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LUNCHEON OF THE BOATING PARTY

& FRIENDS RENOIR

Over 40 works that tell the story of Renoir’s masterpieceONLY AT THE PHILLIPS COLLECTION OCTOBER 7, 2017-JANUARY 7, 2018

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UPDATED RELEASE Media Contacts: October 4, 2017 Amy Wike, 202.387.2151 x220

[email protected] Online Press Room: www.phillipscollection.org/press

THE PHILLIPS COLLECTION PRESENTS RENOIR AND FRIENDS

Tickets on Sale Soon for Single‐Venue Exhibition Celebrating Renoir’s Luncheon of the Boating Party

WASHINGTON—Opening this fall on October 7, The Phillips Collection presents an exceptional exhibition inspired by the museum’s celebrated Luncheon of the Boating Party (1880–81) by Pierre‐Auguste Renoir. Comprised of more than 40 carefully chosen works from private and public collections around the world, Renoir and Friends: Luncheon of the Boating Party explores the process by which the artist created his masterwork, while also recounting and illustrating stories of the diverse circle of friends who inspired it. The exhibition is Eliza Rathbone’s first as Chief Curator Emerita “As the Phillips draws closer to our centennial year, it is a very fitting time to

shed new light on one of the gems of our permanent collection,” said Phillips Director Dorothy Kosinski. “I am delighted that Renoir’s masterwork will be displayed alongside numerous other works by the artist and his contemporaries, helping further contextualize this remarkable painting.” Recognized today as one of the greatest achievements of the artist’s career, the work is a marvel of plein‐air painting on a grand scale. While no known preparatory studies exist for this masterwork, the years before Renoir completed Luncheon of the Boating Party were marked by encounters with riverside locations along the Seine west of Paris and with specific individuals who helped him realize his ambitious undertaking. No other large‐scale painting by Renoir—with the exception of the Dance at the Moulin de la Galette (1876)—comprises as many figures as Luncheon of the Boating Party. “Luncheon of the Boating Party represents so much more than a diverse group of friends having a lovely time,” said Phillips Chief Curator Emerita and project director Eliza Rathbone. “Much has been written

Pierre‐Auguste Renoir, Luncheon of the Boating Party, 1880–81. Oil on canvas, 51 1/4 x 69 1/8 in. The Phillips Collection, Washington, DC, Acquired 1923

—The Phillips Collection Presents Renoir and Friends: Luncheon of the Boating Party

about Renoir and his work. Our project seeks to separate fact from fiction and to uncover as much specific detail and evidence as possible in order to bring to life the group of journalists, critics, models, collectors, and world travelers who inspired Renoir. By looking closely at these individuals, we find ourselves in a fascinating backstory that sheds light not only on this great enterprise and its models but on the artist himself.” Only on view at The Phillips Collection, this single‐venue exhibition opens October 7, 2017, and closes January 7, 2018. Tickets are available for purchase here. GETTING TO KNOW THE BOATING PARTY While never intended as a group portrait, the individuals depicted in the painting appear nonetheless highly individualized and based on specific people in Renoir’s life. Figures seen in Luncheon of the Boating Party who were especially influential during Renoir’s career include his wife and frequent muse Aline Charigot, artist and boating enthusiast Gustave Caillebotte, and art critic and collector Charles Ephrussi. Displayed alongside the famed masterpiece will be rare and iconic works by the artist and his contemporaries that offer insight into Renoir’s fascinating group of friends. Aline Charigot appears in important works that include

Dance in the Country (1883) from the Musée d'Orsay as well as loans from the Rhode Island School of Design Museum; Museum of Fine Arts, Boston; Philadelphia Museum of Art; among others. A rich spectrum of works by Renoir’s close friend Gustave Caillebotte will also be on view. Highlights include A Man Docking His Skiff (1878) from the Virginia Museum of Fine Arts, The Yellow Boat (1891) from the Norton Simon Museum, and rarely seen loans from private collections. A rare portrait of key supporter Charles Ephrussi will be on view alongside works that were part of his own private collection as well as publications that shed light on his extraordinary life and achievements. The stories of Renoir’s models will also be told through photographs, prints, drawings, and even a small selection of hats, on loan from the Museum of the City of New York, similar to those worn by the individuals depicted. FINDINGS BENEATH THE SURFACE Renoir’s process for creating Luncheon of the Boating Party has long been something of a mystery. Featuring a room dedicated to research on the masterwork, the exhibition will include an in‐gallery interactive that uses fresh findings from x‐radiographic and infrared images and paint cross‐sections, offering new clues into Renoir’s development of the painting. “Drawing upon a recent technical study on Luncheon of the Boating Party, I am excited to share new discoveries made about the painting,” said Phillips Head of Conservation Elizabeth Steele. “Inspection

Pierre‐Auguste Renoir, The Dance in the Country, 1883. Oil on canvas, 70 7/8 x 35 7/16 in. Musée d'Orsay, Paris / Bridgeman Images

Gustave Caillebotte, A Man Docking His Skiff, 1878. Oil on canvas, 29 x 36 1/2 in. Virginia Museum of Fine Arts, Richmond, Collection of Mr. and Mrs. Paul Mellon. Photo: Katherine Wetzel © Virginia Museum of Fine Arts


of the surface in raking light compared to the same passages in x‐radiographic and infrared images reveal numerous changes that the artist made while completing the painting, and scientific analysis of the paint layers further illuminates these revisions. Through richly illustrated text panels and a groundbreaking in‐gallery interactive, visitors will for the first time be able to track Renoir’s development of the composition on their own.” RENOIR’S MASTERWORK AT THE PHILLIPS Founder Duncan Phillips first encountered Pierre‐Auguste Renoir’s Luncheon of the Boating Party in 1911 while he was in Europe and the painting was owned by the artist’s dealer Paul Durand‐Ruel. A few years later in a 1914 essay, Phillips was still taken by

the masterpiece and wrote that it captured the essence of “life’s vivacity” and the pleasures of “men and women lunching up the river on a hot holiday, the fitful breeze flapping the awnings and the general discussion becoming of more importance than the dessert.” While preparing to establish a museum of modern art and its sources, Phillips started an acquisition strategy that identified significant masterworks to serve as the collection’s foundation. Duncan Phillips’s journals reveal that Renoir’s painting was at the top of his wish list. By July 9, 1923, only 18 months after the museum opened and just over a decade since Phillips first saw the painting, the Phillips Memorial Gallery reached a deal to purchase the work for $125,000. The very next day, Phillips shared his excitement: “The big Renoir deal has gone through with Durand‐Ruel and the Phillips Memorial Gallery is to be the possessor of one of the greatest paintings in the world. The Déjeuner des Canotiers [Luncheon of the Boating Party] is the masterpiece by Renoir and finer than any Rubens—as fine as any Titian or Giorgione….Its fame is tremendous and people will travel thousands of miles to our house to see it. It will do more good arousing interest and support for our project than all the rest of our collection put together. Such a picture creates a sensation wherever it goes.” Just as Phillips imagined it would be when he bought the painting in 1923, Luncheon of the Boating Party by Renoir remains the best known and most popular work of art at The Phillips Collection. The painting captures an idyllic atmosphere of friends sharing food, wine, and conversation on a balcony overlooking the Seine at the Maison Fournaise restaurant in Chatou. Parisians flocked to the Maison Fournaise to rent rowing skiffs, eat a good meal, or stay the night. The painting also reflects the changing character of French society in the mid‐ to late 19th century. The restaurant welcomed customers of many classes, including businessmen, society women, artists, actresses, writers, critics, seamstresses, and shop girls. This diverse group embodied a new, modern Parisian society. IMAGE GALLERY High‐resolution press images for Renoir and Friends: Luncheon of the Boating Party are available by request or by accessing the museum’s Dropbox here: http://bit.ly/2vXpBhr

Renoir made a surprising rearrangement to the pair of men who stand at the end of the balcony in Luncheon of the Boating Party. The revision becomes clear in the infrared image: Charles Ephrussi, wearing a top hat, initially looked out toward the front of the balcony with his head in three‐quarter view. By turning him to face the man to his left, Renoir strengthens their relationship, making them appear more involved in conversation than in the previous configuration.


CATALOGUE Renoir and Friends: Luncheon of the Boating Party will be accompanied by a full‐color catalogue published by D Giles Limited. The publication, edited by Eliza Rathbone (Chief Curator Emerita, The Phillips Collection), will feature Rathbone’s essay along with others by Elizabeth Steele (Head of Conservation, The Phillips Collection), Sara Tas (Curator of Exhibitions, Jewish Historical Museum, Amsterdam), Mary Morton (Curator and Head of the Department of French Painting, National Gallery of Art), Aileen Riberio (Professor Emerita, Courtauld Institute of Art, United Kingdom), and Sylvie Patry (Deputy Director for Curatorial Affairs and Collections, Musee d’Orsay, Paris). SPONSORS Renoir and Friends: Luncheon of the Boating Party is organized by The Phillips Collection. With the generous support of The Florence Gould Foundation Additional support is provided by the Ednah Root Foundation, the MARPAT Foundation, the National Endowment for the Arts, the Robert Lehman Foundation, Sotheby’s, and Steve and Andrea Strawn.

