings, Drawings and Pastels by Members of “La société des impressionnistes,” Apr.–July 1883, cat. 13, as Femme au piano.

Paul-Victor Poupin, Paris, by Apr. 1876 [per Catalogue de la 2e exposition de peinture, exh. cat. (Alcan-Lévy, 1876), p. 21, cat. 219, which lists Femme au piano as “appartient à M. Poupin”]. Possibly Durand-Ruel, Paris, by Apr. 1883 [per exhibition catalogue, cat. 13 is listed as Femme au piano with an asking price of £100, however Durand-Ruel Archives cannot confirm that the Art Institute’s painting was the one exhibited in London in April–July 1883

Catalogue de la 2e exposition de peinture, exh. cat. (Alcan-Lévy, 1876), p. 21, cat. 219.

Paris, 11, rue Le Peletier, 2e exposition de peinture [second Impressionist exhibition], Apr. 1876, cat. 219, as Femme au Piano. Appartient à M. Poupin.

Possibly Dowdeswell and Dowdeswell/Société des Impressionnistes, Catalogue of Paintings, Drawings and Pastels by Members of “La société des impressionnistes,” exh. cat. (Dowdeswell and Dowdeswell, 1883), p. 9, cat. 13.

Guillermo Solano, ed., Renoir: Intimacy, exh. cat. (Museo Thyssen-Bornemisza, 2016), pp. 70, 98-99, cat. 15 (ill).

Madrid, Museo Thyssen-Bornemisza, Renoir: Intimacy, Oct. 18, 2016-Jan. 22, 2017, cat. 15 (ill.).

Janet Whitmore, “Whitmore Reviews: Impressionism, Fashion and Modernity,” Nineteenth-Century Art Worldwide 13, 1 (Spring 2014), p. 20, fig. 8.

“Cat. 3: Woman at the Piano, 1875/76,” 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.

Musée d’Orsay, Paris, L’impressionnisme et la mode, Sept. 25, 2012–Jan. 20, 2013, cat. 100; Metropolitan Museum of Art, New York, Feb. 26–May 27, 2013, cat. 55, as Impressionism, Fashion, and Modernity; Art Institute of Chicago, June 26–Sept. 29, 2013.

Justine de Young, “Fashion and Intimate Portraits,” in Impressionism, Fashion, and Modernity, ed. Gloria Groom, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art/Musée d’Orsay/Yale University Press, 2012), pp. 120; 121, cat. 55 (ill.).

Gloria Groom, ed., Impressionism, Fashion, and Modernity, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art/Musée d’Orsay/Yale University Press, 2012), p. 289, cat. 55 (ill.).

Justine de Young, “La mode en portraits intimes,” in L’impressionnisme et la mode, ed. Gloria Groom, exh. cat. (Musée d’Orsay/Skira Flammarion, 2012), pp. 150; 158, cat. 100 (ill.).

Gloria Groom, “The Social Network of Fashion,” in Impressionism, Fashion, and Modernity, ed. Gloria Groom, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art/Musée d’Orsay/Yale University Press, 2012), p. 35.

Gloria Groom, ed., L’Impressionnisme et la mode, exh. cat. (Musée d’Orsay/Skira Flammarion, 2012), p. 301, cat. 100.

Gloria Groom, “Les réseaux mondains de la mode,” in L’impressionnisme et la mode, ed. Gloria Groom, exh. cat. (Musée d’Orsay/Skira Flammarion, 2012), p. 77.

Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago: “Il est possible qu’il s’agisse du même tableau mais nous n’avons aucun document nous le prouvant”]. Sold (possibly by the artist) to Durand-Ruel, Paris, Sept. 8, 1886, for 1,200 francs [per Durand-Ruel, Paris, stock book for 1884–90 (no. 1200, as La Femme au piano), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]. Possibly sold at Moore’s Art Galleries, New York, May 6, 1887, lot 93, for $675 [per Dauberville and Dauberville 2007. See also 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 93. However, according to the Durand-Ruel Archives, “Le tableau n’a pas été vendu en 1887 lors de la vente à la ‘Moore’s Art Galleries’: il s’agissait d’une vente fictive (aucun tableau n’a été vendu) destinée à faire de la publicité pour les tableaux apportés par Durand-Ruel à New York.” See Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]. Durand-Ruel, New York, by Dec. 16, 1911. [per Durand-Ruel, New York, stock book for 1888–93 (no. 112, as Jeune femme au piano), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 24 (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. 16 (ill.); 66–67, cat. 24 (ill.); 69. 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. 16 (ill.); 66–67, cat. 24 (ill.); 69.

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. 403, cat. 372 (ill.).

Kyoko Kagawa, Runowaru [Pierre-Auguste Renoir], Seiyo kaiga no kyosho [Great masters of Western art] 4 (Shogakukan, 2006), p. 25 (ill.).

Richard R. Brettell, “Gauguin’s Paintings in the Impressionist Exhibition of 1882,” in Richard R. Brettell and Anne-Brigitte Fonsmark, Gauguin and Impressionism, exh. cat. (Kimbell Art Museum/Ordrupgaard, 2005), pp. 158; 159, fig. 123.

