PIERRE AUGUSTE RENOIR. 1841-1919

164 BAIGNADE DANS LA SEINE

Oil on canvas. 59 X 80 cm. Inv. No 3407 Signed lower left: Renoir

Renoir often painted this place at Bougival, known as La Grenouillere. According to D. Rouart and J. Rew-ald, the Moscow canvas was painted in 1869. There are three similar paintings on the same subject — in Stockholm (Nationalmuseum), Hamburg (the E. Berens Collection) and in Winterthur (the O. Reinhart Collection); one more, entitled La Grenouillere (1879), is in The Louvre. Balgnade dans la Seine is the earliest Renoir in The Pushkin Museum. It was bought by Ivan Morozov from Ambroise Vollard for 20,000 francs in Paris in 1908.

Provenance: until 1908 The A. Vollard Collection, Paris; 1908—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1939 Moscow, Cat., p. 49; 1941 Moscow; 1955 Moscow, Cat., p. 53; 1960 Moscow, Cat., p. 31; 1974 Leningrad, Cat. 35; 1974—75 Moscow, Cat. 33 Bibliography: Кат. ГМИИ 1957, p. 118; Кат. ГМИИ 1961, p. 157; Маковский 1912, pp. 9, 23; Ettinger 1926, p. 22, ill.; Кат. ГМНЗИ 1928, No 502; Reau 1929, No 1072; Sterling 1957, ill. 80; Feist 1961, p. 61; Прокофьев 1962, ill. 143; Musee de Moscou 1963, p. 168, ill.; K. S. Champa, Studies in Early Impressionism, London, 1973, p. 64, ill. 84; Antonova 1977, No 89

164 BAIGNADE DANS LA SEINE

165 IN THE GARDEN

Oil on canvas. 81 X 65 cm. Inv. No 3406 Signed lower right: Renoir

The picture was completed in 1875, when Renoir hired a studio in the Rue Cortot in Montmartre and often painted in the Moulin de la Galette. This and the canvas La Balancoire (The Swing) (Musee de I'lmpressionnisme, Paris) apparently served as preparatory works for Renoir's large picture of 1876, Le Moulin de la Gallette (Musee de I'lmpressionnisme, Paris). Depicted in the Moscow canvas are Renoir's model Nini, standing on the left; behind her is Claude Monet, seated; in the background is the painter Lami; standing on the right is the artist Charles Cordier. The man standing in the background is sometimes identified as Alfred Sisley, and the man seated at the table as Norbert Goeneutte. The picture was bought by Ivan Morozov at the auction of the G. Viau Collection in Paris in 1907 (lot 17). Provenance: The E. Miirer Collection,Paris; 1896—1907 The G. Viau Collection, Paris; 1907—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1900 Paris, Cat. 25; 1903 Vienna; 1904 Paris (Salon d'Automne); 1941 Moscow; 1955 Moscow, Cat., p. 53; 1960 Moscow, Cat., p. 31; 1965 Bordeaux, Cat. 68; 1965-66 Paris, Cat. 69; 1966-67 Tokyo, Kyoto, Cat. 53; 1972 Otterloo, Cat. 49; 1972 Prague, Cat. 31; 1973 Washington, Cat. 36; 1974 Leningrad, Cat. 36; 1974-75 Moscow, Cat. 34

Bibliography: Кат. ГМИИ 1957, p. 118; Кат. ГМИИ 1961, p. 157; Heilbut 1903, p. 184, ill.; Vente de la collection Georges Viau, Paris, 1907, No 17; Маковский 1912, PP. 9, 23; Кат. ГМНЗИ 1928, No 503; Reau 1929, No 1073; M. Drucker, Renoir, Paris, 1955, ill. 36; Sterling, 1957, ill. 82, p. 108; Daulte 1971, No 197; Antonova 1977, No 90

165 IN THE GARDEN

166 NUDE. 1876

Oil on canvas. 92 X 73 cm. Inv. No 3330 Signed and dated lower right: Renoir 76 Many scholars think that the same model sat for the artist as for Manet's Nana. According to other authors (Jamot, Drucker), Nude was painted from a model named Anna. A sketch of the same model (Torso of a Woman in the Sun, 1875—76, 80 X 64 cm) is in The Louvre. A variant of the Moscow canvas, dated the same year and of the same dimensions, is in the Kunsthistorisches Museum in Vienna. Provenance: until 1896 The E. Chabrier Collection, Paris; 1896—98 The P. Durand-Ruel Collection, Paris; 1898—1912 The P.Shchukin Collection, Moscow; 1912— 18 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1941 Moscow; 1955 Moscow, Cat., p. 53; 1956 Leningrad, Cat., p. 51; 1960 Moscow, Cat., p. 31; 1974-75 Moscow, Cat. 36

