About This Artwork

Pierre-Auguste Renoir
French, 1841-1919

Woman at the Piano, 1875/76

Oil on canvas
93 x 74 cm (36 9/16 x 29 1/8 in.)
Inscribed at lower left: Renoir

Mr. and Mrs. Martin A. Ryerson Collection, 1937.1025

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Renoir in museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.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, 11, rue Le Peletier, 2e exposition de peinture [second Impressionist exhibition], Apr. 1876, cat. 219, as Femme au Piano. Appartient à M. Poupin.

Possibly London, Dowdeswell and Dowdeswell, Paintings, Drawings and Pastels by Members of “La société des impressionnistes,” Apr.–July 1883, cat. 13, as Femme au piano.

New York, Durand-Ruel, Exhibition of Paintings by Claude Monet and Pierre Auguste Renoir, Apr. 1900, cat. 39, as Jeune Femme au Piano.

New York, Durand-Ruel, Exhibition of Paintings by Pierre Auguste Renoir, Nov. 14–Dec. 5, 1908, cat. 5, as Jeune femme au piano, 1878.

New York, Durand-Ruel, 1911.

Possibly New York, Durand-Ruel, Exhibition of Paintings by Renoir, Feb. 14–Mar. 16, 1912, cat. 19, as Fillette en robe bleue.

Renaissance Society of the University of Chicago, Some Modern Primitives: International Exhibition of Paintings and Prints, Summer 1931, July 2–Aug. 16, 1931, cat. 73.

Renaissance Society of the University of Chicago, Commemorative Exhibition from the Martin A. Ryerson Collection, Oct. 9–30, 1932, cat. 18.
Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 337 (ill.).
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. 226.

Toledo (Ohio) Museum of Art, French Impressionists and Post-Impressionists, Nov. 1934, cat. 16.

New York, Metropolitan Museum of Art, Renoir: A Special Exhibition of His Paintings, May 18–Sept. 12, 1937, cat. 27 (ill.).

Toledo (Ohio) Museum of Art, Paintings by French Impressionists and Post-Impressionists, Nov. 7–Dec. 12, 1937, cat. 24 (ill.).

Art Institute of Chicago, Special Exhibition of the Ryerson Bequest: Paintings, Oriental and Decorative Arts, Jan. 26–31, 1938, no cat.
San Francisco, Palace of Fine Arts, Golden Gate International Exposition, May 25–Sept. 29, 1940, cat. 292 (ill.).

San Diego, Fine Arts Gallery, Special Loans of Old Masters and Contemporary Paintings from the San Francisco Exposition and Los Angeles County Fair, Oct. 12–Nov. 2, 1940, no cat.

New York, Duveen Galleries, Renoir: Centennial Loan Exhibition, 1841–1941; For the Benefit of the Free French Relief Committee, Nov. 8–Dec. 6, 1941, cat. 14 (ill.).

Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. 1, 1973, cat. 20 (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. 10 (ill.).

Art Institute of Chicago, Art at the Time of the Centennial, June 19–Aug. 8, 1976, no cat.

Tokyo, Isetan Museum of Art, Exposition Renoir, Sept. 26–Nov. 6, 1979, cat. 16 (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. 19 (ill.).

London, Hayward Gallery, Renoir, Jan. 30–Apr. 21, 1985, cat. 35 (ill.); Paris, Galeries Nationales du Grand Palais, May 14–Sept. 2, 1985, cat. 34 (ill.); Boston, Museum of Fine Arts, Oct. 9, 1985–Jan. 5, 1986.

Leningrad (now Saint Petersburg), State Hermitage Museum, Ot Delakrua do Matissa: Shedevry frantsuzskoĭ zhivopisi XIX–nachala XX veka, iz Muzeia Metropoliten v N’iu-Iorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great masterpieces of French painting of the nineteenth to the beginning of the twentieth century from the Metropolitan Museum of Art, New York, and the Art Institute of Chicago], Mar. 15–May 16, 1988, cat. 20 (ill.); Moscow, Pushkin Museum of Fine Arts, May 30–July 30, 1988.

