Pierre-Auguste Renoir Paintings For Sale
Pierre-Auguste Renoir’s father was a tailor and his mother was a seamstress. The house where he was born, which still stands, indicates his humble background in Limoges. In 1844, the family left Limoges and moved to Paris. From 1854 to 1859, Renoir was apprenticed to various craftsmen and found work as a decorative painter. In Paris, he joined the studio of the porcelain manufacturer Lévy, where he was assigned to paint decorative floral motifs and pastoral scenes inspired by the 18th century, as well as profile portraits of Marie-Antoinette. Around 1858, he left the Lévy studio and then painted on fan-shaped fabric and blinds for the Gilbert firm. In 1859, he decorated about 20 cafés with mythological scenes. Attracted by painting, he attended evening classes in Paris. From 1860 to 1864, he was entered in the register of requests for permission to work in the Musée du Louvre, where he copied 18th-century paintings by Antoine Watteau, François Boucher, and Jean-Honoré Fragonard. These were the first works of art that filled him with admiration, and he would remain attached to them for the rest of his life.
From 1862 to 1864, he used his savings to attend the École des Beaux-Arts, where he met Henri Fantin-Latour, and, in Charles Gleyre’s studio, he became friends with Frédéric Bazille, Alfred Sisley, and Claude Monet. With the latter, he went to paint in Chailly-en-Bière, Barbizon, in the forest of Fontainebleau, where he met Narcisse Diaz, who advised him to lighten his range of colours in the landscapes he was attempting. The friends met again in 1866 at the Cabaret of Mère Antony in Marlotte. In 1867, they lived together at 20 Rue Visconti. Renoir was, by that time, inspired more by Camille Corot, Gustave Courbet, and Diaz than by Gleyre. From 1866 to 1872, he often painted his favourite model, Lise Tréhot, with whom he was living. Then, shortly before 1870, Monet introduced him to Édouard Manet, whom they would meet at the Café Guerbois aux Batignolles. Manet was to have a crucial influence on the entire group of future Impressionists.
Renoir’s very early work was associated by a hostile section of the public with vulgarity in literature and naturalist painting, which took their subjects from contemporary life. In 1864, Renoir’s La Esmeralda (which he later destroyed) was rejected by the Salon, and in 1867, his Diana the Huntress, influenced by Courbet and painted in full colour with a palette knife, was also rejected. In 1872, his painting Parisian Women Dressed as Algerians was again rejected.
From 1869 to 1880, Monet joined wholeheartedly in the enthusiasm for Impressionism and was, perhaps, the leading figure of the Impressionists. Renoir painted with Monet in Bougival, Louveciennes, Argenteuil, and Chatou. During the years preceding 1875, the friends (who were united, in particular, by their admiration for Manet) discussed and debated their ideas, eventually forming an informal movement called Impressionism. Manet’s benevolent friendship and Monet’s closeness guided Renoir towards innovations in style and practice. Corot, the painters in Barbizon, and Diaz had already moved outdoors to paint in the open air, surrounded by nature. Monet had always preferred painting outdoors and taught himself from the work of his contemporaries. He experimented with the painting of tonal values used by Manet but later abandoned this for the representation of light and hue. He restricted himself at this time almost completely to landscape and to rendering harmonies of colour hue in varying conditions of light, concerned with the representation of atmosphere and colour. Renoir was captivated during the time he spent painting with Monet; his range of colours lightened, and the imprecise spontaneity of the direct impression lightened his brushstroke. The clean and healthy outdoors, the light-coloured painting, the golden heat of sunlight, the dazzling purity of the reds, oranges, and yellows, and the clear shades of the violets, blues, and greens appealed deep down to his taste. He also produced scenes from daily life: cafés, dances, and outdoor scenes. From 1869, he accompanied Monet to the banks of the Seine at La Grenouillère in Bougival, and at this precise moment in time the paintings of the two friends were often confused (Renoir’s brushstroke, however, was shorter and a little fuzzy). Since Impression, Sunrise of 1871, Monet’s original intuition – notably concerning the division of the brushstroke in place of the blending of colours – took shape in precepts that would form the Impressionist technique.
Renoir was called up during the Franco-Prussian War of 1870–1871, and, while stationed in Libourne, he fell ill. However, in 1873, he made the acquaintance of Paul Durand-Ruel, who started buying paintings from him. The same year, he rented a garden in Montmartre and thereafter took his subjects from urban life. He kept a home in Montmartre right to the end of his life. Its dilapidated state doubtless gave rise to its nickname ‘Château des Brouillards’ (Fog Castle).