Additional in‐kind support provided by

ABOUT THE PHILLIPS COLLECTION The Phillips Collection, America’s first museum of Modern art, is one of the world’s most distinguished collections of Impressionist and Modern American and European art. Stressing the continuity between art of the past and present, it offers a strikingly original and experimental approach to Modern art by combining works of different nationalities and periods in displays that change frequently. The setting is similarly unconventional, featuring small rooms, a domestic scale, and a personal atmosphere. Artists represented in the collection include Pierre‐Auguste Renoir, Vincent van Gogh, Edgar Degas, Henri Matisse, Pierre Bonnard, Paul Cezanne, Pablo Picasso, Paul Klee, Claude Monet, Honore Daumier, Georgia O’Keeffe, Arthur Dove, Mark Rothko, Milton Avery, Jacob Lawrence, and Richard Diebenkorn, among others. The permanent collection has grown to include more than 1,000 photographs, many by American photographers Berenice Abbott, Esther Bubley, and Bruce Davidson, and works by contemporary artists such as Anselm Kiefer, Wolfgang Laib, Whitfield Lovell, and Leo Villareal. The Phillips Collection regularly organizes acclaimed special exhibitions, many of which travel internationally. The Phillips also produces award‐winning education programs for K–12 teachers and students, as well as for adults. The University of Maryland Center for Art and Knowledge at The Phillips Collection is the museum’s nexus for academic work, scholarly exchange, and interdisciplinary collaborations. Since 1941, the museum has hosted Sunday Concerts in its wood‐paneled Music Room. The Phillips Collection is a private, non‐government museum, supported primarily by donations.

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PRESS IMAGES

RENOIR AND FRIENDS: LUNCHEON OF THE BOATING PARTY

O C TO B E R 7, 2 0 1 7 - J A N UA RY 7, 2 0 1 8

To request access to images: please call 202.387.2151 x220or e-mail [email protected].

Please note: Permission to reproduce these images is granted only for publicity in connection with this exhibition. With all reproductions, please include the full credit information for each image. Images may not be cropped, printed over, or altered.

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IMAGE CREDITS

NOTE: Images in this document are not to scale. Please refer to the credits for dimensions.

1. Pierre-Auguste Renoir, Luncheon of the Boating Party, 1880–81. Oil on canvas, 51 1/4 x 69 1/8 in. The Phillips Collection, Washington, DC, Acquired 1923

2. Technical analysis from The Phillips Collection’s conservation studio show that Pierre-Auguste Renoir made a surprising rearrangement to the pair of men who stand at the end of the balcony in Luncheon of the Boating Party (1880–81). The revision becomes clear in the infrared image: Charles Ephrussi, wearing a top hat, initially looked out toward the front of the balcony with his head in three-quarter view. By turning him to face the man to his left, Renoir strengthens their relationship, making them appear more involved in conversation than in the previous configuration.

3. Pierre-Auguste Renoir, The Seine at Argenteuil, 1874. Oil on canvas, 19 3/4 x 25 3/4 in. Portland Art Museum, Oregon, Bequest of Winslow B. Ayer

4. Pierre-Auguste Renoir, Lunch at the Restaurant Fournaise (The Rower’s Lunch), 1875. Oil on canvas, 21 5/8 x 25 15/16 in. The Art Institute of Chicago, Potter Palmer Collection

5. Pierre-Auguste Renoir, Oarsmen at Chatou, 1879. Oil on canvas, 31 15/16 x 39 7/16 in. National Gallery of Art, Washington, DC, Gift of Sam A. Lewisohn

6. Pierre-Auguste Renoir, Young Woman Reading an Illustrated Journal, 1880. Oil on canvas, 18 1/4 x 22 in. Museum of Art, Rhode Island School of Design, Providence, RI, Museum Appropriation Fund 22.125

7. Pierre-Auguste Renoir, Boating Couple [said to be Aline Charigot and Renoir], 1880–81. Oil on canvas, 17 3/4 x 23 in. Museum of Fine Arts, Boston, Given in memory of Governor Alvan T. Fuller by the Fuller Foundation

8. Pierre-Auguste Renoir, The Dance in the Country, 1883. Oil on canvas, 70 7/8 x 35 7/16 in. Musée d'Orsay, Paris / Bridgeman Images

9. Pierre-Auguste Renoir, Dance in the Country, 1883. Brush and brown, blue, and black wash over black chalk or graphite, 19 1/2 x 12 in. Yale University Art Gallery, Bequest of Edith Malvina K. Wetmore

10. Gustave Caillebotte, A Man Docking His Skiff, 1878. Oil on canvas, 29 x 36 1/2 in. Virginia Museum of Fine Arts, Richmond, Collection of Mr. and Mrs. Paul Mellon. Photo: Katherine Wetzel © Virginia Museum of Fine Arts

11. Gustave Caillebotte, Sailboats on the Seine at Argenteuil, 1893. Oil on canvas, 28 7/8 x 17 in. Private collection

12. Léon Bonnat, Portrait of Charles Ephrussi, 1906. Oil on canvas, 18 x 15 in. Private collection. Photo: Vincent DUFOURNIER

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WALL TEXT Renoir and Friends October 7, 2017–January 7, 2018

Recognized as one of the greatest achievements of Pierre‐Auguste Renoir’s career, Luncheon of the Boating Party (Le Déjeuner des canotiers) (1880–81) is a marvel of plein‐air painting on a grand scale. This exhibition uncovers the circumstances leading up to the painting’s creation, the diverse and fascinating circle of friends who inspired it, and the complex evolution of the work itself, mostly painted on the balcony of the Fournaise restaurant in Chatou. Success came slowly to Renoir. The Franco‐Prussian War of 1870–71 caused economic depression in France. Impressionism was controversial and not well received by tradition‐bound critics and institutions. But the establishment of the Third Republic brought a tide of optimism and prosperity that lifted Renoir’s fortunes toward the end of the decade. Keenly aware of the value of personal contacts and social connections, the artist cultivated the support of writers who understood and praised his work and collectors who purchased, and soon, in greater numbers, commissioned portraits and decorations. Among those who helped him weather the challenging years of the 1870s were the very individuals who modeled in 1880 for Luncheon of the Boating Party. A diverse group of men and women—many of them well‐traveled and worldly, many of them stars of their chosen fields, and some of them in positions of significant influence in the art world—these friends offered Renoir essential support and encouragement. In this exhibition you will discover who they were. Museum founder Duncan Phillips purchased Luncheon of the Boating Party from the Durand‐Ruel Gallery for the record sum of $125,000 in 1923, just two years after he opened his museum to the public. The only painting by Renoir in his collection, Luncheon of the Boating Party has remained the museum’s greatest treasure.

Renoir and Women Models Renoir celebrated not only natural female beauty but also a woman’s attire and the way in which the line of a dress or shape of a hat could flatter her appearance. The son of a tailor and a dressmaker, he naturally came by this appreciation for line, texture, and style. Friends and mistresses would pose for him as a favor, but he also hired models in Montmartre. His friend Georges Rivière described how Renoir diplomatically persuaded certain young women to model for him by charming their mothers. Among those who appear in Renoir’s work numerous times in the late 1870s and early 1880s were three actresses—Ellen Andrée, Angèle (who also made a living as a florist), and Jeanne Samary—as well as Alphonsine Fournaise, daughter of the owner of the Maison Fournaise, whom he often saw at her father’s establishment in Chatou. In his desire to paint scenes from contemporary life, Renoir preferred to depict individuals in their familiar surroundings.

Aline Charigot Aline Charigot spent her childhood in the village of Essoyes, but came to Paris to join her mother in 1874, and lived not far from Renoir’s studio on rue Saint Georges. She probably met Renoir in 1879, when she was 20 years old. She was younger than Renoir by 18 years, entering his life as he was beginning to receive the recognition and commissions necessary to stabilize his career. In 1885 they had their first child, and in 1890 they were married. They had three sons: Pierre, Jean, and Claude. According to Jean’s descriptions of his mother, she was the ideal partner for his father: a generous companion who never lost her love of the countryside, and when they acquired their property in Cagnes, was ready to roll up her sleeves and work the land. She served as a regular model for her husband, and, according to Jean, all his father’s paintings of women after he met Charigot resemble her to some degree.

—Wall Text: Renoir and Friends

Renoir’s Gift for Friendship Three of Renoir’s closest friends—Georges Rivière, Paul Lhote, and Eugène‐Pierre Lestringuez—modeled for his large painting Dance at the Moulin de la Galette (Musée d’Orsay) in 1876 and continued to support Renoir’s painting throughout the period of his work on Luncheon of the Boating Party. Lhote and Lestringuez served again as models and it seems likely that Rivière did, too. Intelligent, well read, and devoted, they were Renoir’s advocates in print as well as his regular companions in Paris and on trips abroad. All three enjoyed the company of artists and writers at the Café de la Nouvelle‐Athènes and often visited Renoir in his studio on rue Saint Georges. Lhote spoke several foreign languages, walked across Germany, sailed across the Atlantic, and accompanied Renoir to Guernsey in the early 1880s. Rivière wrote in 1877 about the third Impressionist exhibition, describing Renoir’s Dance at the Moulin de la Galette as an inspired modern history painting. Lestringuez was fascinated by philosophy and the occult and was a lover of music and poetry. He, too, was a traveler, and, with Renoir and Lhote, visited Algeria in 1881. He witnessed Renoir’s marriage to Charigot in 1890 and remained a lifelong friend. Lhote might well have had a similarly enduring friendship had he not died of pneumonia in 1894 at age 43. Baron Raoul Barbier and Viscount Adrien Maggiolo

Baron Raoul Barbier was a world traveler, a cavalry officer in Algeria and Crimea, and from 1871 to 1872 served as Mayor of Saigon during the early years of French occupation. He enjoyed literary and artistic circles and was a close friend of Guy de Maupassant. Viscount Adrien Maggiolo, who wrote historical texts about Robespierre and Voltaire, became a journalist and earned a brilliant reputation. Little is known about his friendship with Renoir. Although he posed for no other paintings by Renoir, the earliest records name him as a model for Luncheon of the Boating Party.