Nagaoka, Niigata Prefectural Museum of Modern Art, Shikago bijutsukan ten: Kindai kaiga no 100-nen [Masterworks of modern art from the Art Institute of Chicago], Apr. 20–May 29, 1994, cat. 6 (ill.); Nagoya, Aichi Prefectural Museum of Art, June 10–July 24, 1994; Yokohama Museum of Art, Aug. 6–Sept. 25, 1994.

Atlanta, High Museum of Art, Rings: Five Passions in World Art, July 4–Sept. 29, 1996, no cat. no.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 24 (ill.).

Musée d’Orsay, Paris, L’impressionnisme et la mode, Sept. 25, 2012–Jan. 20, 2013, cat. 100; Metropolitan Museum of Art, New York, Feb. 26–May 27, 2013, cat. 55, as Impressionism, Fashion, and Modernity; Art Institute of Chicago, June 26–Sept. 29, 2013.

Publication History

Catalogue de la 2e exposition de peinture, exh. cat. (Alcan-Lévy, 1876), p. 21, cat. 219.

Possibly Dowdeswell and Dowdeswell/Société des Impressionnistes, Catalogue of Paintings, Drawings and Pastels by Members of “La société des impressionnistes,” exh. cat. (Dowdeswell and Dowdeswell, 1883), p. 9, cat. 13.

Possibly unsigned review of Paintings, Drawings and Pastels by Members of “La société des impressionnistes,” Standard, Apr. 25, 1883, p. 2.

“Good Prices Realized. Close of the Durand-Ruel Sale of Paintings,” New York Times, May 7, 1887, p. 5.

Durand-Ruel, New York, Exhibition of Paintings by Claude Monet and Pierre Auguste Renoir, exh. cat. (Durand-Ruel, 1900), no. 39.

“Art Notes and News,” New York Times, Apr. 8, 1900, p. 9.

Durand-Ruel, New York, Exhibition of Paintings by Pierre Auguste Renoir, exh. cat. (Durand-Ruel, 1908), no. 5.

Possibly Durand-Ruel, New York, Exhibition of Paintings by Renoir, exh. cat. (Durand-Ruel, 1912), cat. 19.

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

Renaissance Society of the University of Chicago, Some Modern Primitives: International Exhibition of Paintings and Prints, Summer 1931, exh. cat. (Renaissance Society of the University of Chicago, 1931), cat. 73.

Renaissance Society of the University of Chicago, Renaissance Society of the University of Chicago Bulletin (Spring and Summer 1931), p. 33 (ill.).

Renaissance Society of the University of Chicago, Commemorative Exhibition from the Martin A. Ryerson Collection, exh. cat. (Renaissance Society of the University of Chicago, 1932), cat. 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. 337; pl. 56/cat. 337.

Art Institute of Chicago, “The Century of Progress Exhibition of the Fine Arts,” Bulletin of the Art Institute of Chicago 27, 4 (Apr.–May 1933), p. 67.

Art Institute of Chicago, “The Rearrangement of the Paintings Galleries,” Bulletin of the Art Institute of Chicago 27, 7 (Dec. 1933), p. 115.

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. 226.

Toledo (Ohio) Museum of Art, French Impressionists and Post-Impressionists, exh. cat. (Toledo Museum of Art, 1934), cat. 16.

Albert C. Barnes and Violette de Mazia, The Art of Renoir (Minton, Balch, 1935), pp. 261, no. 97 (ill.); 401, no. 97; 451.

Henry McBride, “The Renoirs of America: An Appreciation of the Metropolitan Museum’s Exhibition,” Art News 35, 31 (May 1, 1937), p. 158.

Toledo (Ohio) Museum of Art, Paintings by French Impressionists and Post-Impressionists, exh. cat. (Toledo Museum of Art, 1937), cat. 24 (ill.).

