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About This Artwork
Lucie Berard (Child in White), 1883
Oil on canvas
61.3 x 49.8 cm (24 3/8 x 19 5/8 in.)
Inscribed upper right: Renoir 83
Mr. and Mrs. Martin A. Ryerson Collection, 1933.1172
Here Pierre-Auguste Renoir portrayed the three-year-old daughter of his patron Paul-Antoine Berard as a picture of innocence. Dressed in white, with her small, soft hands positioned rather helplessly at her sides, she looks out past the viewer, as though toward her future. This is one of a number of portraits of members of the Berard family that Renoir made.
— Permanent collection label
Paris, Grand Palais des Champs-Élysées, Salon d’Automne, October 18–November 25, 1905, cat. 1322, as Portrait d’enfant en robe blanche.
Paris, Bernheim-Jeune, Exposition Renoir, March 10–29, 1913, cat. 25, as L’Enfant en Robe Blanche. App. à M. R.
Pittsburgh, Carnegie Institute, Paintings: Edouard Manet, Pierre Renoir, Berthe Morisot, October–December 1924, no. 20.
Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, May 23–November 1, 1933, cat. 339.
Philadelphia, Pennsylvania Museum of Art, Manet and Renoir, November 29, 1933–January 1, 1934, no cat. no.
Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1–October 31, 1934, cat. 227.
Art Institute of Chicago, Paintings by Renoir, February 3–April 1, 1973, cat. 46.
Sydney, Art Gallery of New South Wales, Modern Masters, Manet to Matisse, April 10–May 11, 1975, cat. 96; traveled to Melbourne, National Gallery of Victoria, May 28–June 22, 1975; New York, Museum of Modern Art, August 4–September 28, 1975.
Tokyo, Seibu Museum of Art, Shikago Bijutsukan Insho-ha ten (The Impressionist Tradition: Masterpieces from the Art Institute of Chicago), October 18–December 17, 1985, cat. 37; Fukuoka Art Museum, January 5–February 2, 1986; Kyoto Municipal Museum of Art, March 4–April 13, 1986.
Ottawa, National Gallery of Canada, Renoir’s Portraits: Impressions of an Age, June 27–September 14, 1997, cat. 47; traveled to Art Institute of Chicago, October 17, 1997–January 4, 1998; Fort Worth, Texas, Kimbell Art Museum, February 8–April 26, 1998.
Rome, Galleria nazionale d’arte moderna e contemporanea, loan exchange, August 21, 2001–January 13, 2002.
Columbia, South Carolina, Columbia Museum of Art, Renoir!, April 25–October 1, 2007, no. cat.
Fort Worth, Texas, Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 30.
Renoir, preface by Octave Mirbeau (Paris: Bernheim-Jeune, 1913), opp. p. 22 (ill.), p. 58.
Art Institute of Chicago, General Catalogue of Paintings, Sculpture and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1914), p. 211, no. 2144.
Guillaume Janneau, “Impressions d’Amérique,” Le Bulletin de la vie artistique 2, 8 (April 15, 1921), p. 237 (ill.).
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1925), p. 162, cat. 2153.
M. C., “Renoirs in the Institute,” Bulletin of the Art Institute of Chicago 19, 4 (April 1925), pp. 48, 49 (ill.).
Ambroise Vollard, Renoir: An Intimate Record, trans. Harold L. Van Doren and Randolph T. Weaver (New York: Alfred A Knopf, 1925), p. 241.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), p. 186, no. 455.13.
Daniel Catton Rich, “Französische Impressionisten im Art Institute zu Chicago,” Pantheon 11, 3 (1933), p. 78.
Pennsylvania Museum of Art, “Manet and Renoir,” The Pennsylvania Museum Bulletin 29, 158 (December 1933), p. 19.
Albert C. Barnes and Violette de Mazia, The Art of Renoir (New York: Minton, Balch & Co., 1935), pp. 77n, 78n, 271, no. 134 (ill.), 455, no. 134.
Maurice Bérard, Une famille du Dauphiné: les Berard, notice historique et genealogique (Paris: Laroze, 1937), fig. 35.
Maurice Bérard, Renoir à Wargemont, Maitres du XIXe siècle, (Paris: Larose, 1938), n.p (ill.).
R. H. Wilenski, Modern French Painters (New York: Reynal & Hitchcook, 1940), p. 338; reprinted (Faber & Faber, 1944).
Art Institute of Chicago, Masterpieces in the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1952), n. p. (ill.).
