Lucie Berard (Child in White)

Painting and Sculpture of Europe

1883

Pierre-Auguste Renoir (French, 1841–1919)

Pierre-Auguste Renoir was celebrated in his lifetime for capturing the nuanced expressions of childhood. Recognizing this, his patron Paul-Antoine Berard commissioned the artist to paint a number of portraits of his four children, in addition to likenesses of himself and his wife. Here, Renoir portrayed Lucie, Berard’s youngest and one of the artist’s favorite models, as the picture of innocence at three years old. Her small hands, positioned rather formally at her sides, lack the accessories, like toys and books, found in some other of Renoir’s portraits of children; her white dress and subtle smile invoke a serene but fleeting moment of youth.

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Pierre-Auguste Renoir
Title: Lucie Berard (Child in White)
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1883
Medium: Oil on canvas
Inscriptions: Inscribed upper right: Renoir 83
Dimensions: 61.3 × 49.8 cm (24 3/8 × 19 5/8 in.); Framed: 84.2 × 73.1 × 9.6 cm (33 1/8 × 28 3/4 × 3 3/4 in.)
Credit Line: Mr. and Mrs. Martin A. Ryerson Collection
Reference Number: 1933.1172
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/16600/manifest.json

Possibly Durand-Ruel, Paris, Catalogue de l’exposition des oeuvres de P.-A. Renoir, exh. cat. (Pillet et Dumoulin, 1883), p. 11, cat. 20.
Société du Salon d’Automne, Catalogue de peinture, dessin, sculpture, gravure, architecture et art décoratif, exh. cat. (Cie Français des Papiers-Monnaie, 1905), p. 146, cat. 1322.
Galerie Georges Petit, Paris, Catalogue des tableaux modernes, aquarelles, pastels … , Provenant de la collection de feu M. Paul Berard, sale cat. (Georges Petit, Paris, May 8–9, 1905), pp. 30–31, lot 20 (ill.).
Bernheim-Jeune, Paris, Exposition Renoir, exh. cat. (Bernheim-Jeune, 1913), cat. 25.
Bernheim-Jeune, Renoir, with a preface by Octave Mirbeau (Bernheim-Jeune, 1913), opp. p. 22 (ill.), p. 58.
Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum (Art Institute of Chicago, 1914), p. 211, cat. 2144.
Guillaume Janneau, “Impressions d’Amérique,” Le bulletin de la vie artistique 2, 8 (Apr. 15, 1921), p. 237 (ill.).
Carnegie Institute, Exhibition of Paintings: Edouard Manet, Pierre Renoir, Berthe Morisot, exh. cat. (Carnegie Institute, [1924]), no. 20.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 162, cat. 2153.
M. C., “Renoirs in the Institute (Continued),” Bulletin of the Art Institute of Chicago 19, 4 (Apr. 1925), pp. 48, 49 (ill.).
Ambroise Vollard, Renoir: An Intimate Record, trans. Harold L. Van Doren and Randolph T. Weaver (Knopf, 1925), p. 241.
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. 48, cat. 339.
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. 227.
Albert C. Barnes and Violette de Mazia, The Art of Renoir (Minton, Balch, 1935), pp. 77; 78; 271, no. 134 (ill.); 455, no. 134.
Maurice Bérard, Une famille du Dauphiné: Les Bérard, notice historique et généalogique (Laroze, 1937), fig. 35.
Maurice Bérard, Renoir à Wargemont, Maîtres du XIXe siècle (Larose, [1938]), (ill.).
Reginald Howard Wilenski, Modern French Painters (Reynal & Hitchcook, [1940]), p. 338.
Art Institute of Chicago, Masterpieces in the Art Institute of Chicago (Art Institute of Chicago, 1952), (ill.).
Dorothy Bridaham, Renoir in the Art Institute of Chicago (Conzett & Huber, 1954), pl. 7.
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 397.
John Maxon, The Art Institute of Chicago (Abrams, 1970), pp. 267 (ill.), 285.
François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. 1, Figures, 1860–1890 (Durand-Ruel, 1971), pp. 306–07, cat. 449 (ill.).
Elda Fezzi, L’opera completa di Renoir: Nel periodo impressionista, 1869–1883, Classici dell’arte 59 (Rizzoli, 1972), pp. 113, cat. 564; 114, cat. 564 (ill.).
Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pp. 120–21, cat. 46 (ill.); 210; 211.
François Daulte, “Renoir et la famille Berard,” L’oeil 223 (Feb. 1974), p. 5, fig. 7.
William S. Lieberman, ed., Modern Masterpieces: Manet to Matisse, exh. cat. (Museum of Modern Art, 1975), pp. 206–07 (ill.); 267, cat. 96.
Barbara Ehrlich White, Renoir: His Life, Art, and Letters (Abrams, 1984), pp. 129, 132 (ill.), 150.
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. (Nippon Television Network, 1985), pp. 83, cat. 37 (ill.); 148, cat 37 (ill.).
Anne Distel, “Charles Deudon (1832–1914) collectionneur,” Revue de l’art 86 (1989), p. 62, n. 3.
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. 91 (ill.).
Götz Adriani, Renoir, exh. cat. (Kunsthalle Tübinger/DuMont, 1996), p. 227, n. 6.
Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 59–60; 97, pl. 16; 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. 184; 204–05, cat. 47 (ill.); 317, cat. 47. 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. 184; 204–05, cat. 47 (ill.); 317, cat. 47.
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), p. 19, p. 204–05, cat. 47 (ill.); 317. 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), p. 19, p. 204–05, cat. 47 (ill.); 317.
John B. Collins, “Seeking l’Esprit Gaulois: Renoir’s Bal du Moulin de la Galette and Aspects of French Social History and Popular Culture” (Ph.D. diss., McGill University, 2001), p. 86.
Gilles Néret, Renoir: Painter of Happiness, 1841–1919, trans. Josephine Bacon (Taschen, 2001), pp. 246 (ill.), 264.
Sotheby’s, Impressionists and Modern Art Evening Sale, sale cat. (Sotheby’s, London, June 23, 2003), pp. 16, fig. 2; 17.
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. 279. 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.
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. 77, cat. 30 (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. 77, cat. 30 (ill.).
Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 2, 1882–1894 (Bernheim-Jeune, 2009), p. 335, cat. 1229 (ill.).
Anne Distel, Renoir (Citadelles & Mazenod, 2009), pp. 228–29, ill. 211.
Colin B. Bailey, Renoir, Impressionism, and Full-Length Painting, exh. cat. (Frick Collection/Yale University Press, 2012), p. 199.
“Cat. 16: Lucie Berard (Child in White), 1883,” in Renoir Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https://publications.artic.edu/renoir/reader/paintingsanddrawings/section/138973.

