About This Artwork

Pierre-Auguste Renoir
French, 1841–1919

Jean Renoir Sewing, 1899/1900

Oil on canvas
55.4 x 46.3 cm (21 3/4 x 18 1/4 in.)
Inscribed lower left: Renoir

Mr. and Mrs. Martin A. Ryerson Collection, 1937.1027

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Renoir in museum’s collection; entries feature interactive and layered high-resolution imaging, previously unpublished technical photographs, archival materials, and documentation relating to each artwork.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, Durand-Ruel, Exposition de tableaux par Renoir, Apr. 27–May 15, 1912, cat. 14, as Portrait de Jean, 1900.

Paris, Durand-Ruel, Portraits par Renoir, June 5–20, 1912, cat. 16, as Portrait de Jean Renoir, 1900.

Renaissance Society of the University of Chicago, Some Modern Primitives: International Exhibition of Paintings and Prints, Summer 1931, July 2–Aug. 16, 1931, cat. 72.

Toledo (Ohio) Museum of Art, Paintings by French Impressionists and Post-Impressionists, Nov. 7–Dec. 12, 1937, cat. 23 (ill.).

Los Angeles County Museum, Pierre Auguste Renoir 1841–1919: Paintings, Drawings, Prints and Sculpture, July 14–Aug. 21, 1955, cat. 58 (ill.); San Francisco Museum of Art, Sept. 1–Oct. 2, 1955.

Denver Art Museum, The Turn of the Century: Exhibition of Masterpieces, 1880–1920, Oct. 1–Nov. 18, 1956, cat. 38.

Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. 1, 1973, cat. 69 (ill.).

Birmingham (Ala.) Museum of Art, Fifty Years of French Painting: The Emergence of Modern Art, Feb.1–Mar. 30, 1980, cat. 14 (ill.).

Ottawa, National Gallery of Canada, Renoir’s Portraits: Impressions of an Age, June 27–Sept. 14, 1997, not in cat.; Art Institute of Chicago, Oct. 17, 1997–Jan. 4, 1998; Fort Worth, Tex., Kimbell Art Museum, Feb. 8–Apr. 26, 1998 (Chicago and Fort Worth only).

Sakura, Kawamura Memorial Museum of Art, Runowāru ten/Renoir: Modern Eyes, Apr. 3–May 16, 1999, cat. 67 (ill.); Sendai, Miyagi Museum of Art, May 25–July 4, 1999; Sapporo, Hokkaido Museum of Modern Art, July 15–Aug. 29, 1999.

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

Cologne, Wallraf-Richartz-Museum & Fondation Corboud, Impressionismus: Wie das Licht auf die Leinwand kam, Feb. 29–June 22, 2008, cat. 155 (ill.); Florence, Palazzo Strozzi, as Impressionismo: Dipingere la luce, le tecniche nascoste di Monet, Renoir, e van Gogh, July 11–Sept. 28, 2008 (Cologne only).

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 32 (ill.).

Publication History

Durand-Ruel, Paris, Exposition de tableaux par Renoir, exh. cat. (Durand-Ruel, Paris, 1912), p. 4, no. 14.

Durand-Ruel, Paris, Portraits par Renoir, exh. cat. (Durand-Ruel, Paris, 1912), p. 4, no. 16.

Art Institute of Chicago, “Notes,” Bulletin of the Art Institute of Chicago 9, 3 (Mar. 1, 1915), p. 40.

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. 72.

Claude Roger-Marx, Renoir (H. Floury, 1933), p. 157.

Michel Florisoone, Renoir (Hypérion, 1937), pp. 69 (ill.), 166. Translated by into English by George Frederic Lees as Renoir (Hyperion, 1938), pp. 69 (ill.), 166.

Toledo (Ohio) Museum of Art, Paintings by French Impressionists and Post-Impressionists, exh. cat. (Toledo Museum of Art, 1937), cat. 23 (ill.).

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

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

Art Digest 16, 17 (June 1, 1942), p. 15 (ill.).

Art Institute of Chicago, “Notes,” Bulletin of the Art Institute of Chicago 42, 2, pt. 1 (Feb. 1948), p. 28 (ill.).

Peyton Boswell, “Comments,” Art Digest 23, 10 (Feb. 15, 1949), p. 8 (ill.).

Dorothy Bridaham, Renoir in the Art Institute of Chicago (Conzett & Huber, 1954), pl. 8.

Los Angeles County Museum and San Francisco Museum of Art, Pierre Auguste Renoir, 1841–1919: Paintings, Drawings, Prints, and Sculpture, exh. cat. (Los Angeles County Museum, 1955), pp. 17, cat. 58 (ill.); 52.

Denver Art Museum, The Turn of the Century: Exhibition of Masterpieces, 1880–1920, exh. cat. (Denver Art Museum, 1956), cat. 38.

Bruno F. Schneider, Renoir (Safari, [1957]), p. 79 (ill.). Translated into English by Desmond and Camille Clayton as Renoir (Crown, 1978), p. 79 (ill.).