In 1873–1874, at the Argenteuil regatta, Monet and Renoir painted the same scenes again, and their vision of them was very similar. In 1874, Renoir painted Portrait of Madame Hartmann; in 1875 – 1876, he painted Torso of a Woman in the Sun; in 1876, Swing and Le Moulin de la Galette; and, around 1876, Bathers, a subject that he would return to during the course of his many different periods, up to the last ones around 1918. Around 1877, he painted Portrait of Madame Georges Charpentier.
In one of his best-known works, Dance at the Moulin de la Galette, Renoir depicted his Bohemian companions. In 1876–1877, he made the acquaintance of the publisher Georges Charpentier and his family. He became a regular visitor at their home, and they introduced him to their influential acquaintances. From the summer of 1879, he stayed several times at the Château de Wargemont on the Normandy coast, the home of the Bérard family, who were friends of the Charpentiers. These visits coincided with an increase in the number of landscapes that Renoir produced. At the beginning of his career, he had painted a few dark naturalist landscapes; at the start of the Impressionist movements, he had produced a few with his friends. Now, however, Renoir was responsible for the introduction of a lively, colourful painting style with feathery brushwork, the so-called rainbow palette, which was restricted to pure tones at maximum intensity with the elimination of black and the subordination of outline. Nowhere in his landscapes is there a suggestion of sadness or melancholy.
In terms of the Impressionists, Renoir was more a painter of figures than landscapes, in particular more a painter of women. However, he did paint some rare portraits of men, including Portrait of Victor Chocquet in 1875—one of his admirers right from the start (and male ‘extras’ featured in his paintings). As a portrait artist, he was also especially fond of childhood freshness, as shown in paintings of his three sons.
During the 1880s, Renoir’s new associates caused him to distance himself a little from his poorer friends, and Boating Party Lunch, in the open-air café of Mère Fournaise in Bougival, was the last composition he painted of working-class subject matter. In 1881, at the age of 40, he entered into a relationship with his model Aline Charigot, 18 years his junior, whom he had met a year earlier but did not marry until 1890. They had three sons: Pierre, born in 1885, who became a well-known actor; Jean, born in 1894, who became a world-famous film director; and Claude (known as Coco), born in 1901, who was a potter and stage designer.
With Boating Party Lunch, from 1881, and L’Estaque, from 1882, which was painted with Paul Cézanne at his side, Renoir’s strictly Impressionist period came to a close. Thanks to the first purchases by Durand-Ruel, and in order to clarify his aesthetic ideas, Renoir spent time in Algeria, following in the footsteps of Eugène Delacroix. He then travelled to Italy, Venice, Padua, Florence, Rome, Naples, and Capri, during the course of which he was captivated by Raphael. These travels appear to have induced Renoir to question his own artistic style: ‘Around 1883, it was as if a crack appeared in my work. I had gone as far as I could with Impressionism and had arrived at the conclusion that I did not know how to either paint or draw’. This marked the end of his purely Impressionist era and the beginning of a (relatively short) period that would be known as ‘Ingresque’, during which he began to paint in a more Classical manner.
During his travels in Italy in 1880, Renoir discovered that it was possible to paint almost without colours, by the use of relief in terms of volume. Overall, he does remain one of the great painters of colour, but at that time, in some of his works inspired by antiquity, he practised painting with just two red and yellow ochres, earth green, and black. His reading of Cennino Cennini, who wrote a handbook for artists around 1400, encouraged Renoir to experiment with various processes, using petrol, wax, and siccative. He even eliminated oil from his trademark paintings in order to imitate the pallor of the colours of 13th- to 14th-century Italian frescoes and those of Raphael’s in the Vatican.
During his Ingresque period (or, in his own words, his ‘sour’ period), Renoir produced paintings inspired by the rules of Classical composition, even though he reconciled them with modern-day contemporary subjects. They applied to drawings with precise, almost dry lines, where colour was subordinate to line, being restricted to fairly dull tonalities that adjusted the volumes, known as the toning down of the half-tones between light and shade. However, they produced striking harmonies, notably in Bather (known as Blonde Bather), from 1881, Dance in the Town, from 1882 to 1883, and The Bathers, from 1884 to 1887 (which was inspired by a low relief by François Girardon at Versailles). His new manner was somewhat stilted and a little reminiscent of the Pre-Raphaelites in the smoothly gracious pale landscape and is typified in Maternity from 1886. It was during this period of seeking a return to Classical composition that Renoir worked together with Cézanne, who also wanted to paint ‘Poussin sur nature’ (Poussin from nature).