Charles Ephrussi Of all the people depicted in Luncheon of the Boating Party, perhaps the most vital to Renoir’s emerging reputation at the time was Charles Ephrussi. As a critic, collector, and advocate, Ephrussi offered Renoir valuable support and introduced him to a number of prominent members of society who commissioned him to paint their portraits. Together with the elegant Marguerite Charpentier, Ephrussi influenced the placement of Renoir’s portrait of her with her children (Metropolitan Museum of Art, New York) in the Salon of 1879, helping to shift Renoir’s career toward critical and commercial success. Born in Odessa (formerly Russia, now Ukraine) in 1849 to a family of grain exporters who became international bankers, Charles Ephrussi studied there and in Vienna, arriving in Paris in 1871. Almost immediately his travels, studies, and friendships led him to collecting, beginning with Italian Renaissance works (Raphael cartoons and Luca della Robbia sculptures), 16th‐century tapestries, and Japanese lacquer boxes; then expanding his collecting to include Meissen porcelain and 18th‐century French decorative arts, while never neglecting the art of his time. He became an early and significant collector of Impressionist painting, and reviewed the Impressionist exhibitions of 1880 and 1881 for the Gazette des beaux‐arts. A scholar and critic, Ephrussi wrote articles and books on a broad spectrum of subjects and moved in the highest circles of Parisian society. While disinclined to have his own portrait painted, Ephrussi nonetheless accepted Renoir’s invitation to pose for his grand group composition, and is easily identifiable as the man wearing a top hat.

Gustave Caillebotte Two documents in the archives of the Durand‐Ruel Gallery tell us that Gustave Caillebotte served as a model for Luncheon of the Boating Party, one of which identifies him specifically as the man in the lower right corner of the composition. Renoir’s good friend was not only a painter but also a designer of boats, an oarsman, and a distinguished yachtsman. By 1879, Caillebotte owned his own sailboat, participated


in regattas in Argentueil, and had joined the Cercle de la Voile de Paris (Sailing Club of Paris); he became a vice president of the club in 1880. Born into a family that made its money in the textile business, Caillebotte used his considerable means to support his Impressionist colleagues and to purchase their work. Among his early acquisitions was Renoir’s Dance at the Moulin de la Galette (1876, Musée d’Orsay), shown at the third Impressionist exhibition. Caillebotte’s friendship with Renoir was a close one: in 1876, Caillebotte named Renoir executor of his will, and when Renoir and Charigot had their first son in 1885, they asked Caillebotte to be the child’s godfather. Luncheon of the Boating Party Mostly painted outside on the balcony of the Maison Fournaise over a period of many weeks in late summer 1880, Renoir’s grand composition represented a goal he had worked toward for some time. To achieve it, he gathered a remarkable group of friends—probably in pairs, or several at a time—to pose for him. Luncheon of the Boating Party was a logistical feat as well as a compositional tour de force. The earliest source that identifies Renoir's models is an annotated photograph of the painting from about 1891 in the archives of the Durand‐Ruel Gallery in Paris. Additional documents confirm many of these identifications, and some propose others. In the key below, the most verifiable models are in bold.

1 Alphonse Fournaise, Jr. (1848–1910) 2 Aline Charigot (1859–1915) 3 Baron Raoul Barbier (1840–1891)

4 Charles Ephrussi (1849–1905) 5 Eugène‐Pierre Lestringuez (1847–1908) 6 Paul Lhote (1850–1894) 7 Viscount Adrien Maggiolo (1842/43–1894)

8 Gustave Caillebotte (1848–1894) 9 Angèle (unknown); Ellen Andrée (c. 1855/57–1925) 10 Ellen Andrée; Angèle 11 Alphonsine Fournaise (1846–1937); Angèle 12 Jules Laforgue (1860–1887) 13 Georges Rivière (1855–1943) 14 Jeanne Samary (1857–1890)


Luncheon of the Boating Party From its completion in 1881 to its acquisition by The Phillips Memorial Gallery Purchased almost immediately by the artist’s dealer Paul Durand‐Ruel, who loaned it in 1882 to the seventh Impressionist exhibition, the painting was hailed by critic Armand Silvestre as “one of the most beautiful pieces that this insurrectionist art by Independent artists has produced.” Luncheon of the Boating Party remained for many years in the hands of Durand‐Ruel, who showed it in exhibitions not only in Paris but also in London, New York, Zurich, and Boston. In 1923, Paul Durand‐Ruel’s son, Joseph, sold Luncheon of the Boating Party to Duncan Phillips, who was first smitten by it on a trip to Europe in 1911. Phillips admired the painting’s “thrilling vitality” and “shimmering richness.” He could scarcely believe his good fortune in acquiring it for his collection, crowing to his treasurer, “The Phillips Memorial Gallery is to be the possessor of one of the greatest paintings in the world. . . . Its fame is tremendous. . . . Such a picture creates a sensation wherever it goes.” He asserted, “People will travel thousands of miles to our house to see it”—a prediction that remains true to this very day.

Quotes I am at Chatou…I’m doing a painting of oarsmen which I‘ve been itching to do for a long time. I’m not getting any younger, and I didn’t want to defer this little festivity which later on I won’t any longer be able to afford—already it’s very difficult.

– PIERRE‐AUGUSTE RENOIR, Letter to Paul Berard, 1880 Even if the enormous expenses I’m incurring prevent me from finishing my picture, it’s still a step forward; one must from time to time attempt things that are beyond one’s capacity.

– PIERRE‐AUGUSTE RENOIR, Letter to Paul Berard, 1880

Extended Labels PIERRE‐AUGUSTE RENOIR (1841–1919) The Seine at Chatou (La Seine à Chatou) 1874 Oil on canvas Dallas Museum of Art, The Wendy and Emery Reves Collection During the 1870s, Renoir often visited Chatou, the site of the Maison Fournaise, where he painted Luncheon of the Boating Party. In his lively rendering of a gusty day on the water, Renoir includes a sailboat, signaling in his painting the growing popularity of the sport. The Phillips Collection thanks Alan Inouye for his support in bringing this work to Washington. PIERRE‐AUGUSTE RENOIR (1841–1919) The Seine at Argenteuil (La Seine à Argenteuil) 1874 Oil on canvas Portland Art Museum, Oregon, Bequest of Winslow B. Ayer

Presumed to have been created on an outing with Claude Monet, who painted the same view, this landscape offers Renoir’s interpretation of a sailboat coming in to dock on the Seine at Argenteuil, a


location renowned for its sailing regattas that provided a lively plein air subject for Renoir, Monet, Manet, and other fellow Impressionists. PIERRE‐AUGUSTE RENOIR (1841–1919) The Seine at Chatou (La Seine à Chatou) c. 1871 Oil on canvas Art Gallery of Ontario, Toronto, Purchased 1935 As early as 1869, Renoir was exploring the banks of the Seine west of Paris, seeking subjects for his developing Impressionist style. His mother lived near Louveciennes, not far from Chatou, where he would frequent the Maison Fournaise with its restaurant, lodging, and boats for hire. PIERRE‐AUGUSTE RENOIR (1841–1919) Boaters of Argenteuil (Canotiers d’Argenteuil) 1873 Oil on canvas Larry Ellison Collection

This delightful landscape celebrates many reasons for leaving the heat, bustle, and filth of Paris for an outing in the country: sailing, rowing, and enjoying river activities from a shady bank. PIERRE‐AUGUSTE RENOIR (1841–1919) The Dreamer (La Rêveuse) 1879 Oil on canvas Saint Louis Art Museum, Museum purchase The model for this painting is thought to be Alphonsine Fournaise, whom Renoir often saw at the Maison Fournaise in the late 1870s. She posed for him regularly during the years leading up to Luncheon of the Boating Party. Although there is no direct evidence that Alphonsine modeled for the young woman leaning on the railing of the balcony in the grand composition, she may have occasionally joined the clientele at the Fournaise in such a way. The Phillips Collection thanks The Robert N. Alfandre Family for their support in bringing this work to Washington. PIERRE‐AUGUSTE RENOIR (1841–1919) On the Shore of the Seine (Paysage bord du Seine) c. 1879 Oil on linen The Baltimore Museum of Art, Sadie A. May Bequest, Courtesy of the Fireman’s Fund Insurance Company This quickly executed oil study was probably a gift from Renoir to Alphonsine Fournaise to thank her for modeling for him. In 1864 she married Louis Joseph Papillon, and we know that a Madame Papillon once owned this piece. EDGAR DEGAS (1834–1917) Portrait of Ellen Andrée (Portrait d’Ellen Andrée) c. 1876 Monotype in black and brown ink on ivory paper


The Art Institute of Chicago, Potter Palmer Collection

Ellen Andrée, born Hélène André around 1855, started acting in 1879. She was a favorite of Degas, Manet, and Renoir, using her talents as an actress to play many roles as a model. In the early 1880s she gave up modeling entirely and in 1887 she joined a naturalist theater, the Teâtre‐Libre. Her career took her to the United States, Argentina, and Russia. She married Henri Julien Dumont, a painter who specialized in flowers. Degas made several portraits of her and she modeled for his painting In a Café (L’Absinthe). EDGAR DEGAS (1834–1917) The Actress Ellen Andrée (L’actrice Ellen Andrée) 1879 Drypoint Museum of Fine Arts, Boston, Katherine E. Bullard Fund in memory of Francis Bullard, by exchange

Ellen Andrée is thought to have modeled for Luncheon of the Boating Party as the woman in the center of the composition raising a glass to her lips and/or the woman in the lower right corner looking up. PIERRE‐AUGUSTE RENOIR (1841–1919) Bridge at Chatou (Pont à Chatou) c. 1875 Oil on canvas Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

