137
Josse later changed his surname to Dauberville and Gaston changed his to Bernheim de Villers.
138
Renoir’s works were included in Bernheim group shows: ‘Modern Painting’, 14–23 June 1917; group show, 14–28 March 1919; group show, 14 December 1919–15 January 1920. From 1920 to 1986, the Bernheim Gallery included Renoir’s works in 34 group exhibitions. They also had two individual Renoir exhibitions, in 1927 of nudes, flowers and children, and in 1938 of portraits. See Dauberville, vol. 1, pp. 100–4.
139
When visiting Renoir in Cagnes, Vollard sometimes also visited Cassatt: Cassatt to Havemeyer, Grasse, 4 August [1918], in New York, Metropolitan Museum, Archives, Box 1, Folder 16.
140
Negative owned by Gaumont Actualités; copy owned by Harvard University, Film Archive, given by Alain Renoir, Jean’s son, who received a doctorate from Harvard in 1956.
141
Unpublished, André to Georges Durand-Ruel, Cagnes, 28 June 1917, in Paris, Archives Durand-Ruel.
142
Unpublished, André to Georges Durand-Ruel, Marseilles, 30 June 1917, in ibid.
143
Unpublished receipt, Paris, 10 December 1917, in Paris, Bibliothèque des Musées Nationaux du Fonds Vollard, Ms. 421 on microfilm; portrait of Léonard Renoir, Dauberville, vol. 1, pl. 531.
144
Ambroise Vollard dressed as a Toreador, 1917 (August), Dauberville, vol. 5, no. 4265; White, Renoir: His Life, Art, and Letters, p. 278. For the two earlier portraits, of 1906 and 1908, see Dauberville, vol. 4, pls 3388, 3392, respectively.
145
See Rabinow, Cézanne to Picasso, p. 19, Portrait of Mme de Galéa (1912, Dauberville, vol. 5, no. 4062) and photograph of her posing for Renoir.
146
Dauberville, vol. 5, pls 4058A–4058W and 4059A–4059F.
147
Ibid., pl. 4283.
148
Unpublished, Cassatt to Havemeyer, Grasse, 24 August 1918, in New York, Metropolitan Museum, Archives, Box 1, Folder 16.
149
See Renoir in the 20th Century, p. 344.
150
Unpublished, André to Guino, Cagnes, 28 February 1917, in Cagnes, Musée Renoir.
151
Unpublished, Jean Renoir to Guino, Ambérieu-en-Bugey, 18 January 1916, private collection.
152
Unpublished, Jean Renoir to Guino, n.l., 4 July 1917, private collection.
153
Reproduced in White, Renoir: His Life, Art, and Letters, p. 271.
154
Pastel of Cézanne for Chocquet in 1880, Dauberville, vol. 1, pl. 617. A cast of Renoir’s medallion of Cézanne was set up on a fountain in Cézanne’s birthplace, Aix-en-Provence.
155
Ibid., vol. 2, pl. 1253; Wagner medallion never completed.
156
Pastel of Monet commissioned by Vollard; White, Impressionists Side by Side, pl. 104.
157
Pastel of Rodin commissioned by Bernheim for his album; White, Renoir: His Life, Art, and Letters, p. 286.
158
Haesaerts, Renoir Sculptor, p. 41.
159
Ibid., pl. XXVIII, 35 × 28 cm (14 × 11 in.). See also see Ch. 6 nn. 77–81 above.
160
Ibid., pl. XXIX, 35 cm (14 in.).
161
Ibid., pl. XXXVIII, 123 × 135 × 55 cm (48 × 53 × 22 in.).
162
Aral, ‘Renoir-Guino, duo-duel’, p. 101.
163
Renoir to Vollard, Cagnes, 7 January 1918, in ibid.
164
Ibid.
165
Renoir to Morel, Cagnes, 3 September 1918, in Haesaerts, Renoir Sculptor, p. 33.
166
Haesaerts, Renoir Sculptor, pls XLIV, XLVI, Dancer with Tambourine I and II, both 58 × 41 cm (23 × 16 in.); pls XLV, XLVII, Flute Player and detail.
167
Ibid., p. 43.
168
Ibid., p. 33.
169
Dussaule, Renoir à Cagnes et aux Collettes, p. 88, bronze, h. 55 cm (22 in.); see also Renoir in the 20th Century, p. 80.
170
Gimpel, Journal d’un collectionneur, 15 August 1918, p. 65.
171
Ambroise Vollard, Paul Cézanne, deluxe edn (Paris, 1914); standard (Paris: Crès & Cie., 1919; expanded 1924).
172
Gimpel, Journal d’un collectionneur, 6 September 1918, p. 70. Vollard was Bernard’s dealer and in 1911 had published Lettres de Vincent van Gogh à Émile Bernard.