However, Renoir did not hesitate during his Ingresque period to resume friendly relations with his Impressionist friends and naturalist writers, and he went for dinners and meetings organised by Berthe Morisot in her studio, where he became firm friends with Stéphane Mallarmé. On his way to Italy, he stopped off in Marseilles to meet up again with Cézanne, who was working at L’Estaque. In January 1882, he went to Palermo to paint Portrait of Wagner. From January to February, he rejoined Cézanne at L’Estaque. From March to April, he was again in Algeria; in September 1883, he travelled to Jersey and Guernsey; in December, he was on the Riviera with Monet. In the summer of 1885, he spent time at La Roche-Guyon, again with Cézanne. This constant pursuit of Cézanne, which happened again in 1888, is significant in this period of doubt that Renoir underwent.
Around 1885, Renoir gave up the constraints that he had imposed on himself during his Ingresque period, writing to Durand-Ruel that ‘I have returned to my former gentle and light way of painting and do not intend to abandon it ever again’. Although he took up the general principles of Impressionism once more, his own Impressionism was formed from then on in a very personal manner. While he still took into consideration his new concern with Classical composition, he also returned progressively to a more supple and sensual style and to his delight in colour. Shadows were no longer painted in grisaille but were represented in deep violet, blue, and green tones. In 1886, he travelled to northern Brittany and spent two months in St-Briac. In 1888, he stayed at the Jas de Bouffan with Cézanne and in Martigues. In 1891, he stayed in Tamaris-sur-Mer with Théodore de Wizzewa, and in 1892, he stayed in southern Brittany, Pornic, Noirmoutier, and Pont-Aven, where he returned in 1893 and 1894. In 1885, he returned to the subject of bathers, which he had already tackled around 1876.
From 1890 onward, Renoir devoted a great part of his activity to nudes. He discovered a liking for voluptuous flesh, velvet or satin cloth, and backgrounds of hazy landscapes. The technique he used here was completely new for him, and he practised it right to the end. It consisted of painting systematically, using a translucent glaze of colour. This was applied directly onto the prepared blank canvas, which meant that the canvas showed through nearly everywhere. Sometimes the desired spontaneity of the technique as a way of sketching even left parts of the canvas untouched. Alternatively, one colour was applied over another colour that had been applied earlier. This produced pearlescent opalescent effects. The ever-present white, even in the most vivid colours, as in a watercolour, imparted a remarkable coherence of light to the composition. This unit of light, which contributes to the coherence of all the components of the work, is also one of the principles of the Classical tradition in painting, and this appealed to Renoir from this time on. In terms of the glazing technique, he used the most intrinsically translucent colours, known as the ‘laques de garance’ (madder-dye varnish). It is equally possible that Renoir may have anticipated a progressive weakening in his strange colouring. This refers specifically to Sleeping Bather (1897), The Bathers (1901), Reclining Woman (1902), Female Torso (1906), Wounded Woman (1909), and right to his final Bathers (1918–1919).
The reference to the Classical tradition that marked the works of his last period ultimately also made him change the character of his female figures and particularly his nudes. The Washerwomen in Cagnes, from around 1912, participate in the pastoral lyricism of Poussin, and in the Great Bathers, from 1918–1919, Renoir’s formerly impish Parisians now play the role of nonchalant nymphs. His women still displayed the appetising voluptuousness of his cherished models from former times, but the etiquette of new Classical compositions imposed on them attitudes borrowed from some solemn ceremony, a compromise between carnal plenitude and proud bearing, found in Aristide Maillol’s statuary.
By 1890, attacks of arthritis dissuaded Renoir from doing any more: ‘Landscape is beginning to torture me…’. He would do the background painting for his figure compositions, with the exception of the last landscapes in Cagnes, which he was able to deal with from his home. In 1894, after the death of Gustave Caillebotte, for whom he was the executor of his estate, Renoir was closely involved in the processes aimed at bequeathing the important collection of Impressionist paintings to the state. (Ultimately, only a section of these paintings was accepted and exhibited at the Musée du Luxembourg in 1897.) In 1895, Renoir bought a house in Essoyes in the Aube, the village where his wife was born. He stayed there every summer right up to his death. In 1896, he travelled to Germany. There, he went to Bayreuth and to Dresden, where he visited the museums. In 1898, he stayed for the first time in Cagnes and went to Holland to visit the important Rembrandt exhibition in Amsterdam.