Possibly Paris, Durand-Ruel, Exposition des oeuvres de P.-A. Renoir, Apr. 1–25, 1883, cat. 20, as Portrait. Appartenant à M. Berard.
Paris, Grand Palais des Champs-Élysées, Salon d’automne, Oct. 18–Nov. 25, 1905, cat. 1322, as Portrait d’enfant en robe blanche.
Paris, Bernheim-Jeune, Exposition Renoir, Mar. 10–29, 1913, cat. 25, as L’enfant en robe blanche. App. à M. R.
Pittsburgh, Carnegie Institute, Paintings: Édouard Manet, Pierre Renoir, Berthe Morisot, Oct. 15–Dec. 1, 1924, cat. 20.
Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 339.
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. 227.
Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. 1, 1973, cat. 46 (ill.).
Sydney, Art Gallery of New South Wales, Modern Masters, Manet to Matisse, Apr. 10–May 11, 1975, cat. 96 (ill.); Melbourne, National Gallery of Victoria, May 28–June 22, 1975; New York, Museum of Modern Art, Aug. 4–Sept. 28, 1975.
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. 37 (ill.); Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986.
Ottawa, National Gallery of Canada, Renoir’s Portraits: Impressions of an Age, June 27–Sept. 14, 1997, cat. 47 (ill.); Art Institute of Chicago, Oct. 17, 1997–Jan. 4, 1998; Fort Worth, Tex., Kimbell Art Museum, Feb. 8–Apr. 26, 1998.
Rome, Galleria Nazionale d’Arte Moderna e Contemporanea, Aug. 21, 2001–Jan. 23, 2002.
Columbia (S.C.) Museum of Art, Renoir!, Apr. 25–Oct. 1, 2007, no cat.
Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 30 (ill.).

Commissioned by Paul Berard (1833-1905) (father of sitter), Wargemont and Paris [per Bailey 1997]; sold, Paul Berard sale, Galerie Georges Petit, Paris, May 8, 1905, lot 20, to, J. E. D. Pieyre Lacombe de Mandiargues (1879–1916) (husband of sitter), for 10,030 francs [per auction catalogue, 1905]. André Schoeller, Paris, by May 25, 1912 [this and the following per Dauberville and Dauberville 2009]; sold to Bernheim-Jeune, Paris, May 25, 1912, for 11,000 francs; sold to Martin A. Ryerson (d. 1932), Chicago, February 26, 1913, for 23,500 francs [per purchase receipt from Bernheim-Jeune to Monsieur A. [sic] Ryerson, photocopy in curatorial object file]; Bequeathed to the Art Institute of Chicago, 1933.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.