173
See Rabinow, Cézanne to Picasso, p. 288. The New York art magazine, The Soil, translated Vollard’s article as ‘How I came to know Renoir’ in 1916–17 over 5 issues.
174
Rabinow, Cézanne to Picasso, p. 149 n. 22; see also Vollard, La Vie et l’oeuvre de Pierre-Auguste Renoir.
175
Renoir to Vollard, Cagnes, 3 March 1918, in Vollard, La Vie et l’oeuvre, p. vii.
176
Ibid.
177
Georges Durand-Ruel to Renoir, Paris, 14 May 1919, in Correspondance de Renoir et Durand-Ruel, 1907–19, vol. 2, p. 237.
178
Vollard, La Vie et l’oeuvre, and album of 1,400 reproductions of paintings, pastels and drawings with 2 original etchings; see Johnson, Ambroise Vollard, p. 163.
179
Renoir to J.-É. Blanche, n.l., 10 October 1919, in Roberts, Jacques-Émile Blanche, p. 149 (Eng. trans.).
180
Later, Matisse acquired six other Renoir paintings, further colour lithographs, and etchings; Butler, ‘Matisse aux Collettes’, p. 111.
181
See ibid.; Benjamin, ‘Why did Matisse Love Late Renoir?’ in Renoir in the 20th Century, pp. 136–43.
182
Butler, ‘Matisseaux Collettes’, pp. 111–16.
183
Matisse to Amélie Matisse, Nice, 13 January 1918, in Butler, ‘Matisse aux Collettes’, p. 112.
184
Benjamin, ‘Why did Matisse Love Late Renoir?’, pp. 140–41.
185
Ibid., p. 138, photograph with Matisse, Renoir and Pierre Renoir, March 1918. See also photograph with Claude, Matisse, Pierre Renoir, Greta Prozor and Renoir, probably spring 1919, in Butler, ‘Matisse aux Collettes’, p. 112.
186
Matisse to Amélie Matisse, Nice, 9 May 1918, in Butler, ‘Matisse aux Collettes’, p. 113.
187
Paul Rosenberg to Picasso, n.l. [Paris], 29 July 1919, in Exposition Picasso collectionneur, Picasso und seine sammlung, p. 202.
188
Dauberville, vol. 3, pl. 2403; Renoir in the 20th Century, p. 213.
189
Picasso, Seated Bather drying her Foot, repro. in Renoir in the 20th Century, p. 211.
190
Ibid., pp. 211, 212.
191
Picasso, Renoir, 1919, graphite and charcoal on paper, 61 × 49.3 cm (24⅛ × 19¼ in.). For the 1912 photograph of Renoir in his studio (Paris, Musée National Picasso, Archives), see White, Renoir: His Life, Art, and Letters, p. 256; Madeline, ‘Picasso 1917 to 1924’, pp. 124–5.
192
Picasso, Village Dance, repro. in Madeline, ‘Picasso 1917 to 1924’, p. 132.
193
Ibid., pp. 122–35.
194
Jean Renoir, Renoir, pp. 456–7.
195
For Variant of The Bathers, 1903, 111.8 × 166.4 cm (44 × 65½ in.), and its preparatory study, brown, white and red chalk on brown paper, 104 × 162.6 cm (41 × 64 in.), see White, Renoir: His Life, Art, and Letters, p. 228.
196
Unpublished, Dédée to Vollard, n.l., 17 June 1920, in Paris, Bibliothèque des Musées Nationaux du Fonds Vollard, Ms. 421 on microfilm.
197
Unpublished telegram, Jean Renoir to André, Cagnes, 4 December 1919, in Paris, Institut Néerlandais, Fondation Custodia (Collection F. Lugt).
>
198
Unpublished, Pierre Renoir to Georges Durand-Ruel, Cagnes, 9 December 1919, in Paris, Archives Durand-Ruel.
199
Unpublished, Pierre Renoir to Paul Durand-Ruel, Cagnes, 23 December 1919, in ibid.
200
Unpublished, Jean Renoir to Georges Durand-Ruel, Cagnes, 20 December 1919, in ibid.
201
Félix Fénéon, letter to the editors, Bulletin de la vie artistique, 15 December 1919, n.p; see Renoir, Écrits, entretiens et lettres, p. 172.
202
Unpublished death certificate, Cagnes, 3 December 1919, Registre des Actes de l’État-civil, Acte de Décès, Mairie de Cagnes-sur-Mer, Alpes Maritimes, Arrondissement de Grasse, no. 65.
203
Funeral oration to Renoir by Abbé Baume, parish priest of Cagnes, recorded in La Vie (Paris), 1 January 1920, trans. in Wadley, Renoir: A Retrospective, pp. 276–7; repr. in Renoir, Écrits, entretiens et lettres, pp. 174–5. See also Pharisien and Chartrand, Victor Charigot, p. 123.