After 1902, Renoir’s health deteriorated because of gout and rheumatism, which also affected his eyes. The virtually crippling pain made it necessary for him to move to a dry, hot climate. In 1907, he acquired the Domaine des Collettes in Cagnes, where he had a house built, and he moved there from Paris. In 1908, he tried his hand at sculpture with Maillol in his house in Essoyes, modelling a medallion of his son Claude. In 1910, he made a trip to Munich. In 1912, as the result of a bout of paralysis, he gave up walking for good and used a wheelchair. Soon, unable to hold his paintbrushes himself, he had them attached to his wrists. In 1913, having had to abandon working with his own hands, he resorted to the sculptor Richard Guino, who worked with Maillol.
Once Renoir had moved to Cagnes, he was happy to discover the sun-filled light on the Provence coastline, which inspired some Greek subjects, notably Chloe and Judgement of Paris (1914). He also planned an Oedipus Rex, and painted a composition in the genre of the allegory: The Rhône and the Saône. This Classicism also influenced his sculptures, which he produced from 1913 onward. It is said that Renoir dictated his intentions with the end of a stick to Guino, who converted them with all his internal passion. Guino has always refuted this, indicating that Renoir drew or painted the figures that the assistant subsequently sculpted. Between them, they executed a number of works, including two versions of Judgement of Paris (1915–1916), as well as plaster high reliefs in the style of the painting; Venus Victrix (1915–1916); Big Squatting Washerwoman (1917); and Maternity, cast in bronze by Vollard. In 1915, his wife, Aline, died in Nice. Their two sons, Pierre and Jean, were injured in World War I (one had been called up to fight and the other was a volunteer).
In August 1919, Renoir was officially invited to visit the La Caze room at the Louvre, where his Portrait of Madame Charpentier was hung with the new acquisitions. On 3 December, Renoir died in his house in Cagnes from congestion of the lungs. He had been made a Chevalier of the Légion d’Honneur in 1900, an Officier in 1911, and a Commander in 1919.
Group Exhibitions
1864–1870, 1879–1883, 1884–1885, Salon, Paris
1873, Salon des Refusés, Paris
1874, Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs, Paris (First Impressionist Exhibition, where Renoir exhibited six paintings, including Theatre Box)
1875, joint auction of works by Renoir, Monet, Sisley, and Berthe Morisot, Hôtel Drouot, Paris
1876, Second Impressionist Exhibition
1877, joint auction of works by Caillebotte, Pissarro, and Sisley, Hotel Drouot, Paris
1886, Group of Twenty (Groupe des Vingt), Brussels
1886, Impressionists, Durand-Ruel, New York
1890, Salon des Artistes Français, Paris
1899, 1912, St Petersburg, Russia
1904, Salon d’Automne, Paris, where one room was dedicated to 35 of his works
1907, Modern French Painting, Manchester City Art Gallery
1910, Tableaux par Monet, C. Pissarro, Renoir et Sisley, Galerie Durand-Ruel, Paris
1913, Armory, New York
1917, Pierre Rosenberg, Paris
2000, Impression: Painting Quickly in France, 1860–1890, National Gallery, London
2000, Monet, Renoir and the Impressionist Landscape, National Gallery of Canada, Ottawa
Solo Exhibitions
1883, 1892, 1896, 1898, 1902, 1912, Galerie Durand-Ruel, Paris
1908, 1912, 1914, 1917, 1918, 1919, 1942, Durand-Ruel Galleries, New York
1910, solo retrospective, Biennale, Venice
1913, Bernheim-Jeune, Paris
1913, Galerie Thannhauser, Munich
1929, Knoedler, New York
1932, Galerie d’art Braun et Cie, Paris
1935, Bignou Gallery, New York
1954, Paul Rosenberg, New York