This bridge crossing the Seine at Chatou is visible from the balcony of the Fournaise restaurant and can be glimpsed in the background of Luncheon of the Boating Party. The Phillips Collection thanks Greg and Bess Ballentine for their support in bringing this work to Washington. PIERRE‐AUGUSTE RENOIR (1841–1919) Woman with a Fan (Femme à l’éventail) c. 1879 Oil on canvas Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

Woman with a Fan probably depicts Jeanne Samary. Her dressing room at the Comédie‐Française was decorated with striped wallpaper and had Japanese fans on the ceiling. This is one of at least five images of Samary that Renoir made in the late 1870s. The artist’s son, Jean, wrote that she modeled for Luncheon of the Boating Party, and she has been identified as the woman in the upper right corner surrounded by admirers. Jeanne Samary—Smiling Digital print from a 19th‐century original Comédie‐Française Bibliothèque‐musée, Paris Famous for her smile and as a brilliant performer of Molière, Jeanne Samary dazzled the audience at the Comédie‐Française, where she debuted in 1875. She lived with her parents near Renoir’s studio until she married a banker in 1880. In 1890 she died of typhoid fever at age 33. NADAR (GASPAR‐FÉLIX TOURNACHON) (1820–1910) Angèle


c. 1878 Modern silver gelatin print from a 19th‐century original Caisse Nationale des Monuments Historiques et des Sites, Paris Angèle may have modeled for the woman in the lower right corner of Luncheon of the Boating Party. Her name was associated with the painting as early as 1891. It is possible, however, since the woman in the painting also resembles Ellen Andrée, that Andrée and Angèle modeled interchangeably as Renoir worked on his grand composition. PIERRE‐AUGUSTE RENOIR (1841–1919) Madame Renoir with a Dog (Madame Renoir au chien) 1880 Oil on canvas Collection of Jacques Durand‐Ruel

Aline Charigot posed for Renoir’s work on numerous occasions. Although she spent most of her adult life in Paris, she never lost her love for the countryside, swam “like a fish,” according to her son Jean, and enjoyed boating. This painting dates from the summer of 1880, probably just weeks before the artist embarked on his major undertaking of Luncheon of the Boating Party. [This work may not be photographed] PIERRE‐AUGUSTE RENOIR (1841–1919) Boating Couple (Les Canotiers) 1880–81 Pastel on paper Museum of Fine Arts, Boston, Given in memory of Governor Alvan T. Fuller by the Fuller Foundation

The young woman in this pastel wears a ring on her third finger and holds a bouquet of violets. She gazes into her partner’s eyes and is clearly the object of his affection. This intimate pair is thought to represent Aline Charigot and Renoir himself. During the summer of 1880 the couple spent an increasing amount of time together, not long before she took on a starring role in his masterwork, Luncheon of the Boating Party. PIERRE‐AUGUSTE RENOIR (1841–1919) AND RICHARD GUINO (1890–1973) Mother and Child (Mère et enfant) 1916 Bronze The Phillips Collection, Acquired 1940 Based on a painting by Renoir from 1885 of Aline Charigot feeding their first child, this sculpture is one of several that resulted from a collaboration between the painter and sculptor Richard Guino. Charigot died in 1915, prompting Renoir to commemorate her in this piece. PIERRE‐AUGUSTE RENOIR (1841–1919) Young Woman Reading an Illustrated Journal (Jeune femme lisant un journal illustré) c. 1880 Oil on canvas Museum of Art, Rhode Island School of Design, Providence, Rhode Island, Museum Appropriation Fund


Aline Charigot is the young woman reading a journal in this intimate scene that reflects her interest in fashion, as well as her close relationship with the artist. The Phillips Collection thanks Jacqueline B. Mars for her support in bringing this work to Washington. PIERRE‐AUGUSTE RENOIR (1841–1919) Young Woman Sewing (Jeune femme cousant) c. 1879 Oil on canvas The Art Institute of Chicago, Mr. and Mrs. Lewis Larned Coburn Memorial Collection Charigot, a seamstress, is probably the subject of Young Woman Sewing. Like the painting of the woman reading, it recalls the art of Fragonard and Vermeer, demonstrating the deftness with which Renoir could declare his admiration for these masters while also bringing his subjects into the present in a scene of intimate domesticity. PIERRE‐AUGUSTE RENOIR (1841–1919) Mademoiselle Charlotte Berthier 1883 Oil on canvas National Gallery of Art, Washington, DC, Gift of Angelika Wertheim Frink

Just as Renoir’s friend and fellow artist Gustave Caillebotte painted Aline Charigot in the garden of his house at Petit‐Gennevilliers in 1891, so too did Renoir paint Caillebotte’s sweetheart, Charlotte Berthier, though a few years earlier and in a more formal indoor setting.

PIERRE‐AUGUSTE RENOIR (1841–1919) Oarsmen at Chatou (Les Canotiers à Chatou) 1879 Oil on canvas National Gallery of Art, Washington, DC, Gift of Sam A. Lewisohn

The two prominent figures on the banks of the river are traditionally identified as Gustave Caillebotte and Aline Charigot. An oarsman appears to extend an invitation to board, though it is unclear which, if either of them, will accept.

PIERRE‐AUGUSTE RENOIR (1841–1919) Self‐Portrait (Autoportrait) c. 1875 Oil on canvas Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

In a rare self‐portrait, Renoir captures the ambitious young man that he was in his mid‐thirties, struggling to make a living as a painter. Just a few years later, as he approached his fortieth birthday, he determined not to put off any longer the challenge of a complex group composition to be painted on the terrace of the Maison Fournaise. GUSTAVE CAILLEBOTTE (1848–1894) Madame Renoir in the Garden at Petit‐Gennevilliers (Madame Renoir dans le jardin du Petit‐Gennevilliers) 1891 Oil on canvas Collection of Bruce Toll


Renoir and Caillebotte were close friends until Caillebotte died of a stroke in 1894 at his home at Petit‐Gennevilliers. Renoir had painted a portrait of Caillebotte’s lady friend, Charlotte Berthier, in 1883. Here, Caillebotte produced an informal portrait of Aline Charigot sitting in his garden. [This work may not be photographed] PIERRE‐AUGUSTE RENOIR (1841–1919) Man with a Little Hat (L’Homme au petit chapeau) 1877 Oil on canvas Private collection

Renoir made two small portraits of his friend Baron Raoul Barbier in 1877 and 1878. Barbier frequented the Maison Fournaise and was described by Georges Rivière as a man of inexhaustible energy and goodwill. Barbier modeled for Luncheon of the Boating Party—although Renoir depicts Barbier from the back, he is easily identifiable as he is wearing the same bowler style hat as in this portrait. [This work may not be photographed] MARCELLIN DESBOUTIN (1823–1902) Portrait of Renoir (Portrait de Renoir) 1877 Drypoint Institut national d’histoire de l’art, Paris Marcellin Desboutin, who showed his work in the third Impressionist exhibition of 1876 and also exhibited at the Salon, made paintings and etchings in a relatively conservative style. Joining the Impressionist group at the Café Nouvelle‐Athènes during the 1870s, he shared their radical views about art and society. In this portrait of Renoir, Desboutin captured his friend’s relaxed intensity as well as his characteristic informality of dress and posture. [This work may not be photographed] PIERRE‐AUGUSTE RENOIR (1841–1919) Georges Rivière 1877 Oil on cement National Gallery of Art, Washington, DC, Ailsa Mellon Bruce Collection

Renoir’s friend Georges Rivière reviewed the second Impressionist exhibition for the journal L’Esprit moderne and the following year he wrote about the “new painting” of the Impressionists for a short‐lived weekly, L’Impressioniste, where he again praised Renoir’s work with lavish enthusiasm. He became a close friend of Renoir, often accompanying him to evening soirées at the home of Marguerite and Georges Charpentier, publishers of La Vie moderne. Fifteen years younger than the artist, Rivière modeled for Dance at the Moulin de la Galette (1876). This profile portrait of Rivière with his strong brows and pencil‐thin moustache may underlie the face in profile at the center of Luncheon of the Boating Party. GEORGES RIVIÈRE (1855–1943) Renoir and His Friends (Renoir et ses amis) H. Floury, Paris


1921

Georges Rivière, who came from a modest background, had literary aspirations and enjoyed the company of artists and writers before he became a career civil servant (in the Finance Administration), eventually retiring in 1919. Renoir and His Friends was published in 1921, only two years after Renoir died, and remains one of the fullest and most personal accounts of Renoir’s life and friendships. Such was Rivière’s admiration for painters that one of his daughters married Renoir’s nephew and the other married the son of Paul Cézanne. PIERRE‐AUGUSTE RENOIR (1841–1919) Portrait of a Young Man and a Young Woman (Portrait d’un jeune homme et d’une jeune fille) 1876 Oil on canvas Musée de l’Orangerie, Paris, Jean Walter and Paul Guillaume Collection During the years leading to Luncheon of the Boating Party, Renoir made a series of paintings of intimate exchanges between men and women, in pairs and in groups. His friend Georges Rivière posed for many of them, including this one. A Day in the Country (Une Partie de Campagne), a film by Jean Renoir, 1936 Based on a novel by Guy de Maupassant and situated on the River Loing, south of Paris, in 1880, this film by the son of Pierre‐Auguste Renoir, echoes subjects in his father’s paintings, such as The Swing (1876, Musée d’Orsay) and many scenes of riverside diversion. Maupassant knew Pierre‐Auguste and also frequented the Maison Fournaise. In the film, the Dufour family—out from the city for a day on the river—is depicted as charmed but unprepared for the wild freedoms of the countryside. Jean includes himself as the innkeeper. Pierre Lestringuez, the son of Pierre‐Auguste’s close friend, plays a priest. Jean Renoir, born 1894, the second son of Pierre‐Auguste and Aline Charigot, was critically wounded in World War I and spent valuable time with his aged father after his mother died in 1915. Their conversations helped him write Renoir, My Father, first published in French in 1958. The book remains a valuable source about the life of the artist from his son’s point of view. PIERRE‐AUGUSTE RENOIR (1841–1919) The Rowers’ Lunch (Déjeuner des canotiers) 1875 Oil on canvas The Art Institute of Chicago, Potter Palmer Collection No other work so closely anticipates Luncheon of the Boating Party in site and subject matter as this work, situated at the Maison Fournaise, beneath the balcony, closer to the banks of the river than the site of Renoir’s larger painting. Two men and a woman are at lunch after an outing on the water, as skiffs glide by on the river. The Phillips Collection thanks Ruth and Samuel Alward for their support in bringing this work to Washington. The Phillips Collection thanks The Robert N. Alfandre Family for their support in bringing this work to Washington. JEAN PATRICOT (1865–1928) Charles Ephrussi 1905 Drypoint