Metropolitan Museum of Art, Renoir: A Special Exhibition of His Paintings, exh. cat. (Metropolitan Museum of Art/Bradford, 1937), no. 27 (ill.).

Josephine L. Allen, “Paintings by Renoir,” Bulletin of the Metropolitan Museum of Art 32, 5 (May 1937), p. 112.

Art Institute of Chicago, “Annual Report of the Director,” Bulletin of the Art Institute of Chicago Report for the Year Nineteen Hundred Thirty-Seven 32, 3, pt. 3 (Mar. 1938), p. 46.

Art Institute of Chicago, “Exhibition of the Ryerson Gift,” Bulletin of the Art Institute of Chicago 32, 1 (Jan. 1938), front cover (ill.), p. 4.

Josephine L. Allen, “The Entire Ryerson Collection Goes to the Chicago Art Institute,” Art News 36, 21 (Feb. 19, 1938), pp. 10 (ill.), 11.

Lionello Venturi, Les archives de l’impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley, et autres; Mémoires de Paul Durand-Ruel; Documents, vol. 2 (Durand-Ruel, 1939), p. 258.

Alfred M. Frankfurter, “Master Paintings and Drawings of Six Centuries at the Golden Gate,” Art News 38, 38 (July 13, 1940), pp. 11 (ill.), 14.

Julia G. Andrews, “Rare Paintings Displayed,” San Diego Union, Oct. 13, 1940, p. 7C.

Golden Gate International Exposition, Art, Official Catalog, exh. cat. (Recorder/H. S. Crocker/Schwabacher-Frey, 1940), pp. 20, cat. 292; 66, cat. 292 (ill.).

Reginald Howard Wilenski, Modern French Painters (Reynal & Hitchcook, [1940]), p. 337.

Duveen Galleries, Renoir: Centennial Loan Exhibition, 1841–1941; For the Benefit of the Free French Relief Committee (Vilmorin/Bradford, 1941), pp. 36, cat. 14 (ill.); 123–124, cat. 14.

Art Institute of Chicago, “The United States Now an Art Publishing Center,” Bulletin of the Art Institute of Chicago 36, 2 (Feb. 1942), p. 30.

“Chicago Perfects Its Renoir Group,” Art News 44, 16, pt. 1 (Dec. 1–14, 1945), p. 18.

Bruno F. Schneider, Renoir (Safari, [1957]), pp. 24, 26 (ill.). Translated into English by Desmond and Camille Clayton as Renoir (Crown, 1978), pp. 26 (ill.), 34.

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

Charles Fabens Kelley, “Chicago: Record Years,” Art News 51, 4 (June–Aug. 1952), p. 107.

Dorothy Bridaham, Renoir in the Art Institute of Chicago (Conzett & Huber, 1954), pl. 1.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), pp. 277 (ill.), 394.

Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84, 55 (Sept. 1966), pp. 200, fig. 28; 202.

Charles C. Cunningham, Instituto de arte de Chicago, El mundo de los museos 2 (Editorial Codex, 1967), pp. 11, ill. 32; 58, ill. 2.

André Parinaud and Charles C. Cunningham, Art Institute of Chicago, Grands musées 2 (Hachette-Filipacchi, 1969), pp. 36, fig. 2; 69, no. 32.

Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 50, pl. 36; 159.

John Maxon, The Art Institute of Chicago (Abrams, 1970), p. 84 (ill.).

François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. 1, Figures, 1860–1890 (Durand-Ruel, 1971), pp. 170–71, cat. 187 (ill.).

Elda Fezzi, L’opera completa di Renoir: Nel periodo impressionista, 1869–1883, Classici dell’arte 59 (Rizzoli, 1972), p. 99, cat. 232 (ill.).

Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pp. 26; 68–69, cat. 20 (ill.); 74; 138; 210; 211; 214.

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. 10 (ill.).

Art Institute of Chicago, 100 Masterpieces (Art Institute of Chicago, 1978), pp. 22; 98–99, pl. 55.

