About This Artwork

Pierre-Auguste Renoir
French, 1841-1919

Lunch at the Restaurant Fournaise (The Rowers' Lunch), 1875

Oil on canvas
55 x 65.9 cm (21 5/8 x 25 15/16 in.)
Inscribed at lower left: Renoir

Potter Palmer Collection, 1922.437

Pierre-Auguste Renoir painted this canvas during the summer of 1875 in Chatou, west of Paris on the Seine River. The setting is the terrace of a restaurant on an island in the river, a popular meeting place for recreational rowers. Renoir was friendly with the proprietors of the restaurant, the Fournaise family. Only one of the party of three having lunch in this painting has been identified: the young man in a white jacket at left is Monsieur de Lauradour, a habitué of the restaurant and the nearby bathing resort of La Grenouillère.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, 2e Exposition de peinture, April 1876, cat. 221.

The Art Institute of Chicago, Paintings From the Collection of Mrs. Potter Palmer, 1910, cat. 51.

The Art Institute of Chicago, A Century in Progress, Exhibition of Paintings and Sculpture, June 1–November 1, 1933, cat. 350.

The Philadelphia Museum of Art, Manet and Renoir, November 1933, no cat.

The Art Institute of Chicago, A Century in Progress, Exhibition of Paintings and Sculpture, June 1–November 1, 1934, cat. 239.

Boston, Museum of Fine Arts, Independent Painters of Nineteenth Century Paris (Loan Exhibition), March–April, 1935, cat. 45 (ill.).

The Arts Club of Chicago, Origins of Modern Art, April 1940, cat. 13.

Birmingham Museum of Art, Opening Exhibition, April–June, 1951, cat. 45 (ill).

New York, The Metropolitan Museum of Art, Loan Exhibition, April-May, 1952.

New York, Wildenstein and Co., Impressionist Exhibition, October 27–November 27, 1965.

Milwaukee Art Center, The Inner Circle, September 15–October23, 1966, cat. 81 (ill.).

Portland, Oregon, The Portland Art Association, Seventy-Five Masterworks, December 12, 1967–January 21, 1968.

The Art Institute of Chicago, Paintings By Renoir, February 3–April 1, 1973, cat. 28 (ill.).

Manchester, New Hampshire, Loan Exhibition, March 15-May 11, 1975, no cat.

Pasadena, Norton Simon Museum of Art, Exchange Loan, February1–November 1, 1978, no cat.

Albi, Musée Toulouse-Lautrec, Trésors impressionnistes de Musée de Chicago, June 27–August 31, 1980, cat. 21 (ill.).

London, Hayward Gallery, Renoir, January 30–April 21, 1985, cat. 48 (ill.), traveled to Paris, Galeries Nationales du Grand Palais, May 14–September 2, 1985 and Boston, Museum of Fine Arts, October 9, 1985–January 5, 1986.

The Art Institute of Chicago, Tour de France, December 9, 1989–March 4, 1990, no cat. no., fig. 8.

Washington, D.C., National Gallery, January, 17–April, 6, 1996, The New Painting: Impressionism: 1874–1886, cat. II-221, traveled to San Francisco, The Fine Arts Museum of San Francisco, M. H. de Young Memorial Museum, April 19–July 6, 1996.

Washington, DC, The Phillips Collection, Impressionists on the Seine: A Celebration of Renoir’s Luncheon of the Boating Party, September 21, 1996–February 9, 1997, no cat. no., pl. 40.

Amsterdam, Van Gogh Museum, Theo Van Gogh: Art Dealer, Collector and Brother of Vincent, June 24–September 5, 1999, cat. 125 (ill.), traveled to Paris, Musée D’Orsay, September 27, 1999–January 9, 2000.

The Art Institute of Chicago, Seurat and the Making of La Grande Jatte, June 16–September 19, 2004, cat. 107 (ill.).

London, National Gallery, Renoir's Landscapes, February 21–May 20, 2007, p. 58, fig. 38, cat. 34 (ill.), will travel to Ottawa, National Gallery of Canada, June 8–September 9, 2007, and Philadelphia, Philadelphia Museum of Art, October 4, 2007–January 6, 2008, cat. 34.

Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 23 (ill.).

The Art Institute of Chicago, A Case for Wine, July11—September 20, 2009, no exhibition catalogue.