The Phillips Collection, Acquired 2016 This portrait of Ephrussi by his friend Jean Patricot was published in the Gazette des beaux‐arts in October 1905, accompanying Ephrussi’s obituary. Ephrussi died at age 55, by which time he had become the director and co‐owner of the Gazette. PIERRE‐AUGUSTE RENOIR (1841–1919) Albert Cahen d’Anvers 1881 Oil on canvas The J. Paul Getty Museum, Los Angeles

Charles Ephrussi introduced Renoir to the Cahen d’Anvers, a prominent Jewish family who proceeded to commission portraits from him. In addition to this image of Albert Cahen d’Anvers, Renoir painted Albert’s three nieces, the daughters of his brother Louis, and his wife, Louise. At Renoir’s request, Ephrussi handled the submission of the portraits to the Salon of 1881. ÉDOUARD MANET (1832–1883) A Bunch of Asparagus (Une botte d’asperges) 1880 Oil on canvas Wallraf‐Richartz Museum and Fondation Corboud, Cologne Charles Ephrussi, who greatly admired Manet, purchased A Bunch of Asparagus for a higher price than the artist expected. In gratitude, Manet created an additional painting of a single stalk of asparagus as a present for Ephrussi, saying, “There was one missing from your bunch.” LÉON BONNAT (1833–1922) Portrait of Charles Ephrussi (Portrait de Charles Ephrussi) 1906 Oil on canvas Private collection Although Ephrussi supported Renoir’s work and acquired examples for his collection, he did not ask Renoir to paint his portrait. One of few existing portraits of Ephrussi, this one by another of his friends, the fashionable Léon Bonnat, was made the year after Ephrussi died, presumably from a photograph. EDGAR DEGAS (1834–1917) Portrait of Edmund Duranty (Portrait d’Edmund Duranty) 1879 Pastel on paper Private collection

This pastel by Degas belonged to Charles Ephrussi. It is understandable that Ephrussi was drawn to this portrait of Edmund Duranty, who like himself was a writer, critic, and lover of books. Duranty, a champion of Impressionism, wrote the famous essay “La nouvelle peinture” (The New Painting) in response to the second Impressionist exhibition of 1876. [This work may not be photographed] Gazette des beaux‐arts October 1, 1905


National Gallery of Art, Washington, DC, David K.E. Bruce Fund The obituary for Charles Ephrussi in the Gazette des beaux‐arts of October 1, 1905, notes his early support of Impressionism and highlights his importance to Renoir, “to whom, while the artist was still the subject of violent debate, he [Ephrussi] brought commissions.” La chronique des arts (a supplement of the Gazette) of October 7, 1905, describes Ephrussi as an intellectual with many friends, generous, affable, one whose death after a short illness was a shock to his friends and to collaborators at the Gazette. Works of Art, Furniture, Paintings, Chairs, and Tapestries (Objets d’art, meubles, tableaux, sieges et tapisseries…) Sale catalogue of Charles Ephrussi collection, May 19, 1913 Galerie Georges Petit Collection of Edmund de Waal It took six days to complete the sale of 652 paintings, works of art, furniture, decorative arts, sculpture, and tapestries in the estate of Charles Ephrussi. Some elements of his collection were not sold, such as the collection of netsuke (small Japanese sculptural objects) that eventually passed into the hands of Ephrussi’s indirect descendant, contemporary artist and writer Edmund de Waal, author of The Hare with Amber Eyes. GUSTAVE CAILLEBOTTE (1848–1894) A Man Docking His Skiff (Canotier ramenant sa périssoire bord de l’Yerres) 1878 Oil on canvas Virginia Museum of Fine Arts, Richmond, Collection of Mr. and Mrs. Paul Mellon Like Renoir, Caillebotte spent a significant amount of time on the Seine west of Paris painting landscapes such as this one. As a young man at his family’s country retreat on the Yerres River, Caillebotte enjoyed rowing and paddling in skiffs. He eventually purchased his own property on the Seine in nearby Petit‐Gennevilliers, which became a perfect base from which to participate in regattas and to develop his skills as a yachtsman. GUSTAVE CAILLEBOTTE (1848–1894) Villers‐sur‐Mer 1880 Oil on canvas The Phillips Collection, Promised gift of Mr. and Mrs. G. Duane Vieth In 1880, Caillebotte sailed one of his fastest boats down the Seine from Argenteuil to Le Havre to participate in regattas there and in Trouville. Between the two towns, along the coast, is Villers‐sur‐Mer, a popular summer destination and the subject of this painting. HATS In the 19th century, hats were an indispensable part of proper attire, and Paris was the epicenter of impeccable taste and haute couture (high fashion). Some hats were extravagant confections, others more simple, and some— like the ubiquitous top hat—simple but elegant. Even top hats varied—in height, brim size, and material (usually silk or felted beaver fur). All proclaimed to any observer essential information about the wearer’s social status and affiliations, or his or her destination. PIERRE‐AUGUSTE RENOIR (1841–1919)


Dancing Couple (study for Dance at Bougival [Danse à Bougival]) 1883 Pen and ink on white wove paper Philadelphia Museum of Art, The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986 This drawing, made by Renoir after his painting Dance at Bougival (1883, Museum of Fine Arts, Boston), became the basis for an engraving. The image was used to illustrate a story by Renoir’s friend Paul Lhote entitled “Mademoiselle Zelia,” published in La Vie Moderne on November 3, 1883. It is inscribed with the words “elle valsait delicieusement abandonée/entre les bras d’un blond aux allures/de canotier” (“She danced, deliciously abandoning herself to the arms of a blond with the charms of a boatsman”). The male figure of the dancing couple, wearing a straw hat and clogs, was probably modeled by Alphonse Fournaise, son of the owner of the Maison Fourniase. PIERRE‐AUGUSTE RENOIR (1841–1919) Dance in the Country (Danse à la campagne) 1883 or later Brush and brown, blue, and black wash over black chalk or graphite Yale University Art Gallery, New Haven, Connecticut, bequest of Edith Malvina K. Wetmore This captivating work on paper, often assumed to be a study for Renoir’s large oil by the same name, might postdate the painting. The initial sketch in pencil—underlying two subsequent drawings in watercolor—bears close comparison to the painting (on view in the adjacent gallery). Renoir continued in brown with blue wash to emphasize the man’s jacket and the pattern of his partner’s dress, then returned with darker hues to redefine the male dancer, moving him to the right to engage more convincingly with his partner and endow the drawing with a sense of movement. Her fan, indicated only in pencil, with its undulating arc of folds, echoes the swirling arc of her skirts. PIERRE‐AUGUSTE RENOIR (1841–1919) Dance in the Country (Danse à la campagne) 1883 Pen, brush, and gray ink on wove paper National Gallery of Art, Washington, DC, Collection of Mr. and Mrs. Paul Mellon, 1995 Dance in the Country celebrates another popular diversion of a country outing. Renoir made three life‐size paintings of dancing couples in 1883. PIERRE‐AUGUSTE RENOIR (1841–1919) Dance in the Country (Danse à la campagne) 1883 Oil on canvas Musée d’Orsay, Paris Modeled by Paul Lhote and Aline Charigot, Dance in the Country (also known as L’été or Summer) highlights the female dancer—with her red hat and open fan held aloft, she beams with pleasure. The red hat may also have been worn by the model originally seated in the lower left corner of Luncheon of the Boating Party, who was later replaced by Charigot. The Phillips Collection thanks Robert and Debra Drumheller for their support in bringing this work to Washington.


Wall colors in the exhibition Hay (No. 37) Light Blue (No. 22)

Oval Room Blue (No. 85)

###

Changes to the ModelCocotte RevealedOne of the most dramatic changes Renoir made is in the lower left: the woman holding the dog, Aline Charigot, was painted over another figure (Fig. 1). In the x-radiograph, a completely different sitter is visible. She is turned in her chair to face the viewer, wears a dress with three-quarter-length sleeves, and folds her right arm along her torso, holding an object that is perhaps a glass or a handkerchief (Fig. 2). Her identity may be revealed in a letter that Renoir wrote to a friend while painting Luncheon of the Boating Party: “I am obliged to go on working on this wretched painting because of a high-class cocotte who had the impudence to come to Chatou wanting to pose; that put me a fortnight behind schedule and, in a word, today I’ve wiped her out.”

