About This Artwork

Pierre-Auguste Renoir
French, 1841-1919

Madame Léon Clapisson, 1883

Oil on canvas
81.2 x 65.3 cm (32 x 25 ¾ in.)
Inscribed upper left: Renoir 83

Mr. and Mrs. Martin A. Ryerson Collection, 1933.1174

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Renoir in the museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.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

Paris, Palais des Champs-Élysées, Société des Artistes Français, Salon, May 1–June, 1883, cat. 2031, as Portrait de Mme C. . . .

Paris, Galerie Georges Petit, 5e exposition internationale de peinture et de sculpture, June 15–July 15, 1886, cat. 125, as Portrait de Mme C. Appartient à M. Clapisson.

Paris, Durand-Ruel, Tableaux par Monet, C. Pissarro, Renoir, et Sisley, June 1–30, 1910, cat. 43, as Portrait de Mme C. 1883.

Possibly New York, Durand-Ruel, Exhibition of Paintings by Renoir, Feb. 14–Mar. 16, 1912, cat. 7, as Jeune femme à l’éventail, 1883.

Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 229.

Boston, Museum of Fine Arts, The Sources of Modern Painting: A Loan Exhibition Assembled from American Public and Private Collections, Mar. 2–Apr. 9, 1939; New York, Wildenstein, Apr. 25–May 20, 1939, cat. 5 (ill.) (New York only).

Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. 1, 1973, cat. 45 (ill.).

New York, Wildenstein, Renoir: The Gentle Rebel; A Loan Exhibition for the Benefit of the Association for Mentally Ill Children, Oct. 24–Nov. 30, 1974, cat. 26 (ill.).

London, Hayward Gallery, Renoir, Jan. 30–Apr. 21, 1985, cat. 70 (ill.); Paris, Galeries Nationales du Grand Palais, May 14–Sept. 2, 1985, cat. 69 (ill.); Boston, Museum of Fine Arts, Oct. 9, 1985–Jan. 5, 1986.

Ottawa, National Gallery of Canada, Renoir’s Portraits: Impressions of an Age, June 27–Sept. 14, 1997, cat. 46 (ill.); Art Institute of Chicago, Oct. 17, 1997–Jan. 4, 1998; Fort Worth, Tex., Kimbell Art Museum, Feb. 8–Apr. 26, 1998.

San Diego Museum of Art, Idol of the Moderns: Pierre-Auguste Renoir and American Painting, June 29–Sept. 15, 2002, cat. 3 (ill.); El Paso (Tex.) Museum of Art, Nov. 3, 2002–Feb. 16, 2003.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 31 (ill.).

Publication History

Catalogue illustré du Salon, under the direction of F.-G. Dumas, exh. cat. (Librairie d’Art L. Baschet, 1883), p. 44, cat. 2031.

Explication des ouvrages de peinture, sculpture, architecture, gravure et lithographie des artistes vivants (Bernard, 1883), p. 185, cat. 2031.

Galerie Georges Petit, Exposition internationale de peinture et de sculpture, cinquième année, exh. cat. (Renou & Maulde, 1886), p. 23, cat. 125.

Félix Fénéon, “Ve exposition internationale,” La vogue (June 28–July 5, 1886), p. 342.

Durand-Ruel, Paris, Tableaux par Monet, C. Pissarro, Renoir, et Sisley, exh. cat. (Durand-Ruel, Paris, 1910), p. 5, cat. 43.

“Renoir at Durand-Ruel’s,” American Art News 10, 19 (Feb. 17, 1912), pp. 2, 9 (ill.).

Possibly Durand-Ruel, New York, Exhibition of Paintings by Renoir, exh. cat. (Durand-Ruel, New York, 1912), cat. 7.

Art Institute of Chicago, General Catalogue of Paintings Sculpture and Other Objects in the Museum (Art Institute of Chicago, 1914), p. 211, cat. 2142.

Ambroise Vollard, La vie et l’oeuvre de Pierre-Auguste Renoir, vol. 2 (A. Vollard, 1919), p. 92.

Ambroise Vollard, “Le salon de Mme Charpentier,” L’art et les artistes 1 (Jan. 1920), p. 164.

François Fosca, Renoir (F. Rieder, 1923), p. 61; pl. 19. Translated by Hubert Wellington as Renoir, Masters of Modern Art (Dodd, Mead, 1924), p. 6; pl. 24.

Théodore Duret, Renoir (Bernheim-Jeune, 1924), p. 70. Translated into English by Madeleine Boyd as Renoir (Crown, 1937), pp. 52; pl. 56.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 162, cat. 2157.

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

Albert André, Renoir, Cahiers d’aujourd’hui (G. Crès, 1928), pl. 15.

