About This Artwork

Pierre-Auguste Renoir
French, 1841-1919

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

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Renoir in the museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.

Exhibition, Publication and Ownership Histories

Exhibition History

Possibly Paris, Durand-Ruel, Exposition des oeuvres de P.-A. Renoir, Apr. 1–25, 1883, cat. 20, as Portrait. Appartenant à M. Berard.

Paris, Grand Palais des Champs-Élysées, Salon d’automne, Oct. 18–Nov. 25, 1905, cat. 1322, as Portrait d’enfant en robe blanche.

Paris, Bernheim-Jeune, Exposition Renoir, Mar. 10–29, 1913, cat. 25, as L’enfant en robe blanche. App. à M. R.

Pittsburgh, Carnegie Institute, Paintings: Édouard Manet, Pierre Renoir, Berthe Morisot, Oct. 15–Dec. 1, 1924, cat. 20.

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 339.

Philadelphia, Pennsylvania Museum of Art, Manet and Renoir, Nov. 29, 1933–Jan. 1, 1934, no cat. no.

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 227.

Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. 1, 1973, cat. 46 (ill.).

Sydney, Art Gallery of New South Wales, Modern Masters, Manet to Matisse, Apr. 10–May 11, 1975, cat. 96 (ill.); Melbourne, National Gallery of Victoria, May 28–June 22, 1975; New York, Museum of Modern Art, Aug. 4–Sept. 28, 1975.

Tokyo, Seibu Museum of Art, Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], Oct. 18–Dec. 17, 1985, cat. 37 (ill.); Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986.

Ottawa, National Gallery of Canada, Renoir’s Portraits: Impressions of an Age, June 27–Sept. 14, 1997, cat. 47 (ill.); Art Institute of Chicago, Oct. 17, 1997–Jan. 4, 1998; Fort Worth, Tex., Kimbell Art Museum, Feb. 8–Apr. 26, 1998.

Rome, Galleria Nazionale d’Arte Moderna e Contemporanea, Aug. 21, 2001–Jan. 23, 2002.

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

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 30 (ill.).

Publication History

Possibly Durand-Ruel, Paris, Catalogue de l’exposition des oeuvres de P.-A. Renoir, exh. cat. (Pillet et Dumoulin, 1883), p. 11, cat. 20.

Société du Salon d’Automne, Catalogue de peinture, dessin, sculpture, gravure, architecture et art décoratif, exh. cat. (Cie Français des Papiers-Monnaie, 1905), p. 146, cat. 1322.

Bernheim-Jeune, Paris, Exposition Renoir, exh. cat. (Bernheim-Jeune, 1913), cat. 25.

Bernheim-Jeune, Renoir, with a preface by Octave Mirbeau (Bernheim-Jeune, 1913), opp. p. 22 (ill.), p. 58.

Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum (Art Institute of Chicago, 1914), p. 211, cat. 2144.

Guillaume Janneau, “Impressions d’Amérique,” Le bulletin de la vie artistique 2, 8 (Apr. 15, 1921), p. 237 (ill.).

Carnegie Institute, Exhibition of Paintings: Edouard Manet, Pierre Renoir, Berthe Morisot, exh. cat. (Carnegie Institute, [1924]), no. 20.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 162, cat. 2153.

M. C., “Renoirs in the Institute (Continued),” Bulletin of the Art Institute of Chicago 19, 4 (Apr. 1925), pp. 48, 49 (ill.).

Ambroise Vollard, Renoir: An Intimate Record, trans. Harold L. Van Doren and Randolph T. Weaver (Knopf, 1925), p. 241.

Daniel Catton Rich, “Französische Impressionisten im Art Institute zu Chicago,” Pantheon: Monatsschrift für Freunde und Sammler der Kunst 11, 3 (Mar. 1933), p. 78. Translated by C. C. H. Drechsel as “French Impressionists in the Art Institute of Chicago,” Pantheon/Cicerone (Mar. 1933), p. 18.

Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1933), p. 48, cat. 339.

Pennsylvania Museum of Art, “Manet and Renoir,” Pennsylvania Museum Bulletin 29, 158 (Dec. 1933), p. 19.

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. 38, cat. 227.

Albert C. Barnes and Violette de Mazia, The Art of Renoir (Minton, Balch, 1935), pp. 77; 78; 271, no. 134 (ill.); 455, no. 134.

Maurice Bérard, Une famille du Dauphiné: Les Bérard, notice historique et généalogique (Laroze, 1937), fig. 35.

Maurice Bérard, Renoir à Wargemont, Maîtres du XIXe siècle (Larose, [1938]), (ill.).

Reginald Howard Wilenski, Modern French Painters (Reynal & Hitchcook, [1940]), p. 338.

Art Institute of Chicago, Masterpieces in the Art Institute of Chicago (Art Institute of Chicago, 1952), (ill.).

Dorothy Bridaham, Renoir in the Art Institute of Chicago (Conzett & Huber, 1954), pl. 7.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 397.

John Maxon, The Art Institute of Chicago (Abrams, 1970), pp. 267 (ill.), 285.

François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. 1, Figures, 1860–1890 (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 (Rizzoli, 1972), pp. 113, cat. 564; 114, cat. 564 (ill.).

Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pp. 120–21, cat. 46 (ill.); 210; 211.

François Daulte, “Renoir et la famille Berard,” L’oeil 223 (Feb. 1974), p. 5, fig. 7.