Imaging, analysis, and study of the paint cross sections for this research was generously provided by Tom Lam, Stephanie Barnes, and Jia-sun Tsang from the Smithsonian Museum Conservation Institute and Inge Fiedler from the Art Institute of Chicago.

FIG. 1: Raking light detail of woman in lower left FIG. 2: X-radiograph of woman in lower left

FIG. 5: Raking light close-up above woman’s head FIG. 6: Red paint visible in cracks in blue dress

White ground layer used to prepare the canvas

Thin application of blue that probably belongs Renoir’s initial sketch

- Two to three layers of red that belong to the red dress worn by original model

White layer containing red and yellow pigments that may be a fold or highlight in the original model’s dress

Thin white layer of paint used to block out the underlying figure

Top three layers composed of blue and red pigments that correspond to Aline Charigot’s dress

Inspecting the Surface Close-Up Another clue to the existence of the first sitter can be seen in the raking light detail above Aline Charigot’s head (Fig. 5). Strongly textured brushwork lies beneath the surface and suggests that she wore a more angular hat. On close inspection of paint inside the cracks, it appears to have been red like her dress, and perhaps was similar to the bonnet worn by the woman in Dance in in the Country (on view in the preceding gallery). Red paint is also visible in the cracks in Charigot’s blue dress, further proof that the earlier model wore a brightly colored outfit (Fig. 6).

FIG. 4: BSE image of paint cross section

The backscattered electron (BSE) image of the cross section from the blue dress reveals up to eleven distinct paint layers. BSE imaging uses electrons that are reflected or backscattered out of the sample to distinguish between layers with different chemical composition. Pigments that are composed of heavy elements (high atomic number) appear brighter in the sample in contrast to pigments made from lighter elements (lower atomic number) that appear darker.

Examining the Paint LayersA microscopic paint sample taken from an existing loss in the blue dress was examined using reflected light microscopy (Fig. 3), ultraviolet microscopy, and Hirox digital microscopy and analyzed with a scanning electron microscope equipped with energy dispersive X-ray spectroscopy (Fig. 4). Renoir’s first attempts at the composition as well as changes that he made can be seen in the multiple layers of paint apparent in the images of the cross-section. Analysis indicates the likely presence of the following pigments: lead white, cobalt blue, vermillion, red lake, viridian, chrome green, chrome yellow, chrome orange, and zinc yellow.

FIG. 3: Darkfield illumination at 200x original magnification

Renoir and Friends: Luncheon of the Boating Party The Phillips Collection

Addition of the AwningRenoir made a critical modification to the composition by adding an awning across the top edge of the picture. Sweeping textured brushstrokes that do not correspond to the awning’s striped fabric are easily visible in the upper left, showing that the landscape and sky initially dominated the top of Luncheon of the Boating Party (Fig.1). Upon close inspection, we can see that the bridge was initially visible in its entirety, along with a dwelling on the far left. The colors used in the foliage—yellow, blue, orange, green, and white—are discernable beneath the thinly painted fabric. The infrared image also indicates that he shifted the placement of the figure (Fig. 2).

Examining the Paint LayersA microscopic paint sample was taken from an existing loss along the top edge of the painting. It was examined using reflected light microscopy (Fig. 3), ultraviolet microscopy (Fig. 4) and Hirox digital microscopy and analyzed with a scanning electron microscope equipped with energy dispersive X-ray spectroscopy. The green color of the landscape beneath the awning can be seen in the center of both cross sections. Analysis indicates the likely presence of the following pigments: lead white, viridian (or chrome green), chrome yellow, vermillion, and carbon black.

Repositioning of the Two MenThe artist made a surprising rearrangement to the pair of men standing at the end of the balcony, indicated in raking light by the underlying textured brushstrokes around their heads (Fig. 5). The revision the artist made becomes clear in the infrared image: Charles Ephrussi, wearing the top hat, initially looked out toward the front of the balcony with his head in three- quarter view (Fig. 6). By turning him to face the man next to him, Renoir strengthens their relationship, making them appear more involved in conversation.

FIG. 1: Raking light detail of upper left FIG. 2: Infrared image of upper left

FIG. 3: Differential interference contrast illumination at 200x original magnification

FIG. 5: Raking light detail of the two men at rear of balcony FIG. 6: Infrared image of the two men at rear of balcony

Revisions to the Composition

Many thanks to Gary Krupnick, Manuela Dal Forno, and Merinda Nash, botanists from the Smithsonian Institution National Museum of Natural History, and to Lisa Castlebury, mycologist from United States Department of Agriculture, who offered their expertise to identify the inclusions in the cross section.

White ground layer used to prepare the canvas

Green layer of paint that corresponds to the landscape that lies beneath the awning

Red paint used for the awning

After Renoir painted the awning, he lowered Alphonse Fournaise within the picture, indicated by the halo-like pentimento* around his hat.

The higher placement of the figure’s hat is seen as a dark shadow above its current position. Sketched lines across his forehead show that Renoir made several adjustments to the format of the hat before settling on its final location.

There are several brown specs, including a curious pod-shaped inclusion visible in this cross-section, which is a highly unusual finding. Their appearance is suggestive of fungal spores, originating from plant material, which may have found their way onto Renoir’s palette.

FIG. 4: Ultraviolet light Illumination at 200x original magnification

The infrared image shows a second set of hats, heads, and shoulders, indicating that these figures were also lowered after the introduction of the awning.

The pentimento* of an earlier face to the left of the top-hatted figure is discernable.

*An alteration that becomes more visible over time, emerging as a ghost-like shape.

Renoir and Friends: Luncheon of the Boating Party The Phillips Collection

CHECKLIST Renoir and Friends October 7, 2017–January 7, 2018

LÉON BONNATPortrait of Charles Ephrussi (Portrait de Charles Ephrussi) 1906 Oil on canvas; 18 × 15 in. Private collection GUSTAVE CAILLEBOTTE A Man Docking His Skiff (Canotier ramenant sa périssoire bord de l’Yerres) 1878 Oil on canvas; 29 × 36 1/2 in. Virginia Museum of Fine Arts, Collection of Mr. and Mrs. Paul Mellon Villers‐sur‐Mer 1880 Oil on canvas; 23 5/8 × 28 11⁄16 in. The Phillips Collection, Washington D.C., Promised gift of Mr. and Mrs G. Duane Vieth Sailboats on the Seine at Argenteuil (Voiliers sur la Seine à Argenteuil) 1893 Oil on canvas; 28 7⁄8 × 17 in. Private collection Small Branch of the Seine at Argenteuil (Petit bras de la Seine à Argenteuil) 1884 Oil on canvas; 35 × 28 1⁄4 in. Private collection Madame Renoir in the Garden at Petit Gennevilliers (Madame Renoir dans le jardin du Petit‐Gennevilliers) 1891 Oil on canvas; 25 1/4 × 19 3/4 in. Collection of Bruce Toll The Yellow Boat (Le Bateau jaune) 1891 Oil on canvas; 28 3/4 × 36 3/8 in. The Norton Simon Foundation, Pasadena, CA

MARCELLIN DESBOUTIN Renoir (Portrait de Renoir) 1877 Drypoint; 5 7/8 x 3 7/8 in. Institut national d’histoire de l’art, Paris Renoir, Legs Crossed (Portrait du peintre P.A. Renoir, les jambes croisées) 1877 Drypoint; 9 x 5 7/8 in. Institut national d’histoire de l’art, Paris EDGAR DEGAS Portrait of Ellen Andrée (Portrait d’Ellen Andrée) 1876 Monotype in black and brown ink on ivory paper 8 1/2 × 6 1/4 in. The Art Institute of Chicago The Actress Ellen Andrée (L’actrice Ellen Andrée) 1879 Drypoint; Platemark: 4 7⁄16 × 3 1⁄8 in. Sheet: 8 5⁄8 × 6 1⁄4 in. Museum of Fine Arts, Boston, Katherine E. Bullard Fund in memory of Francis Bullard, by exchange Portrait of Edmund Duranty (Portrait d’Edmund Duranty) 1879 Pastel on paper; 20 1/2 × 17 3/4 in. Private collection ÉDOUARD MANET A Bunch of Asparagus (Une botte d’asperges) 1880 Oil on canvas; 18 1⁄8 × 21 11⁄16 in. Wallraf‐Richartz‐Museum & Fondation Corboud Cologne Asparagus (L’Asperge) 1880 Oil on canvas; 6 3⁄8 × 8 1/2 in. Musée d’Orsay, Paris, Gift of Sam Salz, 1959

—Checklist: Renoir and Friends

Portrait of a Young Woman – Mademoiselle Ellen Andrée (Portrait d’une jeune femme – mademoiselle Ellen Andrée) c. 1880 Oil on canvas; 12 × 9 1⁄4 in. Private collection JEAN PATRICOT

Charles Ephrussi

1905

Drypoint; 7 3⁄16 × 5 11⁄16 in.

The Phillips Collection, Washington, D.C., Acquired

2016

PIERRE‐AUGUSTE RENOIR

The Seine at Chatou (La Seine à Chatou)

c. 1871

Oil on canvas; 18 1⁄8 × 22 1⁄16 in.

Art Gallery of Ontario, Toronto, Purchased 1935

Boaters of Argenteuil (Canotiers d’Argenteuil)

1873

Oil on canvas; 19 1⁄2 × 24 in.

Larry Ellison Collection

The Seine at Argenteuil (La Seine à Argenteuil)

c. 1874

Oil on canvas 19 3/4 × 25 3/4 in.

Portland Art Museum, Oregon, Bequest of Winslow B. Ayer

The Seine at Chatou (La Seine à Chatou)

1874

Oil on canvas; 20 × 25 in.