Bibliography: Кат. ГМИИ 1957, p. 118, ill.; Кат. ГМИИ 1961, p. 157, ill.; Кат. собр. С. Щукина 1913, No 194, pp. 42—43; Тугендхольд 1914, p. 45, ill. p. 14; Grau-toff 1919, ill. p. 87; Перцов 1921, No 194, p. 114; Тугендхольд 1923, pp. 31—32, ill. p. 26; F. Fosca, Renoir, Paris, 1924, p. 25, ill.; Ettinger 1926, part 1, p. 21, ill.; Кат. ГМНЗИ 1928, No 500; Reau 1929, No 1070; Gazette des Beaux-Arts, XI, 1934, p. 192; D. Rouart, Renoir. Etude biographique et critique, Geneva, 1954, p. 35, ill.; M. Drucker, Renoir, Paris, 1955, ill. 26; Sterling 1957, ill. 83, p. 108; Cat. Impres-sionnistes 1959, p. 178; Feist 1961, p. 62, ill. 21; Прокофьев 1962, ill. 139; ГМИИ 1966, No 92; Ренуар 1970, ill. 11; Daulte 1971, No 213; Antonova 1977, No 92

166 NUDE. 1876

167 PORTRAIT OF THE ACTRESS JEANNE SAMARY. Study. 1877

Oil on canvas. 56 X 47 cm. Inv. No 3405 Signed and dated upper left: Renoir 77 In the course of 1877 and 1878 Renoir painted Jeanne Samary several times. Her half-length portrait is now in the collection of the Comedie-Frangaise in Paris where the actress played. The Hermitage in Leningrad possesses a full-length portrait of Samary completed in 1878. The Moscow canvas is generally considered to be a sketch for the Hermitage portrait, but it would be more proper to regard the former as an independent work of art. Many scholars agree that the Moscow canvas is the finest Impressionist portrait ever done by Renoir. The canvas was bought by Ivan Morozov from Durand-Ruel in Paris in 1904 for 25,000 francs. Provenance: The Collection of P. Lagard (husband of Samary), Paris; since 1903 The P. Durand-Ruel Collection, Paris; 1904—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1877 Paris; 1930 Moscow; 1937 Paris, Cat. 394; 1941 Moscow; 1955 Moscow, Cat., p. 54; 1960 Moscow, Cat., p. 31; 1974 Leningrad, Cat. 39; 1974—75 Moscow, Cat. 37

Bibliography: Кат. ГМИИ 1957, p. 118; Кат. ГМИИ 1961, p. 157, ill.; Кат. галереи Третьяковых 1911, No 92; Маковский 1912, p. 9, 23; G. Riviere, Renoir et ses amis, Paris, 1921, p. 157; F. Fosca, Renoir, Paris, 1924, p. 13, ill. (entitled Reverie); Ternovetz 1925, p. 463, ill. p. 462; Ettinger 1926, part 1, p. 25, ill.; Кат. ГМНЗИ 1928, No 509; Reau 1929, No 1075; Sterling 1957, ill. 79, p. 103; Feist 1961, P. 63, ill. 29; Прокофьев 1962, ill. 141; Musee de Moscou 1963, p. 170, ill.; ГМИИ 1966, No 91; Ренуар 1970, ill. 15; Daulte 1971, No 229; Antonova 1977, No 91

167 PORTRAIT OF THE ACTRESS JEANNE SAMARY. Study. 1877

168 GIRLS IN BLACK

Oil on canvas. 81.3 X 65.2 cm. Inv. No 3329 Monogrammed lower right: A. R.

P. Feist dates the picture to 1880—82. A sketch of the girl's figure on the left is in the F. Hirschland Collection in New York. There is a certain similarity between this same figure and Woman with a Muff in pastel, in the Pushkin Museum collection. Provenance: 1908—18 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1955 Moscow, Cat., p. 54; 1956 Leningrad, Cat., p. 32; 1960 Moscow, Cat., p. 32; 1974 Leningrad, Cat. 42; 1974--75 Moscow, Cat. 40 Bibliography: Кат. ГМИИ 1957, p. 118; Кат. ГМИИ 1961, p. 157; Кат. собр. С. Щукина 1913, No 193, pp. 42—43; Тугендхольд 1914, p. 45, ill. p. 14; Пер-цов 1921, No 193, p. 114; Тугендхольд 1923, pp. 30— 31, ill. p. 22; Кат. ГМНЭИ 1928, No 501; Reau 1929, No 1071; Sterling 1957, ill. 81; Feist 1961, p. 64; Прокофьев 1962, ill. 140; Ренуар 1970, ill. 38; Daulte 1971, No 375; Antonova 1977, No 93

168 GIRLS IN BLACK