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About This Artwork
Workers' Daughters on the Outer Boulevard (Illustration for Emile Zola's "L'Assommoir"), 1877/78
Pen and brown ink, over black chalk, on ivory laid paper
275 x 399 mm
Signed recto, bottom left: "Renoir"
The Regenstein Collection, 1986.420
Prints and Drawings
Not on Display
This work is featured in the online catalogue Renoir Paintings and Drawings at the Art Institute of Chicago, the second volume in the Art Institute’s scholarly digital series on the Impressionist circle. The catalogue offers in-depth curatorial and technical entries on 25 artworks by Pierre-Auguste Renoir in the museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.
New York, De Hauke and Company, Watercolors and Drawings of the 19th and 20th Century, Dec. 1929, no cat.313
Providence, Rhode Island School of Design, Drawings and Paintings from the Collection of Mr. John Nicholas Brown, Apr. 2–27, 1931, no. cat.314
Buffalo, N.Y., Albright Art Gallery, Master Drawings, Jan. 1935, cat. 122 (ill.).
New London, Conn., Lyman Allyn Museum, Drawings, Mar. 2–Apr. 15, 1936, cat. 162.
Boston, Museum of Fine Arts, Art in New England, June 8–Sept. 10, 1939, cat. 200 (ill.).
San Francisco, Calif., Palace of Fine Arts, Master Drawings: An Exhibition of Drawings from American Museums and Private Collections, 1940, pp. 22, 87, cat. 85 (ill.).
Omaha, Neb., Joslyn Art Museum, Dec. 1941.315
San Francisco, California Palace of the Legion of Honor, 19th Century French Drawings, Mar. 8–Apr. 6, 1947, p. 64, cat. 105 (ill.).
Rotterdam, Boymans Museum, French Drawings in American Collections, 1958, cat. 181, pl. 165; Paris, Musée de Orangerie, 1959; New York, Metropolitan Museum of Art, 1959.
Newark, N.J., Newark Museum, Nineteenth Century Master Drawings, Mar. 16–Apr. 30, 1961, cat. 45 (ill.).
Cambridge, Mass., Fogg Art Museum, Forty Master Drawings from the Collection of John Nicholas Brown, Summer 1962, cat. 23.
Art Institute of Chicago, Masterpieces from the Helen Regenstein Collection, 1974–1989, Feb. 2–May 8, 1990, no cat.
New York, Frick Collection, From Pontormo to Seurat: Drawings Recently Acquired by The Art Institute of Chicago, Apr. 23–July 7, 1991, cat. 51; Art Institute of Chicago, Sept. 10, 1991–Jan. 5, 1992.
Vienna, Albertina, Impressionism: Pastels, Watercolors, Drawings, Feb. 9–May 13, 2012, p. 239, cat. 138 (ill.).
Théodore Duret, Histoire des peintres impressionistes (H. Floury, 1906), p. 102 (ill.).
Ambroise Vollard, La vie et l’oeuvre de Pierre-Auguste Renoir (A. Vollard, 1919), p. 161 (ill.).
Joachim Gasquet, “Le paradis de Renoir,” L’amour de l’art 2 (Feb. 1921) (ill.).
Kimon Nicolaides, The Natural Way to Draw (Houghton Mifflin, 1941), p. 98 (ill.).316
John Rewald, Renoir Drawings (H. Bittner, 1946), p. 15–16, no. 4 (ill.).
H. J. Wechsler, French Impressionists and Their Circle (Abrams, 1953), fig. 4, (ill.).
Ira Moskowitz, Great Drawings of All Time, vol. 3 (Shorewood, 1962), no. 798 (ill.).
Barbara Ehrlich White, Renoir: His Life, Art, and Letters (Abrams, 1984) pp. 83–84 (ill.).
Sophie Monneret, Renoir, Profils de l’art (Chêne, 1989) n.p., fig. 2 (ill.).
Hollis Clayson, Painted Love: Prostitution in French Art of the Impressionist Era (Yale University Press, 1991) p. 73–75, fig. 39 (ill.).
Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997) p. 31–37, 83, no. 5, 109 (ill.).
Art Institute of Chicago, Treasures from The Art Institute of Chicago, selected by James N. Wood, commentaries by Debra N. Mancoff (Art Institute of Chicago/Hudson Hills, 2000), p. 206 (ill.).
Martha Tedeschi, “Pierre Auguste Renoir, Workers’ Daughters on the Outer Boulevard (Illustration for Emile Zola’s ‘L’Assommoir’), 1877/78,” in “Maineri to Miró: The Regenstein Collection since 1975,” special issue, Art Institute of Chicago Museum Studies 26, 1 (2000), pp. 78–79, no. 34 (ill.).
Suzanne Folds McCullagh, “‘A Lasting Monument’: The Regenstein Collection at The Art Institute of Chicago,” special issue, Art Institute of Chicago Museum Studies 26, 1 (2000), p. 13.
Paul Hayes Tucker, “Renoir in the 1870s and ’80s: Modernity, Tradition, and Individuality,” in Renoir: From Outsider to Old Master, 1870–1892, exh. cat. (Chūnichi Shinbunsha, 2001), p. 220, fig. 11.
Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins, et aquarelles, vol. 3, 1858–1881 (Bernheim-Jeune, 2007), p. 619, no. 664 (ill.).
Sold by Maurice Sachs (1906–1945), Paris, to De Hauke and Company, Inc., New York, July 1, 1929 [De Hauke and Company purchase book, p. 54, stock no. 1462, in Jacques Seligmann & Co. records, 1904–1978, bulk 1913–1974. Archives of American Art, Smithsonian Institution, box 408, folder 4.]; sold to John Nicholas Brown II (1900–1979), Newport, R.I., Oct. 16, 1929 [De Hauke and Company sale book, p. 59, in Jacques Seligmann & Co. records, 1904–1978, bulk 1913–1974. Archives of American Art, Smithsonian Institution, box 408, folder 5.]; estate of John Nicholas Brown II, Newport, R.I., from 1979.; sold to David Tunick, Inc., New York, c. 1986; sold to the Art Institute of Chicago, 1986.