Julius Meier-Graefe, Renoir (Klinkhardt & Biermann, 1929), p. 169, no. 163 (ill.).

Reginald Howard Wilenski, French Painting (Hale, Cushman & Flint, 1931), p. 262.

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, 1934, exh. cat. (Art Institute of Chicago, 1934), p. 39, cat. 229.

Albert C. Barnes and Violette de Mazia, The Art of Renoir (Minton, Balch, 1935), pp. 77; 78; 455, no. 139.

Ambroise Vollard, En écoutant Cézanne, Degas, Renoir (Bernard Grasset, 1938), p. 193.

Institute of Modern Art, The Sources of Modern Painting: A Loan Exhibition Assembled from American Public and Private Collections, exh. cat. (Wildenstein and Co., 1939), p. 22, cat. 5 (ill.).

Reginald Howard Wilenski, Modern French Painters (Reynal & Hitchcook, [1940]), p. 340.

Michel Drucker, Renoir, with a preface by Germain Bazin (Pierre Tisné, 1944), p. 186.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), pp. 397–98.

François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. 1, Figures, 1860–1890 (Durand-Ruel, 1971), pp. 298–99, cat. 433 (ill.).

Elda Fezzi, L’opera completa di Renoir: Nel periodo impressionista, 1869–1883, Classici dell’arte 59 (Rizzoli, 1972), pp. 84; 113; 114, cat. 559 (ill.).

Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pl. 8; pp. 15; 100; 118–19, cat 45 (ill.); 182; 202; 208 (detail); 209 (detail); 211; 214.

Barbara Ehrlich White, “The Bathers of 1887 and Renoir’s Anti-Impressionism,” Art Bulletin 55, 1 (Mar. 1973), p. 122.

Wildenstein, Renoir: The Gentle Rebel; A Loan Exhibition for the Benefit of the Association for Mentally Ill Children, with a foreword by François Daulte, exh. cat. (Wildenstein, 1974), cat. 26 (ill.).

J. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Crown, 1979), pp. 74–75 (ill.).

Sophie Monneret, L’impressionnisme et son époque: Dictionnaire international illustré, vol. 1 (Denoël, 1979), p. 138.

Sophie Monneret, L’impressionnisme et son époque: Dictionnaire international illustré, vol. 2 (Denoël, 1979), pp. 173, 175.

Diane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. 256 (ill.), 438.

Diane Kelder, The Great Book of French Impressionism, Tiny Folios (Abbeville, 1980), p. 163, pl. 22.

Barbara Ehrlich White, Renoir: His Life, Art, and Letters (Abrams, 1984), pp. 126, 129, 132 (ill.), 298.

Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Arts Council of Great Britain, 1985), pp. 113, cat. 70 (ill.); 221; 238, cat. 70 (ill.); 301.

Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 176; 224–25, cat. 69 (ill.); 380.

Anne Distel, “Charles Deudon (1832–1914) collectionneur,” Revue de l’art 86 (1989), p. 62, n. 2.

Raffaele De Grada, Renoir (Giorgio Mondadori, 1989), p. 15.

Sophie Monneret, Renoir, Profils de l’art (Chêne, 1989), p. 154, fig. 7.

Nicholas Wadley, ed., Renoir: A Retrospective (Hugh Lauter Levin/Macmillan, 1987), pp. 158, 161, 162 (ill.).

Christie’s, New York, Impressionist and Modern Paintings, Drawings and Sculpture, pt. 2, sale cat. (Christie’s, New York, Nov. 11, 1997), p. 44 (ill.).

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 56; 57–59; 60; 96, pl. 15 (ill.); 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. 202–03, cat. 46 (ill.); 204; 316–17, cat. 46; 319, n. 10. 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. 202–03, cat. 46 (ill.); 204; 316–17, cat. 46; 319, n. 10.

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), pp. 8, 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), pp. 11, 19.

Anne Distel, “Léon Clapisson: Patron and Collector,” 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), pp. 77; 78, cat. 46 (ill.); 80; 85, n. 33. Translated as Anne Distel, “Portrait de Monsieur Clapisson en mécène,” 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), pp. 77; 78, cat. 46 (ill.); 80; 86, n. 33.

Anne Distel, “Appendix II: The Notebooks of Léon Clapisson,” 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. 354. Translated as Anne Distel, “Annexe II: Les carnets de Léon Clapisson,” 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. 354.

Sona Johnston, with the assistance of Susan Bollendorf, Faces of Impressionism: Portraits from American Collections, exh. cat. (Baltimore Museum of Art/Rizzoli, 1999), p. 25.

Gilles Néret, Renoir: Painter of Happiness, 1841–1919, trans. Josephine Bacon (Taschen, 2001), pp. 207, 210–11 (ill.), 432.