Dallas Museum of Art, The Wendy and Emery Reves Collection

Bridge at Chatou (Pont à Chatou)

c. 1875

Oil on canvas; 20 3⁄4 × 25 5⁄8 in.

Sterling and Francine Clark Art Institute, Williamstown, MA

Lunch at the Restaurant Fournaise or The Rowers’ Lunch (Déjeuner chez Fournaise or Déjeuner des canotiers)

1875

Oil on canvas; 21 5⁄8 × 25 15⁄16 in

The Art Institute of Chicago, Potter Palmer Collection

Self‐Portrait (Autoportrait)

c. 1875

Oil on canvas; 15 3⁄8 × 12 7⁄16 in.


Portrait of a Young Man and a Young Woman (Portrait d’un jeune homme et d’une jeune fille)

1876

Oil on canvas; 12 1/2 × 18 1⁄8 in.

Musée de l’Orangerie, Paris, Jean Walter and Paul Guillaume Collection

In the Studio (Dans l’atelier) [Georges Rivière and Marguerite Legrand]

1876–1877

Oil on canvas; 24 1/4 × 10 5⁄8 in.

Dallas Museum of Art, The Wendy and Emery Reves Collection

Man with a Little Hat (L’Homme au petit chapeau) 1877

Oil on canvas; 11 1/2 × 11 1/4 in.

Private collection

Georges Rivière

1877

Oil on cement; 14 1/2 × 11 9⁄16 in.

National Gallery of Art, Washington, D.C., Ailsa Mellon Bruce Collection

On the Shore of the Seine (Paysage bords de Seine)

c. 1879

Oil on linen; 5 1/2 × 9 1⁄8 in.

The Baltimore Museum of Art, Saidie A. May Bequest, Courtesy of the Fireman’s Fund Insurance Company

The Dreamer (La Rêveuse)

1879

Oil on canvas 20 1⁄8 × 24 3⁄8 in

Saint Louis Art Museum, Museum purchase

Alphonsine Fournaise

1879

Oil on canvas; 28 15⁄16 × 36 5⁄8 in.

Musée d’Orsay, Paris, Gift of D. David‐Weill, 1937


Young Woman Sewing (Jeune femme cousant)

c. 1879

Oil on canvas; 24 3⁄16 × 19 7⁄8 in.

The Art Institute of Chicago, Mr. & Mrs. Lewis Larned Coburn Memorial Collection

Woman with a Fan (Femme à l’éventail)

c. 1879

Oil on canvas; 25 3/4 × 21 1/4 in.


Oarsmen at Chatou (Les Canotiers à Chatou) 1879 Oil on canvas; 31 15⁄16 × 39 7⁄16 in. National Gallery of Art, Washington, D.C., Gift of Sam A. Lewisohn Portrait of Thérèse Ephrussi–Madame Léon Fould (Portrait de Thérèse Ephrussi–madame Léon Fould) 1880 Oil on canvas; 20 × 17 1/2 in. Mr. & Mrs. Felipe Propper de Callejon Young Woman Reading an Illustrated Journal (Jeune femme lisant un journal illustré) c. 1880 Oil on canvas; 18 1/4 × 22 in. Museum of Art, Rhode Island School of Design, Providence, RI, Museum Appropriation Fund Madame Renoir with a Dog (Madame Renoir au chien) 1880 Oil on canvas; 12 1⁄4 × 16 1⁄8 in. Collection of Jacques Durand‐Ruel Boating Couple (Les Canotiers) 1880–1881 Pastel on paper; 17 3/4 × 23 in. Museum of Fine Arts, Boston, Given in memory of Governor Alvan T. Fuller by the Fuller Foundation Luncheon of the Boating Party (Le Déjeuner des canotiers) 1880–1881 Oil on canvas; 51 3/4× 69 1⁄8 in. The Phillips Collection, Washington, D.C., Acquired 1923

Albert Cahen d’Anvers 1881 Oil on canvas; 31 1/2 × 25 1⁄8 in. The J. Paul Getty Museum, Los Angeles Dancing Couple (study for Dance at Bougival [Danse à Bougival]) 1883 Pen and ink on white wove paper; 11 15⁄16 × 7 9⁄16 in. Philadelphia Museum of Art, The Henry P. Mcllhenny Collection in Memory of Frances P. Mcllhenny, 1986 Mademoiselle Charlotte Berthier 1883 Oil on canvas; 36 1/4 × 28 3/4 in. National Gallery of Art, Washington, D.C., Gift of Angelika Wertheim Frink Dance in the Country (Danse à la campagne) 1883 or later Brush and brown, blue, and black wash over black chalk or graphite; 19 1/2 × 12 in. Yale University Art Gallery, New Haven, CT, Bequest of Edith Malvina K. Wetmore Dance in the Country (Danse à la campagne) 1883 Pen, brush, and gray ink on wove paper; 18 3/4 × 11 7⁄8 in. National Gallery of Art, Washington, D.C., Collection of Mr. and Mrs. Paul Mellon, 1995 Dance in the Country (Danse à la campagne) 1883 Oil on canvas; 70 7⁄8 × 35 7⁄16 in. Musée d’Orsay, Paris Portrait of Madame Renoir (Portrait de madame Renoir) c. 1885 Oil on canvas; 25 3/4 × 21 1/4 in. Philadelphia Museum of Art, Purchased with the W.P. Wilstach Fund Dance in the Country (Danse à la campagne) c. 1890 Soft‐ground etching on paper; 12 3/4 × 9 3/4 in. The Phillips Collection, Washington, D.C., Acquired 1949


Pierre‐Auguste Renoir and Richard Guino Mother and Child (Mère et enfant) 1916 Bronze; 21 1/2 × 8 × 8 1/2 in. The Phillips Collection, Washington, D.C., Acquired 1940 PHOTOGRAPHS Jeanne Samary–Face Resting on Hands Digital print from a 19th‐century original Comédie‐Française Bibliothèque‐musée, Paris Jeanne Samary–Smiling Digital print from a 19th‐century original Comédie‐Française Bibliothèque‐musée, Paris Jeanne Samary–With a Hat Digital print from a 19th‐century original Comédie‐Française Bibliothèque‐musée, Paris Chatou–Restaurant Fournaise Digital print from an early 20th‐century postcard Via Joconde–Portail des collections des musées de France Chatou–Garage Fournaise Digital print from an early 20th‐century postcard Via Joconde–Portail des collections des musées de France Nadar (Gaspar‐Félix Tournachon) Ellen Andrée, Actress (Ellen Andrée, comédienne) 1879 Modern silver gelatin print from a 19th‐century original Bibliothèque Nationale de France, Paris Nadar (Gaspar‐Félix Tournachon) Angèle Modern silver gelatin print from an original of c. 1878 Caisse Nationale des Monuments Historiques et des Sites, Paris Gustave Caillebotte Sailboats Reaching the Shore at Petit‐Gennevilliers (Voiliers accostant sur la rive du PetitGennevilliers) Comité Caillebotte, Paris

PUBLICATIONS Gazette des beaux‐arts May 1, 1880 Review by Charles Ephrussi National Gallery of Art, Washington, D.C. Gazette des beaux‐arts July 1, 1880 Review by Charles Ephrussi National Gallery of Art, Washington, D.C. Charles Ephrussi Albrecht Dürer and His Drawings (Albert Dürer et ses dessins) 1882 Collection of Edmund de Waal Gazette des beaux‐art 1885 Collection of Edmund de Waal Charles Ephrussi Paul Baudry: His Life and His Work (Paul Baudry: sa vie et son oeuvre) 1887 Collection of Edmund de Waal Gazette des beaux‐arts October 1, 1905 Obituary of Charles Ephrussi National Gallery of Art, Washington, D.C. Works of Art, Furniture, Paintings, Chairs, and Tapestries (Objets d’art, meubles, tableaux, sièges et tapisseries…) Sale catalogue of Charles Ephrussi collection, May 19, 1913 Galerie Georges Petit Collection of Edmund de Waal Old Paintings, Works of Art, and Furnishings from the XVII and XVIIIe Centuries from the collection of M.X. (Tableaux anciens, objets d’art et d’ameublement des XVII et XVIIIe siècles provenant de la collection de M. X.) Sale catalogue of Charles Ephrussi collection, May 22, 1913 Galerie Georges Petit Collection of Edmund de Waal


Georges Rivière Renoir and His Friends (Renoir et ses amis) 1921 H. Floury, Paris HATS Straw bonnet with black velvet and “wheat” Late 1860s Label: Feus Bées de S.M L’imperatrice mmes. Hofele, Rue de la Paix, 7 Paris Straw, silk, and velvet Museum of the City of New York, Gift of Mrs. William Hyde Wheeler, 1942 Collapsible top hat in black satin 1870s Label: Amidon Mode De Paris Silk, satin Museum of the City of New York, Gift of Mrs. Thomas L. Purdy, Evelyn P. Luquer, Lea S. Luquer, and Thatcher Luquer, 1959

Hat with flowers and ribbon 1881 Label: Modes, Mon. Mivière, Rue de Caumartin, 10 Pres de Boul. Des Capucines, Paris Leghorn, cambric Museum of the City of New York, Gift of Mrs. James Sullivan, 1927

Bonnet in natural straw with green satin ribbon and red flowers c. 1881 Label: “Aurora” Plaited natural straw, embossed cotton sateen blossoms, wool felt buds; silk satin ribbon trim/ties Museum of the City of New York, Gift of Mr. A. Sanford Kellogg, 1978

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IN‐GALLERY PROGRAMMING AND ENGAGEMENT Renoir and Friends October 7, 2017–January 7, 2018

FINDINGS BENEATH THE SURFACE In‐gallery interactive Visitors can experience Luncheon of the Boating Party like never before, examining changes Renoir made firsthand by comparing certain parts of the painting with x‐radiographic and infrared images. This in‐gallery interactive uses fresh findings from a technical study, offering the viewer new insight into Renoir’s process. Inspection of the surface in raking light compared to the same passages in x‐radiographic and infrared images reveal the artist made numerous changes while completing the painting. Scientific analysis of the paint layers further illuminates these revisions. Visitors can also explore this feature at PhillipsCollection.org. FUN WITH FASHION In‐gallery interactive The son of a tailor and husband of a seamstress, Renoir loved fashion. His interest in clothing can be seen in his portrayal of elegant patterns and lush textures in his art. At this interactive magnetic doll station, visitors are encouraged to dress models in various outfits from the 1880s and pose them in a country and city landscapes. SELF‐GUIDE Visitors can pick up an all‐ages self‐guide to help explore big ideas in Renoir and Friends through conversation starters and activities. SHARE YOUR PHOTOS While exploring the exhibition, visitors are encouraged to take non‐flash photos and share on social media with #PhillipsCollection and #RenoirAndFriends.