Patricia Erens, Masterpieces: Famous Chicagoans and Their Paintings (Chicago Review, 1979), p. 36.

J. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Crown, 1979), pp. 68–69 (ill.).

Isetan Museum of Art and Kyoto Municipal Museum, Exposition Renoir, exh. cat. (Isetan Museum of Art/Kyoto Municipal Museum/Yomiuri Shimbun Sha, 1979), cat. 16 (ill.).

Charles F. Stuckey, with the assistance of Naomi E. Maurer, Toulouse-Lautrec: Paintings, exh. cat. (Art Institute of Chicago, [1979]), p. 158, fig. 2 (ill.).

Diane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. 259 (ill.), 438.

Diane Kelder, The Great Book of French Impressionism, Tiny Folios (Abbeville, 1980), p. 156, pl. 16.

Musée Toulouse-Lautrec and Art Institute of Chicago, Trésors impressionnistes du Musée de Chicago, exh. cat. (Musée Toulouse-Lautrec, 1980), pp. 38, no. 19 (ill.); 68.

Possibly Kate Flint, ed., Impressionists in England: The Critical Reception (Routledge & Kegan Paul, 1984), pp. 58, 361.

Anne Distel, “Renoir’s Collector: The Pâtissier, the Priest and the Prince,” in Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Arts Council of Great Britain, 1985), p. 27, n. 22.

Anne Distel, “Les amateurs de Renoir: Le prince, le prêtre et le pâtissier,” in Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Réunion des Musées Nationaux, 1985), p. 32, n. 22.

Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Arts Council of Great Britain, 1985), pp. 80, cat. 35 (ill.); 208, cat. 35 (ill.); 256.

Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 136–137, cat. 34 (ill.).

Denys Sutton, “Renoir’s Kingdom,” Apollo 121, 278 (Apr. 1985), pp. 244; 245, pl. 10.

Charles S. Moffett, ed., with the assistance of Ruth Berson, Barbara Lee Williams, and Fronia E. Wissman, The New Painting: Impressionism, 1874–1886, exh. cat. (Fine Arts Museums of San Francisco, 1986), pp. 164.

Phillippe Ariès and Georges Duby, eds., Histoire de la vie privée: De la Révolution à la Grande Guerre, vol. 4 (Éd. du Seuil, 1987), p. 487 (ill.). Translated by Arthur Goldhammer as A History of Private Life: From the Fires of Revolution to the Great War, vol. 4 (Belknap Press/Harvard University Press, 1990), p. 532 (ill.).

Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 31, 33 (ill.), 119.

Horst Keller, Auguste Renoir (Bruckmann, 1987), pp. 56, fig. 41; 165.

Ministry of Culture; State Hermitage Museum; Pushkin State Museum of Fine Arts; Metropolitan Museum of Art, New York; and Art Institute of Chicago, Ot Delakrua do Matissa: Shedevry frantsuzskoi zhivopisi XIX–nachala XX veka, iz Muzeia Metropoliten v N’iu-Iorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Masterpieces of French painting of the nineteenth to the beginning of the twentieth century from the Metropolitan Museum of Art, New York, and the Art Institute of Chicago], trans. from English by Iu. A. Kleiner and A. A. Zhukov, exh. cat. (Avrora, 1988), cat. 20.

Robert Trachtenberg, “Great Art Where You Least Expect It: The Pioneers of Hollywood Art Colleting,” Spy (Sept. 1988), pp. 97–98.

Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood and Katharine C. Lee (Art Institute of Chicago/New York Graphic Society Books/Little, Brown, 1988), pp. 9, 56 (ill.).

Birger Carlström, Hide-and-Seek: Text and Picture in the Pictures; Impressionists from Turner from [sic] Gainsborough (Carlström, 1989), pp. 42; 164, pl. 36; 165, pl. 36.

Raffaele De Grada, Renoir (Giorgio Mondadori, 1989), p. 48, pl. 27.