Anne E. Dawson, Idol of the Moderns: Pierre-August Renoir and American Painting, exh. cat. (San Diego Museum of Art, 2002), pp. 22, no. 3 (ill.); 72.

Christie’s, London, Impressionist and Modern Art Evening Sale, sale cat. (Christie’s, London, June 24, 2003), p. 68, fig. 3.

Christie’s, London, Impressionist and Modern Art Evening Sale, sale cat. (Christie’s, London, Feb. 2, 2004), p. 26, fig. 1 (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), p. 52.

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. 278. 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.

Tamar Garb, The Painted Face: Portraits of Women in France, 1814–1914 (Yale University Press, 2007), p. 32, pl. 28.

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. 77; 78, cat. 31 (ill.); 83. 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. 77; 78, cat. 31 (ill.); 83.

Anne Distel, Renoir (Citadelles & Mazenod, 2009), pp. 178, ill. 164; 182–83; 186; 240; 380–81.

Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 2, 1882–1894 (Bernheim-Jeune, 2009), p. 242, cat. 1065 (ill.).

John House, The Genius of Renoir: Paintings from the Clark, with an essay by James A. Ganz, exh. cat. (Sterling and Francine Clark Art Institute/Museo Nacional del Prado/Yale University Press, 2010), p. 77.

Julie L’Enfant, Pioneer Modernists: Minnesota’s First Generation of Women Artists (Afton, 2011), p. 161 (ill.).

Colin B. Bailey, Renoir, Impressionism, and Full-Length Painting, exh. cat. (Frick Collection/Yale University Press, 2012), pp. 168; 170, fig. 2.

“Cat. 17: Madame Léon Clapisson, 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 husband, Louis Léon Clapisson, Neuilly, for 3,000 francs. [1]

By descent from Louis Léon Clapisson (died 1894), Neuilly, to his wife, Madame Louis Léon Clapisson (née Marie Henriette Valentine Billet), Neuilly, 1894.

Sold by Madame Louis Léon Clapisson (née Marie Henriette Valentine Billet), Neuilly, to Durand-Ruel, Paris, Nov. 12, 1908, for 15,000 francs. [2]

Sold by Durand-Ruel, New York, to Martin A. Ryerson, Chicago, July 8, 1913, for $12,000. [3]

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), p. 316, cat. 46. The Art Institute’s painting is the second version of a portrait originally commissioned by the sitter’s husband in the spring or early summer of 1882. For the first version of the portrait, see Femme dans les fleurs (Dans les roses) (1882; private collection [Daulte 428; Dauberville 1044]). See Anne Distel, “Appendix II: The Notebooks of Léon Clapisson,” in Bailey, Renoir’s Portraits, p. 354, which lists “Portrait—3,000 [with the following one].” The “following one” refers to Renoir’s Henri Prignot (1882; Kunstmuseum, Saint Gall [Daulte 426, Dauberville 1258]), recorded in the notebook as Boby. See also Anne Distel, “Léon Clapisson: Patron and Collector,” 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. 83, fig. 95, which reproduces the notebook page on which this transaction is recorded. Daulte and Dauberville refer to the Renoir catalogues raisonnés: François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint (Durand-Ruel, 1971); Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vols. 1–5 (Bernheim-Jeune, 2007–14).

[2] See Anne Distel, “Appendix II: The Notebooks of Léon Clapisson,” 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. 354. After her husband’s death, Clapisson lived in Noisy-le-Roi, in Versailles, and in Chesnay, where she died on August 30, 1930. See Anne Distel, “Léon Clapisson: Patron and Collector,” in Bailey, Renoir’s Portraits, p. 86, n. 43.

[3] According to François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. 1, Figures, 1860–1890 (Durand-Ruel, 1971), pp. 298–99, cat. 433 (ill.); and Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 2, 1882–1894 (Bernheim-Jeune, 2009), p. 242, cat. 1065 (ill.). A purchase receipt on Durand-Ruel letterhead, dated July 8, 1913, records that this painting (no. 3422, as Portrait de Mme Clapisson, 1883) was sold by Durand-Ruel, New York, to Martin A. Ryerson for $12,000; photocopy in curatorial object file, Art Institute of Chicago. According to the Durand-Ruel Archives, Renoir’s “Portrait de Madame Clapisson, 1883, jeune femme à l’éventail” (New York Stock no. 3422—Paris Photo no. 6372) was sold by Durand-Ruel, New York, to Martin A. Ryerson, on February 6, 1913, for “12.000,00$”; see Caroline Durand-Ruel Godfroy, Durand-Ruel Archives, to the Art Institute of Chicago, Dec. 13, 1994, curatorial object file, Art Institute of Chicago. There is a label and an inscription on the verso of the painting, which both identify it as no. 3422. 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. 2142.




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