Publication History

Emile Porcheron, “Promenades d’un flâneur: Les Impressionistes,” Le Soleil (April 4, 1876), pp. 2-3.

G. Lecomte, “L’Oeuvre de Renoir,” L’Art et les Artistes 1 (April 1919-September 1920), p. 149.

The Art Institute of Chicago Bulletin 15 (1921), p. 161 (ill.).

François Fosca, Renoir (New York, 1924), pl. 18.

M.C., “Renoirs in the Institute,” Bulletin of The Art Institute of Chicago 19, 3 (1925), p. 33 (ill.).

The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 66 (ill.).

Julius Meier-Graefe, Renoir (Leipzig, 1929), p. 124 , no. 102 (ill.).

The Art Institute of Chicago Handbook (1932), pp. 64 (ill.), 168.

D. C. Rich, “Französische Impressionisten im Art Institute zu Chicago,” Pantheon 11 (March 1933), pp. 77, 78.

The Pennsylvania Museum Bulletin 29, 158 (December 1933), pp. 17, 19.

R. H. Wilenski, Modern French Painters (New York, 1940), p. 338.

The Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1956), p. 34.

The Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 396.

John Maxon, The Art Institute of Chicago (New York, 1970), pp. 86 (ill.), 285.

William Gaunt, Impressionism a Visual History (New York, 1970), pp. 236, 237, pl. 91.

François Daulte, Auguste Renoir: Catalogue raisonné, vol. 1 (Lausanne, 1971), no. 305 (ill.).

John Rewald, “Theo van Gogh, Goupil, and the Impressioists,” Gazette des Beaux-Arts sér 6, 81 (1973), p. 14, fig. 7.

Mike Samuels and Nancy Samuels, Seeing With the Mind’s Eye: The History, Techniques and Uses of Visualisation (New York, 1975), p. 71 (ill.).

Walter Pach, Auguste Renoir: Leben und Werk (Cologne, 1976), pp. 114-15 (ill.).

The Art Institute of Chicago: 100 Masterpieces (Chicago, 1978), p. 100, no. 56 (ill.).

Joel Isaacson, “Impressionism and Journalistic Illustration,” Arts Magazine 10, 56 (1982), p. 105, fig. 37.

Denys Sutton, “Renoir’s Kingdom,” Apollo (April 1985), p. 247 (ill.).

Richard Brettell, French Impressionists (Chicago, 1987), pp. 30 (detail ill.), 31, 32 (ill.), 119.

Van Gogh à Paris exh. cat. (Musée d’Orsay, 1988), p. 375 (ill.).

Robert Herbert, Impressionism: Art, Leisure, and Parisian Society (New Haven and London, 1988), pp. 247 (ill.).

Sophie Monneret, Renoir (Paris, 1989), p. 78 (ill.).

Great French Paintings From the Barnes Foundation: Impressionist, Post-impressionist, and Early Modern (New York, 1993), p. 54, fig. 1.

Colin B. Bailey, Renoir’s Portraits: Impressions of an Age exh. cat. (Ottawa, National Gallery of Canada, 1997), under no. 40, note 8.

Christie’s, London, Impressionist and Modern Art, February 3, 2003, under lot 60, p. 31, ill.

Colin B. Bailey, “The Greatest Luminosity, Colour, and Harmony,” Renoir Landscapes 1865-1883, ed. Colin B. Bailey and Christopher Riopelle, Exh. cat. (National Gallery Company Limited, 2007), p. 58-59, P. 168, P. 170-171, P. 210, fig. 38, cat. 34.

The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 23, pp. 64–65 (ill.).

Ownership History

Legrand, Paris; sold to Theo van Gogh on November 21, 1887 for 200 francs [according to Rewald 1973]; sold to Guyotin, Paris on November 22, 1887 for 360 francs [according to Paris 1988]; sold to Durand-Ruel, Paris and New York on March 21, 1892 for 1,300 francs [according to Daulte 1971]; sold to Mrs. Potter Palmer (died 1918) on April 9, 1892 for $ 1,100 [see Durand-Ruel stock book New York no. 932, Paris no. 2064, information kindly provided by Caroline Durand-Ruel Godfroy, 1995]; bequeathed to the Art Institute, 1922.




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