Near the Lake

CC0 Public Domain Designation

1879/80

Pierre-Auguste Renoir
French, 1841-1919

On View: European Painting and Sculpture, Gallery 201

Artist: Pierre-Auguste Renoir
Title: Near the Lake
Origin: France
Date: 1879–1880
Medium: Oil on canvas
Inscriptions: Inscribed lower right: Renoir
Dimensions: 47.5 × 56.4 cm (18 11/16 × 22 3/16 in.)
Credit Line: Potter Palmer Collection
Reference Number: 1922.439

American Association for the Promotion and Encouragement of Art, Catalogue of Celebrated Paintings by Great French Masters: Brought to This Country from Paris, for Exhibition Only, exh. cat. (National Academy of Design, New York, 1887), p. 43, no. 185.
Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, pt. 2, Paintings (Art Institute of Chicago, 1922), p. 69, cat. 846.
Art Institute of Chicago, “Accessions and Loans,” Bulletin of the Art Institute of Chicago 16, 3 (May 1922), p. 47.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 150, cat. 846.
M. C., “Renoirs in the Institute,” Bulletin of the Art Institute of Chicago 19, 3 (Mar. 1925), pp. 32 (ill.), 33.
Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, 3rd ed., exh. cat. (Art Institute of Chicago, 1933), p. 49, cat. 347.
Daniel Catton Rich, “Französische Impressionisten im Art Institute zu Chicago,” Pantheon: Monatsschrift für Freunde und Sammler der Kunst 11, 3 (Mar. 1933), p. 77. 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, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1934), p. 40, cat. 236.
“Technique of Painting—II, A Study of Impressionism,” Coronet 6, 2 (June 1, 1939), p. 102 (ill.).
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.
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 396.
François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. 1, Figures, 1860–1890 (Durand-Ruel, 1971), pp. 232–33, cat. 306 (ill.).
Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pp. 84; 86–87, cat. 29 (ill.).
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), pp. 10, 81 (ill.).
Eliza E. Rathbone, Katherine Rothkopf, Richard R. Brettell, and Charles S. Moffett, Impressionists on the Seine: A Celebration of Renoir’s “Luncheon of the Boating Party,” exh. cat. (Phillips Collection/Counterpoint, 1996), pp. 208, pl. 50; 259.
Eliza E. Rathbone, “Renoir’s Luncheon of the Boating Party: Tradition and the New,” in Eliza E. Rathbone, Katherine Rothkopf, Richard R. Brettell, and Charles S. Moffett, Impressionists on the Seine: A Celebration of Renoir’s “Luncheon of the Boating Party,” exh. cat. (Phillips Collection/Counterpoint, 1996), p. 34.
Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 6; 47–48; 72; 81 (detail); 92, pl. 11; 110.
Charles Moffett, “Pierre-Auguste Renoir, Young Women at the Water’s Edge,” in The Bellagio Gallery of Fine Art, Impressionists and Modern Masters, ed. Libby Lumpkin, exh. cat. (Bellagio Gallery of Fine Art, Mirage Resorts, 1998), p. 47.
Gilles Néret, Renoir: Painter of Happiness, 1841–1919, trans. Josephine Bacon (Taschen, 2001), p. 129 (ill.).
Colin B. Bailey, “‘The Greatest Luminosity, Colour and Harmony’: Renoir’s Landscapes, 1862–1883,” in Renoir Landscapes, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, exh. cat. (National Gallery, London, 2007), p. 65.
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. 260, cat. 216 (ill.).
John Zarobell, “By the Water, 1879–80,” in Renoir Landscapes, 1865–1883, ed. Colin B. Bailey and Christopher Riopelle, exh. cat. (National Gallery, London, 2007), pp. 210–11, cat. 49 (ill.). Translated as John Zarobell, “Au bord de l’eau, 1879–1880,” 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), pp. 210–11, cat. 49 (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. 72–73, cat. 27 (ill.); 178 (detail). 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. 72–73, cat. 27 (ill.); 178 (detail).
Pascal Bonafoux, Correspondances impressionnistes, vol. 1 (Diane de Selliers, 2008), p. 99 (ill.).
“Cat. 10: Near the Lake, 1879/80,” in Renoir Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014).

New York, National Academy of Design, Celebrated Paintings by Great French Masters, May 25–June 30, 1887, cat. 185.
Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, May 23–Nov. 1, 1933, cat. 347.
Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture for 1934, June 1–Oct. 31, 1934, cat. 236.
New York, Metropolitan Museum of Art, Apr. 4–May 18, 1952, no cat.
Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. 1, 1973, cat. 29 (ill.).
Washington, D.C., Phillips Collection, Impressionists on the Seine: A Celebration of Renoir’s “Luncheon of the Boating Party,” Sept. 21, 1996–Feb. 23, 1997, cat. 50 (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 only).
London, National Gallery, Renoir Landscapes, 1865–1883, Feb. 21–May 20, 2007, cat. 49 (ill.); Ottawa, National Gallery of Canada, June 8–Sept. 9, 2007; Philadelphia Museum of Art, Oct. 4, 2007–Jan. 6, 2008.
Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 27 (ill.).

Acquired from [unknown] by Durand-Ruel, Paris, Sept. 24, 1886. [This transaction is recorded in the Durand-Ruel, Paris, stock book for 1884–90 (no. 1340, Au bord du lac): “Acheté par Durand-Ruel Paris le 24 septembre 1886, Au bord du lac,” 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. According to the same letter, the Durand-Ruel Archives do not know from whom Durand-Ruel purchased the painting or what price was paid for it.]
Acquired by Durand-Ruel, New York, about 1888. [This transaction is recorded in the Durand-Ruel, New York, stock book for 1888–91 (no. 141, Au bord du lac): “Se trouve dans le stock Durand-Ruel NY circa 1888 (stock 141)” 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.]
Sold by Durand-Ruel, New York, to Potter Palmer, Chicago, Mar. 2, 1892, for $900. [This transaction is recorded in the Durand-Ruel, New York, stock book for 1888–93 (no. 197, Au bord du lac): “Vendu par Durand-Ruel NY (stock 197) à Potter Palmer le 2 mars 1892 pour $900, Au bord du lac,” 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.]
By descent from Potter Palmer (died 1902), Chicago, to the Palmer family. [This painting was on loan from the Palmer family to the Art Institute of Chicago, intermittently, by 1921, according to Museum Registration Department Artists Sheets, on file in Museum Registration, Art Institute of Chicago.]
Given by the Palmer family to the Art Institute of Chicago, 1922.