About This Artwork

Pierre-Auguste Renoir
French, 1841-1919

Chrysanthemums, 1881/82

Oil on canvas
54.8 x 65.8 cm (21 5/8 x 25 7/8 in.)
Inscribed upper right: Renoir

Mr. and Mrs. Martin A. Ryerson Collection, 1933.1173

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Renoir in the museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.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, Grand Palais, Salon d’automne, Oct. 15–Nov. 15, 1904, cat. 30, as Chrysanthèmes.

Possibly New York, Durand-Ruel, Exhibition of Paintings by Pierre Auguste Renoir, Nov. 14–Dec. 5, 1908, cat. 12, as Chrysanthèmes, 1882.

New York, Durand-Ruel, Exhibition of Paintings by Renoir, Feb. 7–21, 1914, cat. 1.

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 340.

Art Institute of Chicago, “A Century of Progress” Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 228.

Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. 1, 1973, cat. 39 (ill.).

Pasadena, Calif., Norton Simon Museum of Art, Jan. 27–Oct. 31, 1978, no cat.

Tokyo, Isetan Museum of Art, Exposition Renoir, Sept. 26–Nov. 6, 1979, cat. 33 (ill.); Kyoto Municipal Museum, Nov. 10–Dec. 9, 1979.

Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27–Aug. 31, 1980, cat. 22 (ill.).

Santa Barbara (Calif.) Museum of Art, Sept. 13, 1984–June 7, 1985, no cat.

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. 38 (ill.); Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986.

Art Institute of Chicago, Chicago’s Dream, a World’s Treasure: The Art Institute of Chicago, 1893–1993, Nov. 1, 1993–Jan. 9, 1994, not in cat.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 35 (ill.).

Publication History

Possibly Société du Salon d’Automne, Catalogue de peinture, dessin, sculpture, gravure, architecture et arts décoratifs, exh. cat. (Hérissey, 1904), p. 115, cat. 30.

Possibly Durand-Ruel, New York, Exhibition of Paintings by Pierre Auguste Renoir, exh. cat. (Durand-Ruel, New York, 1908), no. 12.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 162, cat. 2154.

M. C., “Renoirs in the Institute (Continued),” Bulletin of the Art Institute of Chicago 19, 4 (Apr. 1925), pp. 47, 48 (ill.).

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. 49, cat. 340.

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. 39, cat. 228.

Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Art Institute of Chicago, 1945), p. 36.

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

Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 130, pl. 118; 177.

Elda Fezzi, L’opera completa di Renoir: Nel periodo impressionista, 1869–1883, Classici dell’arte 59 (Rizzoli, 1972), p. 111; 112, cat. 505 (ill.).

Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pp. 74; 106–07, cat. 39 (ill.); 126; 210; 211; 214.

Isetan Museum of Art and Kyoto Municipal Museum, Exposition Renoir, exh. cat. (Isetan Museum of Art/Kyoto Municipal Museum/Yomiuri Shimbun Sha, 1979), cat. 33 (ill.).

Musée Toulouse-Lautrec and Art Institute of Chicago, Trésors impressionnistes du Musée de Chicago, exh. cat. (Musée Toulouse-Lautrec, 1980), pp. 40, no. 22 (ill.); 68.

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. (Nihon Nippon Television Network, 1985), pp. 84, cat. 38 (ill.); 85 (detail); 148 (ill.).

Nagoya City Art Museum, Renoir Retrospective, exh. cat. (Nagoya City Art Museum/Chunichi Shimbun, 1988), pp. 72, 239.

Gerhard Gruitrooy, Renoir: A Master of Impressionism (Todtri, 1994), p. 52 (ill.).

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 56–57; 63 (detail); 95, pl. 14; 110.

M. Therese Southgate, “The Cover,” JAMA: The Journal of the American Medical Association 281, 7 (Feb. 17, 1999), cover (ill.); p. 591 (ill.).

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), p. 76 (ill.).

Aviva Burnstock, Klaas Jan van den Berg, and John House, “Painting Techniques of Pierre-Auguste Renoir: 1868–1919,” Art Matters: Netherlandish Technical Studies in Art 3 (2005), pp. 52, 54.

Flavie Durand-Ruel, “Pierre-Auguste Renoir (1841–1919) et Paul Durand-Ruel (1831–1922), son ami et marchand,” Renoir et les familiers des Collettes, exh. cat. (Trulli, 2008), p. 89 (ill.).

Galeries Nationales, Grand Palais, Los Angeles County Museum of Art, and Philadelphia Museum of Art, Renoir au XXe siècle, exh. cat. (Réunion des Musées Nationaux/Musée d’Orsay, 2009), p. 103 (ill.).