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PUBLIC PROGRAMS Renoir and Friends October 7, 2017–January 7, 2018

The information below was updated October 2017 and is subject to change. Please visit www.phillipscollection.org/events for the most up‐to‐date programming information. FILM SCREENING October 12 6 pm

Renoir (2012) Set in the south of France during World War I, Renoir chronicles the last years of Pierre‐Auguste Renoir’s life at Cagnes‐sur‐Mer. The film tells the forgotten story of Andrée Heuschling, also known as Catherine Hessling, who was the artist’s last model and the first actress in the films directed by his son Jean Renoir. $12; $10 for students and seniors; free for members. Includes admission to the special exhibition and a cash bar. Reservations recommended

EVENING FOR EDUCATORS October 26 4:30‐7 pm

Teach with Luncheon of the Boating Party Join us for a special educators’ happy hour! During this open house, educators will experience a variety of Prism.K12 arts integration activities focusing on the special exhibition Renoir and Friends: Luncheon of the Boating Party. From cutting‐edge online resources to engaging in‐gallery conversations, teachers will explore classroom connections, unwind with colleagues, enjoy refreshments, and learn practical ways to integrate Luncheon of the Boating Party into their teaching. $10 for educators. Reservation required

PHILLIPS AFTER 5 November 2 5–8:30 pm

Fashion a la Renoir Learn about fashion in Pierre‐Auguste Renoir’s Luncheon of the Boating Party and other artworks featured in Renoir and Friends. Strike a pose wearing vintage‐inspired clothing from Proper Topper in a photo booth. Create Renoir‐inspired accoutrements with vintage materials.**

LECTURE AND BOOK SIGNING November 9 6:30 pm

Renoir: An Intimate Biography In her forthcoming book Renoir: An Intimate Biography, Barbara Ehrlich White discusses the artist’s life using more than 1,100 extracts from letters—452 of which are unpublished. White’s book comes from a lifetime of research and challenges common misconceptions surrounding Renoir’s reputation. A book signing will follow the discussion. $25; $15 for members. Includes admission to the special exhibition. Reservations recommended

PANEL DISCUSSION December 3 4 pm

Renoir and Friends Join leading scholars for a discussion about Renoir and the creation of his masterwork: moderator Eliza Rathbone (Chief Curator Emerita, The Phillips Collection), and panelists Elizabeth Steele (Head of Conservation, The Phillips Collection), Sara Tas (Jewish Historical Museum, Amsterdam), Mary Morton (National Gallery of Art), Aileen Riberio (Courtauld Institute of Art, United Kingdom), and Sylvie Patry (Musée d’Orsay, Paris). $25; $15 for members. Includes admission to special exhibition

—Public Programs: Renoir and Friends

** Phillips after 5 is a lively evening of art and entertainment, with food and cash bar. Reservations are strongly recommended as this popular event tends to sell out in advance. $12, $10 for visitors 62 and over and students. Members always admitted free, no reservation needed. Exhibition admission: $12; $10 for visitors 62 and over and students; free for members and visitors 18 and under. The museum is closed on Mondays, New Year’s Day, Independence Day, Thanksgiving Day, Christmas Eve, and Christmas Day.

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PHILLIPS AFTER 5 December 7 5–8:30 pm

Fête at the Phillips Come have a Luncheon‐of‐the‐Boating‐Party‐style fête! Before the holiday rush, enjoy a wine tasting and create a still life holiday card. Take a quiz and relate to a character in Luncheon of the Boating Party or other people in Renoir and Friends.

FILM SCREENING December 14 6 pm

La Grande Illusion Considered a masterpiece of French cinema, the film directed by Jean Renoir (Pierre‐Auguste Renoir’s son) tells the story of two French soldiers trying to escape a German P.O.W. camp during World War I. $12; free for members. Includes admission to special exhibition and a cash bar

PHILLIPS AFTER 5 January 4 5–8:30 pm

Sail Away Exhausted after the holidays? Already tired of the cold weather? In need of some sunshine? Sail away to your happy place at Phillips after 5! Inspired by the abundance of boating scenes featured in Renoir and Friends, experience all things boating. Warm up with a selfie in a tropical place, listen to smooth tunes, and make a nautical craft.

TOURS October 8, 15, 22, 29 November 5, 12, 19, 26 December 3, 10, 17, 31 1 pm

Introduction to Renoir and Friends Highlights from the special exhibition. Included in admission to special exhibition; free for members.

SPOTLIGHT TALKS October 12, 19, 26 November 9, 16, 30 December 14, 21, 28 6 & 7 pm

Renoir and Friends Focused discussion about works of art from the special exhibition. Included in admission to special exhibition; free for members

PROMOTIONS Renoir and Friends: Luncheon of the Boating party October 7, 2017–January 7, 2018

Have your own Luncheon of the Boating Party The Phillips Collection has teamed up with Entertainment Cruises to let you step inside Renoir’s masterpiece. Enjoy a “Luncheon of the Boating Party” experience aboard the glass‐enclosed Odyssey, available for any lunch or brunch cruise. Tickets—discounted exclusively for Phillips Collection Members—include a lunch aboard the ship and admission to the exhibition. Visit PhillipsCollection.org for details.

Share pictures with your pet to win prizes Dogs have long been a symbol of loyalty in art history. Renoir paints Aline Charigot, a seamstress he had recently met and would later marry, cooing at a dog in his iconic Luncheon of the Boating Party. Grab your favorite pet and share your best re‐creation of this scene using #RenoirAndFriends for a chance to win monthly prizes including artist materials, Renoir‐inspired items from the shop, exhibition tickets, and more.

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UPCOMING EXHIBITIONS

The information below was updated October 2017 and is subject to change. All exhibitions are organized by The Phillips Collection, unless otherwise noted.

Ten Americans: After Paul Klee February 3–May 6, 2018 The exhibition, co‐organized by The Phillips Collection and the Zentrum Paul Klee in Bern, Switzerland, explores the seminal role of Swiss‐born artist Paul Klee (1879–1940) in the development of mid‐20th century American art. Ten Americans sheds new light on important figures in American Abstract Expressionist and Color Field painting who adapted aspects of Klee’s art and ideology into their own artistic development. The exhibition is the first to feature work by Klee in dialogue with William Baziotes, Gene Davis, Adolph Gottlieb, Norman Lewis, Robert Motherwell, Kenneth Noland, Jackson Pollock, Theodoros Stamos, Mark Tobey, and Bradley Walker Tomlin. Marking the Infinite: Contemporary Women Artists from Aboriginal Australia June 2–September 9, 2018 Marking the Infinite spotlights nine leading Aboriginal Australian women artists: Nongirrnga Marawili, Wintjiya Napaltjarri, Yukultji Napangati, Angelina Pwerle, Lena Yarinkura, Gulumbu Yununpingu, Nyapanyapa Yunupingu, Carlene West, and Regina Pilawuk Wilson. The approximately 60 works are drawn from the collection of Miami‐based collectors and philanthropists Debra and Dennis Scholl, carefully curated by the Scholls in conjunction with Australian art historian Henry F. Skerritt, with many key works commissioned specifically for the exhibition. The artists are from remote Aboriginal communities across Australia, and the subjects of their art are broad, yet each work is an attempt to grapple with fundamental questions of existence, asking us to slow down and pay attention to the natural world. These are marks made upon an “ancient endless infinity,” revealing humanity’s insignificance against the steady movement of time and the cosmos. Nordic Impressions: Art from Åland, Denmark, the Faroe Islands, Finland, Greenland, Iceland, Norway, and Sweden, 1821–2017 October 6, 2018‐January 6, 2019 Nordic Impressions is a major survey of Nordic art, featuring 55 works—paintings, sculptures, works on paper, videos, and photographs—spanning nearly 200 years. The exhibition pays tribute to the artistic excellence of 19th‐ and 20th‐century Nordic painters, such as Akseli Gallen‐Kallela, Vilhelm Hammershøi, Edvard Munch, Anders Zorn, and Jóhannes Sveinsson Kjarval; celebrates the considerable artistic diversity in Nordic art, featuring both the expected (sublime landscapes and melancholic portraits) and the unexpected (abstract and conceptual art). It also features a significant number of women artists, such as Danish painter Anna Ancher; Swedish painter Fanny Brate; Greenlandic painter, photographer, and writer Pia Arke; and Finnish painter Hanna Rönnberg. Prominent contemporary artists include Katrín Sigurdardóttir and Ragnar Kjartansson from Iceland, Israeli‐born Danish painter Tal R, and Finnish Sami artist Outi Pieski.

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