Ann Dumas, “Renoir and the Feminine Ideal: An Introduction to Renoir’s Women,” in Ann Dumas and John Collins, Renoir’s Women, exh. cat. (Columbus Museum of Art/Merrell, 2005), pp. 26; 29, fig. 18.

John House, Impressionism: Paint and Politics (Yale University Press, 2004), pp. 56, 57, pl. 44.

Sylvie Patin, L’impressionisme (Bibliothèque des Arts, 2002), pp. 119; 120–21, fig. 88.

Michael Marrinan, “Caillebotte as Professional Painter: From Studio to the Public Eye,” in Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris, ed. Norma Broude (Rutgers University Press, 2002), pp. 50; 51, fig. 21.

Bridgestone Museum of Art and Nagoya City Art Museum, Renoir: From Outsider to Old Master, 1870–1892, exh. cat. (Bridgestone Museum of Art/Nagoya City Art Museum/Chunichi Shimbun, 2001), p. 84, fig. 40.

Patrick Shaw Cable, “Questions of Work, Class, Gender, and Style in the Art and Life of Gustave Caillebotte” (Ph.D. diss., Case Western Reserve University, 2000), pp. 47; 258, fig. 15.

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, 52 (ill.).

Renaud Temperini, “Estetiche della modernità,” in La pittura Francese, vol. 3, ed. Pierre Rosenberg, trans. Cosima Campagnolo, Valentina Palombi, and Stefano Salpietro (Electra, 1999), pp. 816, fig. 832; 818.

James Elkins, Why Are Our Pictures Puzzles? On the Modern Origins of Pictorial Complexity (Routledge, 1999), opp. p. 1, pl. 1; pp. xviii; 1; 4; 5, pl. 3; 8–9; 49; 78; 228.

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 6; 15 (detail); 28; 30; 46; 84, pl. 3; 109.

Charlotte Nalle Eyerman, “The Composition of Femininity: The Significance of the ‘Woman at the Piano’ Motif in Nineteenth-Century French Culture from Daumier to Renoir” (Ph.D. diss., University of California, Berkeley, 1997), pp. 143; 245, fig. 58.

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, 63 (ill.).

Michael Shapiro, ed., Rings: Five Passions in World Art, exh. cat. (High Museum of Art/Abrams, 1996), pp. 298–99 (ill.).

Atlanta, High Museum of Art, Rings: Five Passions in World Art, July 4–Sept. 29, 1996, no cat. no.

Karin Sagner-Düchting, Renoir: Paris and the Belle Époque, trans. Fiona Elliott (Prestel, 1996), p. 72 (ill.).

Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte: Urban Impressionist, exh. cat. (Réunion des Musées Nationaux/Musée d’Orsay/Art Institute of Chicago/Abbeville, 1995), p. 193, fig. 1. Translated into French by Jeanne Bouniort as Gustave Caillebotte: 1848–1894, exh. cat. (Réunion des Musées Nationaux, 1994), p. 231, fig. 1.

Nagaoka, Niigata Prefectural Museum of Modern Art, Shikago bijutsukan ten: Kindai kaiga no 100-nen [Masterworks of modern art from the Art Institute of Chicago], Apr. 20–May 29, 1994, cat. 6 (ill.); Nagoya, Aichi Prefectural Museum of Art, June 10–July 24, 1994; Yokohama Museum of Art, Aug. 6–Sept. 25, 1994.

Art Institute of Chicago and Niigata Prefectural Museum of Modern Art, Shikago bijutsukan ten: Kindai kaiga no 100-nen [Masterworks of modern art from the Art Institute of Chicago], exh. cat. (Asahi Shinbunsha, 1994), pp. 50–51, cat. 6 (ill.).

Gerhard Gruitrooy, Renoir: A Master of Impressionism (Todtri, 1994), p. 29 (ill.).

M. Therese Southgate, “The Cover,” JAMA: The Journal of the American Medical Association 270, 18 (Nov. 10, 1993), front cover (ill.), p. 2145.

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. 56 (ill.).

Violette de Mazia, “Form and Matter: The Form of Renoir’s Color,” Vistas (V.O.L.N./Barnes Foundation) 5, 2 (1991), pp. 15; pl. 38.

Raffaele De Grada, Renoir (Giorgio Mondadori, 1989), p. 48, pl. 27.

Sophie Monneret, Renoir, Profils de l’art (Chêne, 1989), pp. 64–65, fig. 3.

Birger Carlström, Hide-and-Seek: Text and Picture in the Pictures; Impressionists from Turner from [sic] Gainsborough (Carlström, 1989), pp. 42; 164, pl. 36; 165, pl. 36.

Robert Trachtenberg, “Great Art Where You Least Expect It: The Pioneers of Hollywood Art Colleting,” Spy (Sept. 1988), pp. 97–98.

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. 20; Moscow, Pushkin Museum, June 10-July 30, 1988.