1955, Los Angeles County Museum of Art
1958, 1969, Durand-Ruel, Paris
1958, Wildenstein, New York
1963, Musée Cantini, Marseille
1966, Kunsthalle, Tübingen
1973, Art Institute of Chicago
1985–1986, Hayward Gallery, London; Galeries Nationales du Grand Palais, Paris; Museum of Fine Arts, Boston
1990, Renoir: The Great Bathers, Philadelphia Museum of Art (PA)
1996, Impressionists on the Seine: A Celebration of Renoir’s ‘Luncheon of the Boating Party’, Phillips Collection, Washington, DC
2002, Renoir. O Pintor da Vida, Museu de Arte, São Paulo
2005, Renoir: The Pastel Counter Proofs, Adelson Galleries, New York
2007, Renoir Landscapes, 1865–1883, National Gallery, London
2009–2010, Renoir in the 20th Century, Grand Palais, Paris; Los Angeles County Museum of Art; Philadelphia Museum of Art (PA)
2012, Renoir, Impressionism, and Full-length Painting, Frick Collection, New York
Museum and Gallery Holdings
Avignon (Mus. Calvet): Girl Skipping with a Rope
Berlin (Nationalgal.): In Summer;Chestnut Trees in Flower;Children’s Afternoon at Wargemont (1884)
Berlin (Perls Gal.): Odalisque
Boston (MFA): The Seine at Chatou (La Seine à Chatou) (c. 1881, oil on canvas);On the Grand Canal in Venice (1881);L’Estaque (1882);Dance at Bougival (Le Bal à Bougival) (1883, oil on canvas);Young Girls Picking Flowers in a Meadow (c. 1890)
Bucharest: Landscape with Figures
Cambridge (Fitzwilliam Mus.): Study of a Girl (c. 1918–1919, oil on canvas);The Gust of Wind (c. 1872, oil on canvas)
Cardiff (National Mus): Parisian Woman (1874)
Chicago (AI): Acrobats at the Circus Fernando (Francisca and Angelina Wartenberg) (1879, oil on canvas);Sea;Portrait of Cézanne between 1881–1888;Straw Hats
Cleveland, OH (MA): Romaine Lacaux (1864, oil on canvas);Three Bathers (1897)
Cologne (Wallraf-Richartz Mus.): The Sisley Couple (1868)
Denver, CO (AM): Portrait of Edmond Renoir
Detroit, MI (IA): Graziella
Dresden: Portrait of Captain Darras
Essen (Folkwang Mus.): Lise with a Parasol (c. 1867)
Frankfurt am Main (Städel): Young Girl Reading;Lunch
Geneva (MAH): Reclining Nude in a Landscape (1880–1881)
Grenoble (Mus. de Grenoble): Gabrielle with a Hat (c. 1910)
Hamburg: Rider in the Bois de Boulogne (1873);Portrait of Madame Leriaux
Limoges: Portrait of a Young Girl
London (Courtauld Institute of Art): Theatre Box (1874); Outskirts of Pont-Aven (1888–1890, oil on canvas);Portrait of Ambroise Vollard (1908, oil on canvas);Woman Tying Her Shoe (c. 1918, oil on canvas)
London (NG): At the Theatre (La Première Sortie) (1880, oil on canvas);The Umbrellas (c. 1881–1885, oil on canvas, on loan at the Hugh Lane Municipal Gallery of Modern Art, Dublin);Moulin Huet Bay, Guernsey (c. 1883, oil on canvas);A Bather (1885–1890, oil on canvas);Head of a Girl (1898, oil on canvas, on loan from the Tate Collection since 1997);Dancing Girl with Castanets (1909, oil on canvas);Dancing Girl with Tambourine (1909, oil on canvas)
London (Tate Collection): Misia Sert (1904, oil on canvas, on loan from the National Gallery since 1997);Nude on a Couch (1915, oil on canvas);other paintings, sculptures
Los Angeles (Getty Mus.): La Promenade (1870, oil on canvas);Albert Cahen d’Anvers (1881, oil on canvas)
Merion (Barnes Foundation): Jeanne Durand-Ruel (1876);Conservatory Outing (1877);Young Boy on the Beach at Yport (1883);Girl with a Basket of Fish (late 1880s, oil on canvas);The Spring (c. 1895–1897);Family of the Artist (1896);Bathers in the Forest (c. 1897, oil on canvas);Self-portrait;Jean Renoir as a Hunter;Embroidery Frame;The Renoir Family;Garden Seat;Bather and Maid (c. 1900, oil on canvas)
Montreal (MBA): Young Girl with Hat (c. 1890)