Los Angeles County Museum of Art and Philadelphia Museum of Art, Renoir in the Twentieth Century, exh. cat. (Los Angeles County Museum of Art/Philadelphia Museum of Art/Hatje Cantz, 2010), p. 103 (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. 83, cat. 35 (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. 83, cat. 35 (ill.).

Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 2, 1882–1894 (Bernheim-Jeune, 2009), p. 15, cat. 701 (ill.).

Sylvie Patin, “De la nature morte au paysage,” in Réunion des Musées Nationaux, Claude Monet, 1840–1926, exh. cat. (Réunion des Musées Nationaux/Musée d’Orsay, 2010), p. 223.

Colin B. Bailey, Renoir, Impressionism, and Full-Length Painting, exh. cat. (Frick Collection/Yale University Press, 2012), p. 103, fig. 19.

“Cat. 15: Chrysanthemums, 1881/82,” in Renoir Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014).

Ownership History

Sold by the artist to Durand-Ruel, Paris, Dec. 14, 1882, for 600 francs. [1]

Transferred by Durand-Ruel, Paris, to Durand-Ruel, New York, 1897. [2]

Sold by Durand-Ruel, New York, to Martin A. Ryerson, Chicago, Feb. 17, 1915, for $7,500. [3]

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

NOTES

[1] This transaction is recorded in the Durand-Ruel, Paris, stock book for 1880–84 (no. 2650): “Ce tableau a été acheté par Durand-Ruel à Renoir le 14 décembre 1882 pour 600 F stock années 1880/84 no. 2650. En 1891: nouvelle numérotation de stock: no. 1787,” as confirmed by Paul-Louis Durand-Ruel, Durand-Ruel Archives, to Gloria Groom, Apr. 2, 2014, e-mail correspondence, curatorial object file, Art Institute of Chicago. This revises information previously published in Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 2, 1882–1894 (Bernheim-Jeune, 2009), p. 15, cat. 701.

[2] “Transféré à Durand-Ruel New York en 1897, stock DR New York no. 1721,” as confirmed by Paul-Louis Durand-Ruel, Durand-Ruel Archives, to Gloria Groom, Apr. 2, 2014, e-mail correspondence, curatorial object file, Art Institute of Chicago.

[3] According to the Durand-Ruel Archives, Renoir’s “Chrysanthèmes, 1882” (New York Stock no. 1721—New York Photo No. A 652) was sold by Durand-Ruel, New York, to Martin A. Ryerson, on February 17, 1915, for “7.500,00$”; as confirmed by Caroline Durand-Ruel Godfroy, Durand-Ruel Archives, to the Art Institute of Chicago, Dec. 13, 1994, curatorial object file, Art Institute of Chicago. See also Paul-Louis Durand-Ruel, Durand-Ruel Archives, to Gloria Groom, Apr. 2, 2014, e-mail correspondence, curatorial object file, Art Institute of Chicago, which states: “vendu à Martin A. Ryerson le 17 février 1915 pour $7 500.” There is a Durand-Ruel label (see fig. 15.33 in Other Documentation) on the verso of the painting identifying it as no. 1721, as well as a label (see fig. 15.34 in Other Documentation) identifying it as Durand-Ruel Photo No. A 652. According to a letter from E. C. Holston to Martin A. Ryerson on Durand-Ruel letterhead, dated Chicago 11 [sic], 1915, the “asking price” was $9,000 and the “net price for Mr. Ryerson” was $7,800; photocopy in curatorial object file, Art Institute of Chicago. According to Paul-Louis Durand-Ruel, Durand-Ruel Archives, to Gloria Groom, Apr. 2, 2014, e-mail correspondence, curatorial object file, the Art Institute of Chicago, a letter sent from Durand-Ruel, New York (Joseph Durand-Ruel), to Durand Ruel, Paris (Georges Durand-Ruel), on February 16, 1915, clarifies the discrepancy in price: “Mr. E. C. Holston [the director of Durand-Ruel, New York] is on his way back from Chicago. He has sold to Mr. Ryerson the following pictures: photo 7135, Monet, Jardin de Monet, $ 7 500—photo A 652, Renoir, Chrysanthèmes, $ 7 500—photo A 1179, Monet, Peupliers, $ 5 000—photo 1130, Monet, Pourville, $ 8 000—photo 7635, André, Provence, $ 500, making a total of $ 28 500. Our asking price was higher, but I thought it better to accept a reduction rather than to miss the sale.” A purchase receipt on Durand-Ruel letterhead, dated Feb. 17, 1915, includes this painting as one of a number sold by Durand-Ruel, New York, to M. A. Ryerson; 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 1921, according to Museum Registration Department Artists Sheets, on file in Museum Registration, Art Institute of Chicago.




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