Sophie Monneret, Renoir, Profils de l’art (Chêne, 1989), pp. 64–65, fig. 3.

Violette de Mazia, “Form and Matter: The Form of Renoir’s Color,” Vistas (V.O.L.N./Barnes Foundation) 5, 2 (1991), pp. 15; pl. 38.

M. Therese Southgate, “The Cover,” JAMA: The Journal of the American Medical Association 270, 18 (Nov. 10, 1993), front cover (ill.), p. 2145.

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. 56 (ill.).

Art Institute of Chicago and Niigata Prefectural Museum of Modern Art, Shikago bijutsukan ten: Kindai kaiga no 100-nen [Masterworks of modern art from the Art Institute of Chicago], exh. cat. (Asahi Shinbunsha, 1994), pp. 50–51, cat. 6 (ill.).

Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte: Urban Impressionist, exh. cat. (Réunion des Musées Nationaux/Musée d’Orsay/Art Institute of Chicago/Abbeville, 1995), p. 193, fig. 1. Translated into French by Jeanne Bouniort as Gustave Caillebotte: 1848–1894, exh. cat. (Réunion des Musées Nationaux, 1994), p. 231, fig. 1.

Gerhard Gruitrooy, Renoir: A Master of Impressionism (Todtri, 1994), p. 29 (ill.).

Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. 2, Exhibited Works (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 44, 63 (ill.).

Michael Shapiro, ed., Rings: Five Passions in World Art, exh. cat. (High Museum of Art/Abrams, 1996), pp. 298–99 (ill.).

Karin Sagner-Düchting, Renoir: Paris and the Belle Époque, trans. Fiona Elliott (Prestel, 1996), p. 72 (ill.).

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 6; 15 (detail); 28; 30; 46; 84, pl. 3; 109.

Charlotte Nalle Eyerman, “The Composition of Femininity: The Significance of the ‘Woman at the Piano’ Motif in Nineteenth-Century French Culture from Daumier to Renoir” (Ph.D. diss., University of California, Berkeley, 1997), pp. 143; 245, fig. 58.

James Elkins, Why Are Our Pictures Puzzles? On the Modern Origins of Pictorial Complexity (Routledge, 1999), opp. p. 1, pl. 1; pp. xviii; 1; 4; 5, pl. 3; 8–9; 49; 78; 228.

Renaud Temperini, “Estetiche della modernità,” in La pittura Francese, vol. 3, ed. Pierre Rosenberg, trans. Cosima Campagnolo, Valentina Palombi, and Stefano Salpietro (Electra, 1999), pp. 816, fig. 832; 818.

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), pp. 9, 52 (ill.).

Patrick Shaw Cable, “Questions of Work, Class, Gender, and Style in the Art and Life of Gustave Caillebotte” (Ph.D. diss., Case Western Reserve University, 2000), pp. 47; 258, fig. 15.

Bridgestone Museum of Art and Nagoya City Art Museum, Renoir: From Outsider to Old Master, 1870–1892, exh. cat. (Bridgestone Museum of Art/Nagoya City Art Museum/Chunichi Shimbun, 2001), p. 84, fig. 40.

Gilles Néret, Renoir: Painter of Happiness, 1841–1919, trans. Josephine Bacon (Taschen, 2001), pp. 84–85 (ill); 110.

Michael Marrinan, “Caillebotte as Professional Painter: From Studio to the Public Eye,” in Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris, ed. Norma Broude (Rutgers University Press, 2002), pp. 50; 51, fig. 21.

Sylvie Patin, L’impressionisme (Bibliothèque des Arts, 2002), pp. 119; 120–21, fig. 88.

John House, Impressionism: Paint and Politics (Yale University Press, 2004), pp. 56, 57, pl. 44.

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. 51, 52, 54.

Ann Dumas, “Renoir and the Feminine Ideal: An Introduction to Renoir’s Women,” in Ann Dumas and John Collins, Renoir’s Women, exh. cat. (Columbus Museum of Art/Merrell, 2005), pp. 26; 29, fig. 18.

