Art Institute of Chicago, Bulletin of the Art Institute of Chicago, Report for the Year Nineteen Hundred Thirty-Two 27, 3, pt. Guy-Patrice Dauberville and Michel Dauberville, with the collaboration of Camille Frémontier-Murphy, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 268–69, cat. Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James Cuno (Art Institute of Chicago/Yale University Press, 2009), p. 59 (ill.). Paris, Musée Luxembourg, Inventing Impressionism: Paul Durand-Ruel and the Modern Market, October 9, 2014-February 8, 2015, cat. 15. Sulla terrazza è un dipinto del pittore francese Pierre-Auguste Renoir, realizzato nel 1881 e conservato al The Art Institute di Chicago. David Bomford, Jo Kirby, John Leighton, and Ashok Roy, Art in the Making: Impressionism exh. Art Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Art Museum, eds. (Seoul Museum of Art, 2009), p. 30, fig. Art Institute of Chicago, Paintings by Renoir, Feb. 3–Apr. Art Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 2000), front cover (ill.); pp. cat. Bernheim-Jeune, Renoir, with a preface by Octave Mirbeau (Bernheim-Jeune, 1913), p. 19. 34 (ill.). 237. Léon Plée, “Le salon d’automne,” Les annales politiques & littéraires 43, 1113 (Oct. 23, 1904), pp. 14, 1917, cat. Georges Rivière, Renoir et ses amis (H. Floury, 1921), opp. Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. cat. Charles C. Cunningham, Instituto de arte de Chicago, El mundo de los museos 2 (Editorial Codex, 1967), pp. 25. Ausstellung, Feb.–Mar. GUARDA IL VIDEO: Tokyo, Seibu Museum of Art, Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], Oct. 18–Dec. 57, cat. 10–28, 1886, cat. 175; 186–189, cat. New York, Durand-Ruel, Views of the Seine by Monet, Pissarro, Renoir, Sisley, Jan. 11–30, 1937, cat. John Maxon, The Art Institute of Chicago (Abrams, 1970), p. 87 (ill.). 119 (ill.); 405–06, no. 52. 194; 195, ill. 181; 239. 47. 132–33 (ill.). 183, 206 (ill.). Most genuine followers of French art still consider him an integral member of the Impressionist movement and amongst the most highly skilled portrait painter of the last few centuries. Here Renoir depicted the radiance of lovely young women on a warm and beautiful day. 18 (ill.); 81, cat. The bold brush strokes here give the idea of the vivacity of nature at this time of year. 97; 98, fig. (Morris Pére et Fils, 1882), cat. 33. de la Martinière, 1997), p. 96. Albert C. Barnes and Violette de Mazia, The Art of Renoir (Minton, Balch, 1935), pp. (Neue Zürcher Zeitung, 1917), p. 24, cat. cat. Debra N. Mancoff, Fashion in Impressionist Paris (Merrell, 2012), pp. Eliza E. Rathbone, ed., Renoir and Friends: Luncheon of the Boating Party, exh. cat. 119 (ill.). There were four women Impressionists who were all the members of the same circle and exhibited works that were as innovative as those of their male counterparts: Berthe Morisot, Mary Cassatt, Eva Gonzalès, and Marie Bracquemond....I know, it is a bit rude to discuss private lives of people. 22. cat. 3. © www.PierreAugusteRenoir.net 2020. 15. 40 (ill.); 301, n. 14; 308–10, cat. (National Gallery, London/5 Continents, 2007), pp. 26; 96–97, cat. 6; 43 (detail); 49; 50–51; 54–55; 72; 80; 93, pl. 16, 2001, no cat. Ambroise Vollard, Renoir: An Intimate Record, trans. 157, 212. Caroline Durand-Ruel Godfroy, “Paul Durand-Ruel and Renoir: 47 Years of Friendship,” in Sounjou Seo, Renoir: Promise of Happiness, exh. 1 (A. Vollard, 1918), pp. Georges Lecomte, “L’oeuvre de Renoir,” L’art et les artistes 4, 14 (Jan. 1920), pp. 130. 2, 1882, p. 2. Anne Distel, Renoir (Citadelles & Mazenod, 2009), pp. Katherine Rothkopf, “From Argenteuil to Bougival: Life and Leisure on the Seine, 1868–1882,” 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. (Christie’s, New York, May 11, 1995), p. 38, fig. Appartient à M. Durand-Ruel. American Art Association, Works in Oil and Pastel by the Impressionists of Paris, exh. 1, Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. All Rights Reserved. p. 39, pl. cat. cat. [1][2][3], Jeanne Darlot (1863—1914), a future actress who was 18 years old at the time, was posing as "the elder sister." Two Sisters or On the Terrace is an 1881 oil-on-canvas painting by French artist Pierre-Auguste Renoir. Ménard, 1892), pp. 1. Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 1999), p. 59 (ill.). 1–31, 1882, cat. 6–Oct. 31 (ill.). 7 (ill.); 12. cat. The sewing basket in the left foreground evokes a palette, holding the bright, pure pigments that the artist mixed, diluted, and altered to create the rest of the painting. (National Gallery, London/5 Continents, 2007), pp. Renoir, Apr. Camille Mauclair, “L’oeuvre d’Auguste Renoir,” L’art décoratif 42, pt. 33 (ill.). François Fosca, Renoir (F. Rieder, 1923), pp. 40. Simona Barrolena, Impressionismo (Mondadori Electa, 2002), p. 168 (ill.). Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], trans. 257; 261; (ill.). 239 (ill.). Livello Difficoltà: INTERMEDIATE . Colin B. Bailey, “Rowers at Chatou, 1880–1,” in Renoir Landscapes, 1865–1883, ed. 40–41 (ill.). (Nelson-Atkins Museum of Art/University of Washington Press, 2007), pp. 9, as Sur la terrasse. Sweet, “Great Chicago Collectors,” Apollo 84 (Sept. 1966), p. 203. 46–47 (ill), 87. 30, as Die Terrasse. cat. Georges Lecomte, L’art impressionniste d’après la collection privée de M. Durand-Ruel (Chamerot & Renouard, 1892), pp. [1] The painting was presented for the first time to the public at the 7th Impressionist exhibition in the spring of 1882. Toledo (Ohio) Museum of Art, French Impressionists and Post-Impressionists, exh. 11. 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. 87 (ill.). Henry McBride, “The Renoirs of America: An Appreciation of the Metropolitan Museum’s Exhibition,” Art News 35, 31 (May 1, 1937), pp. 12, as Sur la terrasse. 1451, as Femme sur une terrasse au bord de la Seine), 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]; transferred to Durand-Ruel, New York, 1922 [per Durand-Ruel, New York, stock book for 1904–24 (no. Walter Pach, Pierre-Auguste Renoir, Library of Great Painters (Abrams, [1964]), pp. 4, 1998; Fort Worth, Tex., Kimbell Art Museum, Feb. 8–Apr. Charles Moffett, “Pierre-Auguste Renoir, Young Women at the Water’s Edge,” in The Bellagio Gallery of Fine Art, Impressionists and Modern Masters, ed. (Von der Heydt-Museum, 2007), pp. Joel Isaacson, “The Painters Called Impressionists,” in The New Painting: Impressionism, 1874–1886, ed. Madeleine Boyd (Crown, 1937), pl. Translated by Mary I. Martin as Renoir, His Life and Work (Prentice-Hall, 1962), pp. 3, 1882, p. 3. “Cat. cat. 130, as Sur la terrasse. 81. Ernest Hoschedé, L’art de la mode (1881), (ill.). Catalogue de la 7me exposition des artistes independants, exh. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874–1886; Documentation, vol. 138, as Les deux soeurs. The elder sister is modelled by Jeanne Darlot, who later became an actress. This may explain why Two Sisters (On the Terrace) is one of the most popular paintings in the Art Institute. Kunsthaus Zurich, Französische Kunst des XIX. 254 (ill.). Yale University Gallery of Fine Arts, An Exhibition of French Paintings of the Nineteenth Century, exh. cat. Paris, Durand-Ruel, Exposition des oeuvres de P.-A. cat. P. G. Konody (E. P. Dutton, [1903]), pp. Aside from this location, you can also find a huge collection of Renoir artworks at the Barnes Foundation in Philadelphia and also the The Phillips Collection, Washington D.C. as well as many more within continental Europe and also the UK. New York, Duveen Galleries, Renoir: Centennial Loan Exhibition, 1841–1941; For the Benefit of the Free French Relief Committee, Nov. 8–Dec. 210, 229 (ill.). Object information is a work in progress and may be updated as new research findings emerge. (Durand-Ruel, 1937), cat. Camille Mauclair, “L’oeuvre d’Auguste Renoir,” L’art décoratif 41, pt. 1 (Dec. 1–14, 1945), p. 18. Octave Maus, Exposition des peintres impressionnistes, exh. no. (The Phillips Collection/ D Giles Limited, 2017), p. 113-115, Fig. Dots : 31203. Jahrhunderts, Oct. 5–Nov. (Art Institute of Chicago, 1973), pp. Belinda Thomson, Impressionism: Origins, Practice, Reception (Thames & Hudson, 2000), p. 206, ill. 207; 207; 268.