William S. Lieberman, ed., Modern Masterpieces: Manet to Matisse, exh. cat. (Museum of Modern Art, 1975), pp. 206–07 (ill.); 267, cat. 96.

Barbara Ehrlich White, Renoir: His Life, Art, and Letters (Abrams, 1984), pp. 129, 132 (ill.), 150.

Art Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Art Museum, Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], trans. Akihiko Inoue, Hideo Namba, Heisaku Harada, and Yoko Maeda, exh. cat. (Nippon Television Network, 1985), pp. 83, cat. 37 (ill.); 148, cat 37 (ill.).

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, with an introduction by James N. Wood (Art Institute of Chicago/Abbeville, 1993), p. 91 (ill.).

Götz Adriani, Renoir, exh. cat. (Kunsthalle Tübinger/DuMont, 1996), p. 227, n. 6.

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 59–60; 97, pl. 16; 110.

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), pp. 184; 204–05, cat. 47 (ill.); 317, cat. 47. Translated by Danielle Chaput and Julie Desgagné, with support from Nada Kerpan for the texts by Linda Nochlin, as Les portraits de Renoir: Impressions d’une époque, exh. cat. (Gallimard/Musée des Beaux-Arts du Canada, 1997), pp. 184; 204–05, cat. 47 (ill.); 317, cat. 47.

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. (National Gallery of Canada/Yale University Press, 1997), p. 19. Translated as Colin B. Bailey, “Portrait de l’artiste en portraitiste,” in Colin B. Bailey, with the assistance of John B. Collins, Les portraits de Renoir: Impressions d’une époque, trans. Danielle Chaput and Julie Desgagné, exh. cat. (Gallimard/Musée des Beaux-Arts du Canada, 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, trans. Josephine Bacon (Taschen, 2001), pp. 246 (ill.), 264.

Sotheby’s, Impressionists and Modern Art Evening Sale, sale cat. (Sotheby’s, London, June 23, 2003), pp. 16, fig. 2; 17.

Robert McDonald Parker, “Topographical Chronology 1860–1883,” in Renoir Landscapes, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, exh. cat. (National Gallery, London, 2007), p. 279. Translated as Robert McDonald Parker, “Chronologie,” in Les paysages de Renoir, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, trans. Marie-Françoise Dispa, Lise-Éliane Pomier, and Laura Meijer, exh. cat. (National Gallery, London/5 Continents, 2007), p. 279.

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. 77, cat. 30 (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. 77, cat. 30 (ill.).

Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 2, 1882–1894 (Bernheim-Jeune, 2009), p. 335, cat. 1229 (ill.).

Anne Distel, Renoir (Citadelles & Mazenod, 2009), pp. 228–29, ill. 211.

Colin B. Bailey, Renoir, Impressionism, and Full-Length Painting, exh. cat. (Frick Collection/Yale University Press, 2012), p. 199.

“Cat. 16: Lucie Berard (Child in White), 1883,” in Renoir Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014).

Ownership History

Commissioned from the artist by the sitter’s father, Paul Berard (1833–1905), Wargemont and Paris. [1]

Sold at the Paul Berard sale, Galerie Georges Petit, Paris, May 8, 1905, lot 20, to the sitter’s husband, J. E. D. Pieyre Lacombe de Mandiargues (1879–1916), for 10,030 francs. [2]

Acquired by André Schoeller, Paris, by May 25, 1912. [3]

Sold by André Schoeller, Paris, to Bernheim-Jeune, Paris, May 25, 1912, for 11,000 francs. [4]

Sold by Bernheim-Jeune, Paris, to Martin A. Ryerson, Chicago, Feb. 26, 1913, for 23,500 francs. [5]

Bequeathed by Martin A. Ryerson (died 1932), Chicago, to the Art Institute of Chicago, 1933.

NOTES

[1] According to 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), pp. 204–05, cat. 47 (ill.); 317. According to a letter from Berard to Charles Deudon dated December 12, 1883, the painting was finished, framed, and hanging in Berard’s study by that date. See Paul Berard to Charles Deudon, Dec. 12, 1883; published in Anne Distel, “Charles Deudon (1832–1914) collectionneur,” Revue de l’art 86 (1989), p. 62.

[2] See Galerie Georges Petit, Paris, Catalogue des tableaux modernes, aquarelles, pastels . . . , Provenant de la collection de feu M. Paul Berard, sale cat. (Georges Petit, Paris, May 8–9, 1905), pp. 30–31, lot 20 (ill.); 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), pp. 204–05, cat. 47 (ill.); 317. A handwritten note from Madame Maurice Berard (wife of a Berard family descendant) to the Art Institute of Chicago identifies the sitter as “Lucie Berard Mme Pieyre de Mandiargues”; curatorial object file, Art Institute of Chicago.

[3] According to Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 2, 1882–1894 (Bernheim-Jeune, 2009), p. 335, cat. 1229 (ill.).

[4] According to Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 2, 1882–1894 (Bernheim-Jeune, 2009), p. 335, cat. 1229 (ill.).

[5] According to a purchase receipt from Bernheim-Jeune to Monsieur A. [sic] Ryerson, this painting (no. 19566, as L’enfant a [sic] la robe blanche) was purchased by Ryerson on February 26, 1913; photocopy in curatorial object file, Art Institute of Chicago. This painting was on loan from Martin A. Ryerson to the Art Institute of Chicago, intermittently, by 1914, according to Art Institute of Chicago, General Catalogue of Paintings, Sculpture and Other Objects in the Museum (Art Institute of Chicago, 1914), p. 211, cat. 2144.




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