Moscow (Pushkin MFA): life study;Under the Arbour of the Moulin de la Galette (1876);Miss Samary (c. 1878)
Munich (Bayerisches Nationalmus.): Portrait of a Lady;Montmartre
Munich (Thannh Gal.): Pornic Beach (1892);Judgement of Paris (1914)
New Haven, CT (AG, Yale University): Mount Ste-Victoire (La Montagne Ste-Victoire) (1889, oil on canvas)
New York (Brooklyn Mus.): Vines in Cagnes (c. 1908)
New York (Frick Collection): Mother and Children (La Promenade) (1875–1876, oil on canvas)
New York (Metropolitan MA): Madame Georges Charpentier and Her Children (1878);By the Seashore (1883);In the Meadow (c. 1890)
Otterlo (Kröller-Müller Mus.): Café (1876–1877)
Paris (Louvre, Drawings Collection): Three Bathers (1882–1885)
Paris (Mus. d’Orsay): Portrait of William Sisley (c. 1865);Portrait of Bazille (1868);Boy with Cat (1868);Portrait of Madame Théodore Charpentier (c. 1869);Portrait of Charles le Coeur (1874);Portrait of Mrs Hartman (1874);Path Climbing through the Tall Grasses (c. 1875);Portrait of Claude Monet (1875);Female Torso in the Sun (1875–1876);Bed Jacket (1875–1876);Young Woman with Veil (1875–1876);The Bathers (c. 1876);Dance at the Moulin de la Galette (1876);Swing (1876);Madame Alphone Daudet (1876);Banks of the Seine at Champrosay (1876);Portrait of Madame Georges Charpentier (c. 1877);Portrait of Margot (1878);À la Grenouillère (1879);Alphonsine Fournaise (1879);Landscape in Algeria; Ravine of the Wild Woman (1881);Portrait of Richard Wagner (1882);Dance in the Town (1882–1883);Dance in the Countryside (1883);Sparkling Roses (1890);Young Girls at the Piano (1892);Nude on Cushions (1907);Girl with Straw Hat (c. 1908);Reclining Nude from Behind (c. 1909);Young Girl Seated (1909);Gabrielle with Rose (1911);Judgement of Paris (1915–1916, high-reliefs in plaster, two versions);Venus Victrix (1915–1916, bronze);Great Squatting Washerwoman (1917, bronze);Maternity (bronze);The Bathers or Rest after a Bathe (1918–1919);Fernand Halphen as a Child
Paris (Mus. de l’Orangerie): Bather (c. 1895);Clown (1909)
Paris (Mus. de la Comédie-Française): Portrait of Jeanne Samary (c. 1878)
Paris (Mus. Rodin): Nude (c. 1880)
Philadelphia, PA (MA): Great Bathers (Les Grandes baigneuses) (1884–1887)
Portland, ME (MA): Confidences (c. 1873, oil on canvas)
Portland, OR (AM): The Seine at Argenteuil (1873–1874)
Rouen (MBA): Bouquet of Chrysanthemums
São Paulo (MA): Bather with Griffon (1870);The Demoiselles Cahen from Antwerp or Rose and Blue (1881);Girl with Sheaf (1888);Portrait of Claude Renoir (1905–1908);Bather Sitting Rubbing Her Leg (c. 1910);Large Nude Seated (1912)
St Petersburg (Hermitage): Portrait of the Actress Jeanne Samary (c. 1878);Girl with a Fan; Young Girls at the Piano (1892)
St Petersburg (MFA): Child Being Breast-fed, Known as Maternity (1886)
Stockholm (Nationalmus.): Cabaret of Mère Antony (1866);La Grenouillère (1868–1869);Amusement;Two Young Girls Bathing
Strasbourg (Ancienne Douane): Portrait of Mademoiselle Marie Decoeur
Tokyo (National Mus. of Western Art): Parisians Dressed as Algerians (1872)
Toronto (AG of Ontario): Concert (c. 1919)
Vienna (Österreichische Gal. Belvedere): Bathers
Washington, DC (NGA): Diana (1867, oil on canvas);The Dancer (1874, oil on canvas);Woman with a Cat (c. 1875, oil on canvas);A Girl with a Watering Can (1876, oil on canvas);Oarsmen at Chatou (1879, oil on canvas);Bather Arranging Her Hair (1893, oil on canvas)
Washington, DC (Phillips Collection): Luncheon of the Boating Party (1880–1881, oil on canvas)
Williamstown, MA (Sterling and Francine Clark AI): Bather, Known as Blonde Bather (1881–1882);Self-portrait (c. 1899)
Zurich (Kunsthaus): Nude in a Red Armchair (1900)
Pierre-Auguste Renoir Paintings For Sale