Dorothy Bridaham, Renoir in the Art Institute of Chicago (Zurich: Conzett & Huber, 1954), pl. 7.
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), p. 397.
John Maxon, The Art Institute of Chicago (New York: Harry N. Abrams, 1970), pp. 267 (ill.), 285; reprinted (Thames and Hudson, 1977 and Thames and Hudson, 1987).
François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, Vol. I, Figures, 1860–1890 (Lausanne: Éditions Durand-Ruel, 1971), pp. 306–07, cat. 449 (ill.).
Elda Fezzi, L'opera completa di Renoir nel periodo impressionista, 1869-1883, Classici dell’arte 59 (Milan: Rizzoli, 1972), pp. 113, cat. 564, 114, cat. 564 (ill.); reprinted (Rizzoli Editore, 1981); translation (Flammarion, 1985).
François Daulte, “Renoir et la famille Bérard,” L’Oeil no. 223 (1974), p. 5, fig. 7.
Barbara Ehrlich White, Renoir: His Life, Art, and Letters (New York: Harry N. Abrams, 1984), pp. 129, 132 (ill.), 150.
Anne Distel, “Charles Deudon (1832–1914) collectionneur,” Revue de l’art 86 (1989), p. 62, n. 3.
Art Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago, introduction by James N. Wood (New York: Abbeville Press, 1993), p. 91 (ill.).
Götz Adriani, Renoir, exh. cat. (Cologne: DuMont Buchverlag, 1996), p. 227, n. 6.
Douglas W. Druick, Renoir, Artists in Focus (Chicago: Art Institute of Chicago/Harry N. Abrams, 1997), pp. 59–60, 97, pl. 16, 110.
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. (New Haven: Yale University Press and National Gallery of Canada, Ottawa, 1997), p. 19
John B. Collins, “Seeking l’esprit gaulois: Renoir’s Bal du Moulin de la Galette and aspects of French social history and popular culture” (Ph.D. diss., McGill University, 2001), p. 86.
Gilles Néret, Renoir: Painter of Happiness, 1841–1919 (Cologne: Taschen, 2001), pp. 246 (ill.), 264.
Sotheby’s, London, Impressionists & Modern Art Evening Sale, sale cat. (Sotheby’s, June 23, 2003), pp. 16, fig. 2, 17.
Robert McDonald Parker, “Topographical Chronology 1860–1883,” in Renoir Landscapes 1865–1883, exh. cat. (London: National Gallery, 2007), p. 279.
Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Chicago: Art Institute of Chicago and New Haven: Yale University Press, 2008), p. 77, cat. 30 (ill.); revised edition (Art Institute of Chicago and Yale University Press, 2010).
Guy-Patrice Dauberville and Michel Dauberville, with the collaboration of Camille Frémontier-Murphy, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, 1882–1894, vol. 2 (Paris; Éditions Bernheim-Jeune, 2009), p. 335, cat. 1229 (ill.).
Anne Distel, Renoir (Paris: Citadelles & Mazenod, 2009), pp. 228–29, fig. 211.
Colin B. Bailey, Renoir, Impressionism, and Full–Length Painting, exh. cat. (New York: Frick Collection in association with Yale University Press, 2012), p. 199.
Commissioned by the sitter’s father, Paul Bérard (1833–1905), Wargemont and Paris [see Bailey 1997]; sold at his estate sale, Galerie Georges Petit, Paris, May 8–9, 1905, lot 20, to the sitter’s husband, J.E.D. Pieyre Lacombe de Mandiargues (1879–1916), for 10,030 francs [a handwritten note from Mme Maurice Bérard (wife of a Bérard family descendant) to the Art Institute of Chicago, in curatorial file, identifies the sitter as “…Lucie Bérard Mme Pieyre de Mandiargues”]; J.E.D. Pieyre Lacombe de Mandiargues (died 1916). Schoeller [according to Dauberville 2009]. Sold to Bernheim-Jeune, Paris, May 25, 1912, for 11,000 francs [according to Dauberville 2009 and Bailey 2007]; sold by Bernheim-Jeune to Martin A. Ryerson (died 1932), Chicago, February 26, 1913, for 23,500 francs [according to receipt, in curatorial file]; bequeathed to the Art Institute of Chicago, 1933.