Richard R. Brettell, “Gauguin’s Paintings in the Impressionist Exhibition of 1882,” in Richard R. Brettell and Anne-Brigitte Fonsmark, Gauguin and Impressionism, exh. cat. (Kimbell Art Museum/Ordrupgaard, 2005), pp. 158; 159, fig. 123.

Kyoko Kagawa, Runowaru [Pierre-Auguste Renoir], Seiyo kaiga no kyosho [Great masters of Western art] 4 (Shogakukan, 2006), p. 25 (ill.).

Guy-Patrice Dauberville and Michel Dauberville, with the collaboration of Camille Frémontier-Murphy, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 1, 1858–1881 (Bernheim-Jeune, 2007), p. 403, cat. 372 (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), pp. 16 (ill.); 66–67, cat. 24 (ill.); 69. 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. 16 (ill.); 66–67, cat. 24 (ill.); 69.

Gloria Groom, “The Social Network of Fashion,” in Impressionism, Fashion, and Modernity, ed. Gloria Groom, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art/Musée d’Orsay/Yale University Press, 2012), p. 35.

Gloria Groom, “Les réseaux mondains de la mode,” in L’impressionnisme et la mode, ed. Gloria Groom, exh. cat. (Musée d’Orsay/Skira Flammarion, 2012), p. 77.

Gloria Groom, ed., Impressionism, Fashion, and Modernity, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art/Musée d’Orsay/Yale University Press, 2012), p. 289, cat. 55 (ill.).

Gloria Groom, ed., L’Impressionnisme et la mode, exh. cat. (Musée d’Orsay/Skira Flammarion, 2012), p. 301, cat. 100.

Justine de Young, “Fashion and Intimate Portraits,” in Impressionism, Fashion, and Modernity, ed. Gloria Groom, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art/Musée d’Orsay/Yale University Press, 2012), pp. 120; 121, cat. 55 (ill.).

Justine de Young, “La mode en portraits intimes,” in L’impressionnisme et la mode, ed. Gloria Groom, exh. cat. (Musée d’Orsay/Skira Flammarion, 2012), pp. 150; 158, cat. 100 (ill.).

Janet Whitmore, “Whitmore Reviews: Impressionism, Fashion and Modernity,” Nineteenth-Century Art Worldwide 13, 1 (Spring 2014), p. 20, fig. 8.

“Cat. 3: Woman at the Piano, 1875/76,” in Renoir Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014).

Ownership History

Acquired by Paul-Victor Poupin, Paris, by Apr. 1876. [1]

Possibly acquired by Durand-Ruel, Paris, by Apr. 1883. [2]

Sold (possibly by Renoir) to Durand-Ruel, Paris, Sept. 8, 1886, for 1,200 francs. [3]

Possibly sold at Moore’s Art Galleries, New York, May 6, 1887, lot 93, for $675. [4]

Acquired by Durand-Ruel, New York, by Dec. 16, 1911. [5]

Sold by Durand-Ruel, New York, to Martin A. Ryerson, Chicago, Dec. 16, 1911, for $16,000. [6]

By descent from Martin A. Ryerson (died 1932), to his wife, Mrs. Martin A. Ryerson, Chicago. [7]

Bequeathed by Mrs. Martin A. Ryerson (died 1937), to the Art Institute of Chicago, 1937.

NOTES

[1] See Catalogue de la 2e exposition de peinture, exh. cat. (Alcan-Lévy, 1876), p. 21, cat. 219, which lists Femme au piano as “appartient à M. Poupin.” According to Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Arts Council of Great Britain, 1985), p. 208, Poupin had premises at 8, rue La Fayette, was a business associate of Durand-Ruel’s, and “perhaps may simply have been acting on Durand-Ruel’s behalf, as the title of the painting he lent in 1876 (Femme au piano) is identical to that of a canvas listed as being in the dealer’s stock in 1876.” Hayward Gallery, Renoir, further states that “Durand-Ruel’s stock lists for 1876 also include a Femme au piano, which was deposited with a M. Cottineau of the rue Rambuteau on 3 July 1880, but there is no further record of it.” See also Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. 2, Exhibited Works (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 44, 63 (ill.), which also identifies cat. 219 as the Art Institute’s painting.

