Limoges, Haute-Vienne 1841 - Cagnes-sur-Mer, Alpes-Maritimes 1919
Girona, Spain 1890 - Antony, Hauts-de-Seine 1973
Dimensions (HxWxD): diam.: 27 3⁄16 in.
signed above his left shoulder: Renoir
inscribed on the background: CLAUDE / MONET
Acc. No.: 71.2046C
Credit Line: Gift of Walter P. Chrysler, Jr.
Photo credit: Chrysler Museum of Art, Norfolk
- 1971, Gift of Walter P. Chrysler, Jr.
- Museum's website, 7 December 2011
- 1996 White
Barbara Ehrlich White, Impressionists side by side: Their Friendships, Rivalries, and Artistic exchanges, New York: Alfred A. Knopf, Inc., 1996, black and white ill. 104
- 2008 Adler
Kathleen Adler, et .al., Renoir: La maturitá tra classic e moderno, exh. cat., Complesso del Vittoriano, Rome, Itlay, 2008, 324-329 ISBN: 9788861306189
- 2005-2006 Norfolk
Behind the Seen: The Chrysler's Hidden Museum, Norfolk, VA, Large Changing Gallery, Chrysler Museum of Art, October 21, 2005 - February 19, 2006
Renoir: La maturitá tra classic e moderno, Rome, Italy, Complesso del Vittoriano, March 7 - June 29, 2008
- See also the 5 other roundrels of the series in the same museum.
- Museum's website, 7 December 2011:
Toward the end of his life, the Impressionist painter Renoir collaborated with Richard Guino in the production of a small number of bronze sculptures. The two were introduced by Renoir's dealer Ambrose Vollard. Vollard suggested that the painter, then seventy-one years old and confined to a wheelchair, create designs which Guino would translate into plaster and Vollard would cast in bronze. Among the fruits of their four-year association (1913-17) was a set of six bronze portrait medallions celebrating those French artists Renoir believed to be the finest of his era: Jean Auguste Dominique Ingres, Eugène Delacroix, Camille Corot, Claude Monet, Paul Cézanne, and Auguste Rodin. Each of the artists had an impact on Renoir's art. The great painter Ingres, for example, had been a beacon for Renoir in the 1880s, when he labored to discipline the improvisational painting technique of Impressionism with a more controlled, classically-ordered approach to the human form. And in the revolutionary color theories of the Romantic painter Delacroix, Renoir saw the intellectual foundation for the brilliant, rainbow palette used by him and his fellow Impressionists.