Raymond Cogniat, Renoir: Enfants (Fernand Hazan, 1958), pl. 3.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 398.

Jean Renoir, Renoir (Hachette, 1962), p. 390. Translated by Randolph and Dorothy Weaver as Renoir: My Father (Little, Brown, 1962), p. 391.

François Daulte, “Renoir: Son oeuvre regardé sous l’angle d’un album de famille,” Connaissance des arts 153 (Nov. 1964), p. 78, fig. 16.

Thomas Willis, “Renoir on Renoir,” Chicago Tribune, Jan. 28, 1973, p. K55 (ill.).

Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pp. 164–65, cat. 69 (ill.); 184.

Roger Ebert, “Renoir’s Last, Fond Testament,” Chicago Sun Times, Aug. 30, 1974, p. 49 (ill.).

Walter Pach, Auguste Renoir: Leben und Werk (M. DuMont Schauberg, 1976), pp. 175; 183, fig. 75.

Birmingham (Ala.) Museum of Art, Fifty Years of French Painting: The Emergence of Modern Art, with a text by Barbara Chenoweth Shelton, exh. cat. (Birmingham Museum of Art, 1980), cat. 14 (ill.).

A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (University of Chicago Press, 1980), pp. 12; 66, cat. 3E9; microfiche 3, no. E9 (ill.).

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 69; 72; 102, pl. 21; 111.

Kawamura Memorial Museum of Art, Miyagi Museum of Art, and Hokkaido Museum of Modern Art, Runowāru ten/Renoir: Modern Eyes, exh. cat. (Hokkaido Shinbunsha, 1999), pp. 160–61, cat. 67 (ill.).

Gail Carolyn Sirna, In Praise of the Needlewoman: Embroiderers, Knitters, Lacemakers, and Weavers in Art (Merrell, 2006), pp. 138–39 (ill.).

Iris Schaefer, Caroline von Saint-George, and Katja Lewerentz, Impressionismus: Wie das Licht auf die Leinwand kam, exh. cat. (Wallraf-Richartz-Museum & Fondation Corboud/Skira, 2008), pp. 144; 147, fig. 155; 235. Translated as Iris Schaefer, Caroline von Saint-George, and Katja Lewerentz, Painting Light: The Hidden Techniques of the Impressionists, exh. cat. (Wallraf-Richartz-Museum & Fondation Corboud/Skira, 2008), pp. 147, ill. 155; 151; 235.

Iris Schaefer, Caroline von Saint-George, and Katja Lewerentz, Impressionismo: Dipingere la luce, le tecniche nascoste de Monet, Renoir, e van Gogh, ed. Monica Maroni, exh. cat. (Foundazione Palazzo Strozzi/Wallraf-Richartz-Museum & Foundation Corboud/Skira, 2008), pp. 144; 147, ill. 155; 235.

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. 79, cat. 32 (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. 79, cat. 32 (ill.).

Katja Lewerentz, “Brief Report on Technology and Condition: Pierre-Auguste Renoir, Jean Renoir Sewing,” in Research Project: Painting Techniques of Impressionism and Postimpressionism (Wallraf-Richartz-Museum & Fondation Corboud/University of Applied Sciences, Cologne Institute for Conservation Sciences, 2008), pp. 2; 16, fig. 14 and fig. 15.

Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 3, 1895–1902 (Bernheim-Jeune, 2010), p. 391, cat. 2376 (ill.).

Daniel Marchesseau, Pierre-Auguste Renoir: Revoir Renoir, with contributions by Cécile Bertran, Augustin de Butler, Caroline Durand-Ruel Godfroy, et al., exh. cat. (Fondation Pierre Gianadda, 2014), p. 210 (ill.).

“Cat. 24: Jean Renoir Sewing, 1899/1900,” in Renoir Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014).

Ownership History

Possibly acquired from [unknown] by Durand-Ruel, Paris, by Apr. 1912. [1]

Sold by Durand-Ruel, New York, to Martin A. Ryerson, Chicago, 1914. [2]

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

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

NOTES

[1] According to Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 3, 1895–1902 (Bernheim-Jeune, 2010), p. 391, cat. 2376 (ill.), the painting was included in the exhibition Exposition de tableaux par Renoir at Durand-Ruel, Paris, Apr. 27–May 15, 1912, under the title Portrait de Jean; see Durand-Ruel, Paris, Exposition de tableaux par Renoir, exh. cat. (Durand-Ruel, Paris, 1912), p. 4, no. 14.

[2] According to Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 3, 1895–1902 (Bernheim-Jeune, 2010), p. 391, cat. 2376 (ill.); and Museum Registration Department Artists Sheets, on file in Museum Registration, Art Institute of Chicago. The earliest publication that mentions the painting as being in the Ryerson collection is Art Institute of Chicago, “Notes,” Bulletin of the Art Institute of Chicago 9, 3 (Mar. 1, 1915), p. 40.




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