[2] In the exhibition catalogue, cat. 13 is listed as Femme au piano with an asking price of £100; see Dowdeswell and Dowdeswell/Société des Impressionnistes, Catalogue of Paintings, Drawings and Pastels by Members of “La société des impressionnistes,” exh. cat. (Dowdeswell and Dowdeswell, 1883), p. 9, cat. 13. According to Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 2, Nos. 1–968 (Taschen/Wildenstein Institute, 1996), pp. 283–84, cat. 758; and Frances Fowle, “Making Money out of Monet: Marketing Monet in Britain 1870–1905,” in Monet and French Landscape: Vétheuil and Normandy, ed. Frances Fowle (National Galleries of Scotland, 2006), p. 145, this exhibition was organized by Durand-Ruel. The Durand-Ruel Archives cannot confirm that the Art Institute’s painting was the one exhibited in London in April–July 1883. According to Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago: “Il est possible qu’il s’agisse du même tableau mais nous n’avons aucun document nous le prouvant.”

[3] This transaction is recorded in the Durand-Ruel, Paris, stock book for 1884–90 (no. 1200, as La Femme au piano): “Acheté par Durand-Ruel Paris le 8 septembre 1886 pour 1200 francs, La Femme au piano . . . (?) peut-être à Renoir,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago.

[4] According to Guy-Patrice Dauberville and Michel Dauberville, with the collaboration of Camille Frémontier-Murphy, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 1, 1858–1881 (Bernheim-Jeune, 2007), p. 403, cat. 372 (ill.). See also Moore’s Art Galleries, New York, The Durand-Ruel Collection of French Paintings, sale cat. (Moore’s Art Galleries, May 5–6, 1887), p. 28, lot 93. A sale price is listed in “Good Prices Realized. Close of the Durand-Ruel Sale of Paintings,” New York Times (May 7, 1887), p. 5. However, according to the Durand-Ruel Archives, “Le tableau n’a pas été vendu en 1887 lors de la vente à la ‘Moore’s Art Galleries’: il s’agissait d’une vente fictive (aucun tableau n’a été vendu) destinée à faire de la publicité pour les tableaux apportés par Durand-Ruel à New York.” See Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago.

[5] According to the Durand-Ruel, New York, stock book for 1888–93 (no. 112, as Jeune femme au piano): “vendu à Martin A. Ryerson le 16 décembre 1911 pour $16,000, Jeune femme au piano,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago.

[6] This transaction is record in the Durand-Ruel, New York, stock book for 1888–93 (no. 112, as Jeune femme au piano): “vendu à Martin A. Ryerson le 16 décembre 1911 pour $16,000,Jeune femme au piano,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago. This corrects information previously published by François Daulte and by Guy-Patrice Dauberville and Michel Dauberville that the painting was purchased by Ryerson for 16,000 francs; see François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. 1, Figures, 1860–1890 (Durand-Ruel, 1971), pp. 170, cat. 187 (ill.), and Guy-Patrice Dauberville and Michel Dauberville, with the collaboration of Camille Frémontier-Murphy, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 1, 1858–1881 (Bernheim-Jeune, 2007), p. 403, cat. 372 (ill.). This also updates information provided to the Art Institute of Chicago by Caroline Durand-Ruel Godfroy, Dec. 14, 1994, which states that Ryerson purchased the painting for $15,000, curatorial object file, Art Institute of Chicago.

[7] This painting was on loan from Mrs. Martin A. Ryerson to the Art Institute of Chicago, intermittently, by 1934, according to Museum Registration Department Artists Sheets, on file in Museum Registration, Art Institute of Chicago.




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