204
Unpublished, Pierre Renoir to Georges Durand-Ruel, see n. 198 above.
205
Pharisien and Chartrand, Victor Charigot, p. 130.
206
Ibid., pp. 125–7.
207
Ibid., p. 126 n. 17, from allotment certificate, Essoyes, Hôtel de Ville, signed by Pierre Renoir of 30 rue de Miromesnil, Paris, and by M. Roger, the mayor, pp. 124–6, repro. p. 127.
208
Ibid., p. 135 for repro. of Essoyes parish ms. stating that Renoir and Aline had been in Essoyes cemetery since June 1922.
209
Ibid., repro. pp. 113, 114.
210
Monet to Geffroy, Giverny, 8 December 1919, in Wildenstein, Monet: biographie, vol. 4, p. 403, letter no. 2328.
211
Monet to Fénéon, n.l. [Giverny], c. mid-December 1919, in ibid., letter no. 2329.
212
Monet to Joseph Durand-Ruel, Giverny, 17 January 1920, in Venturi, Archives de l’impressionnisme, vol. 1, p. 455.
213
Unpublished, Cassatt to Havemeyer, Paris, 4 December 1919, in New York, Metropolitan Museum, Archives, Box 1, Folder 17.
214
Unpublished, Pierre Renoir to Georges Durand-Ruel, see n. 198 above.
215
Unpublished, Pierre Renoir to Paul Durand-Ruel, Cagnes, 17 December 1919, in ibid.
216
Unpublished typescript, Renoir death inventory, drawn up by Louis Asselin, notary, Paris, 13 March 1920, 9 pp., private collection.
217
André and Elder, L’Atelier de Renoir. In 1922, the Galerie Barbazanges and Renoir’s sons signed a contract for the purchase of 300 of the works from Renoir’s studio; Renoir in the 20th Century, p. 381. Besides the works in Renoir’s possession, there were others that had been left with Durand-Ruel.
218
Unpublished will of Renoir, 14 October 1908, reissued 6 December 1919, Paris, private collection.
219
Unpublished, Pierre Renoir to Jeanne Tréhot Robinet, n.l., 17 December 1919, private collection.
220
Unpublished, E. Duhau (notary) to Jeanne Tréhot, Paris, 27 December 1919, private collection.
221
Unpublished, Pierre Renoir to Jeanne Tréhot, Essoyes, September 1919, private collection.
222
Personal communication from the heirs of Jeanne Tréhot’s foster family, 18 June 2003.
Afterword
1
Pharisien, Pierre Renoir, pp. 449–82.
2
Pierre Renoir to Louis Jouvet, 30 June 1934, in ibid., p. 83.
3
Ibid., pp. 135, 139, 163, 224.
4
For facts about the family see Serge Lemoine and Serge Toubiana, eds, Renoir/Renoir; Pharisien and Chartrand, Victor Charigot; Pharisien, Célébrités d’Essoyes; Pharisien, Quand Renoir vint paysanner en Champagne.
5
Pharisien and Chartrand, Victor Charigot, p. 106.
6
Albert Barnes bought 42 pieces of Jean’s pottery of 1919–22, now in the Barnes Foundation in Philadelphia; Lucy and House, Renoir in the Barnes Foundation, p. 65.
7
White, ‘Renoir et Jean, 1894–1919’, pp. 51–9.
8
Herbert, ‘Introduction’, p. xii.
9
A list of exhibitions in which Renoir’s work appeared from 1874 to 1970 can be found in Daulte, Auguste Renoir, vol. 1, pp. 69–74. In the 1930s, his works appeared in 34 shows (17 solo); in the 1940s, in 16 shows (8 one-man); in the 1950s, in 24 shows (17 solo); in the 1960s, in 22 shows (10 solo).
10
See The Sunday Oklahoman, 17 October 1982, p. 8: ‘In a press release, the Oklahoma Art Center director, Lowell Adams, is quoted as saying Pierre [sic] Renoir’s “The Luncheon of the Boating Party” was purchased by Phillips in 1923 for $185,000 and that the value of the painting has increased 100 times the original price. That would place the painting’s value at 12.5 million dollars…. A New York art dealer and prominent art expert, Richard Feigen…made the following estimates on the value of several of the paintings being exhibited here…Renoir’s “Luncheon of the Boating Party” – 12 million to 15 million dollars, and maybe even more – “A top piece of work”.’
11
François Duret-Robert, ‘Un Milliard pour un Renoir?’ in Pierre Cabanne et al., Renoir, p. 266.
12
Sold by the Whitney family to a Japanese industrialist named Ryoei Saito, who later resold the work for only $50 million.
13
See map in Daulte, Auguste Renoir, p. 95. Renoir’s home at Les Collettes in Cagnes-sur-Mer is open to the public.
14
White, ‘An Analysis of Renoir’s Development from 1877 to 1887’, pp. 154–5.
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