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What is emotional intelligence? Gallery Walk, stroll and chat

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What is emotional intelligence? Gallery Walk, stroll and chat

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1. Left brain or right brain thinking, is it true?

2. The story of your connection with art.

3. A painting that resonated with you? at a particular time in your life, does it still have the same impact? why/why not?

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SEL for teachers - My values - Elena Aguilar; Onward, Cultivating emotional resilience in educators

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SEL for teachers - My values - Elena Aguilar; Onward, Cultivating emotional resilience in educators

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Hi, I'm Nicolò.

I'm supporting teacher in a Middle School.

In my free time I like trekking because i feel good when I walk in a mountains.

I love music, like rock, pop, soul, and I'm a singer.

I see myself as a positive person. I like to laugh and joke when I'm in a good team.

I'm very excited to return in Dublin after 10 years. I hope to enjoy in this new experience.

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I have been a Supporting teacher for 6 years and everyday I have to teach students with special needs. So I need to empathize with others and understand their needs. I have to try managing my emotions and the emotions of others at school but I'd like to learn more.

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Everyday I try to understand the needs of my students. Is not simple and often the result isn't good but I think that only with constancy and love for this work, we can create something beautiful. So I talk about the importance of the collaboration and relashionship between students and teachers. I try to motivate them working on their passions and bringing out their talents. I often have a lot to learn from them too.

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My name is Laura and I'm actually from Dublin but I live in the UK now in Newcastle. I'm looking forward to coming home for the course and experiencing it in a different light!

I love to read, be active, be outdoors and be creative.

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I am actually not a teacher but an academic coach in a university. I work with students on the art courses and support them with all things academic. I have recently started a SEL coaching programme and am hoping to develop it even further in the new academic year.

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As I don't see the same students everyday this a hard one for me to answer. I do my best to be encouraging of their work and of themselves. In return I also try to be motivated and active in how I work with them. What I do is very collaborative and it is on the student to engage with my team.

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Hi, my name is Martina and I am from Eckernförde, in Northern Germany. I teach English and Geography at a secondary school. I love the outdoors and travelling and I am very curious to learn more about different countries. So I am really looking forward to meet interesting people from all over Europe.

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I have had multiple years of experience in teaching. But sometimes it is hard to meet everyone's needs because every student is so different, and some get lost in the crowd since the classes are often large. I'd like to learn more about how to be efficient with individual feedback in class.

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I would like to inspire my students to enjoy acquiring knowledge and to design tasks in a way that sparks curiosity, encourages creativity and presents a challenge.

Often group work or team building in class is not as effective as I would like it to be. So I would like to improve group and project work skills and effective feedback.

I would like to prevent bullying in class and improve the team spirit so that my class works together well. I try to do so by going on class trips and practise team building activities but I would appreciate learning some really helpful methodologies and strategies.

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Hi, I'm Mojca. I'm an English and German teacher. I teach at a secondary vocational school in Koper, Slovenia. I like travelling and visiting new places and people. In my free time I love reading, hiking and cycling.

I'm a positive, optimistic person who likes being among people.

I'm really happy to visit Dublin again and to meet new teachers from other countries.

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I taught younger students (10-15) at a primary school for 25 years. I've been teaching older students (15-18) for almost 2 years now. And there's always the same need in every group of students, to teach them about their emotions and accepting other people's emotions. As a teacher you have to work with feelings if you want to fully succeed. And it's becoming more and more difficult to manage all the students' feelings and needs in the last years. Actually, even among co-workers sometimes we meet people who should develop their emotional intelligence.

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In this world of individualists it's one of my main goals in the classroom to teach students cooperation and team work. I try to do it at every lesson. When some disputes in groups occur I always take time to talk about the problem.

Motivating students certainly comes first from yourself, how interested or enthusiastic are you as a teacher. If you love your job and do it correctly , this is a big step towards motivating students. But let's be realistic, there are always students who don't want to cooperate and do their tasks. That's why I enroled in this seminar.:)

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Course Schedule Classroom Management Solutions

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Schedule for classes Room 8

Monday 8:30am to 1.30pm

Tuesday 1:45pm to 6.45pm

Wednesday 8:30am to 1.30pm

Thursday 1:45pm to 6.45pm

Friday 9.45am to 1.30pm (Friday class in the National Gallery of Ireland)

Tuesday morning at 10.30am Dublin walking tour

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I am Valeria, I'm from Bologna, in Italy, but I work in Ostiglia, a little town near Mantova.

I teach Italian language, literature and history.

Last year was my first year of this job and some times I had difficulties with classroom management.

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"Teaching is the art of activating curiosity"

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"If you want to build a ship, don't drum up people to collect wood and don't assign them tasks and work, but rather teach them to long for the endless immensity of the sea." Antoine de Saint-Exupery

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Hi everyone! I'm Anna Maria Preti, I'm an Italian Secondary School teacher of English and I'm thrilled for being in Dublin to enjoy a new learning and social experience. Let's have some craic together!☘️

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I've  posted my personal presentation here because any time I step into class I keep on trying to motivate my students  without forgetting my role 😉

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I've  posted my personal presentation here because any time I step into class I keep on trying to motivate my students  without forgetting my role 😉

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Compass Points - Analysing a proposition

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Compass Points - Analysing a proposition

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Peer Instruction; The role of the teacher?

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Peer Instruction; The role of the teacher?

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Activity - Using AI, develop concep checks and concept cartoons for your students

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Activity - Using AI, develop concep checks and concept cartoons for your students

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Class contracts and 21st century lesson plans

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Prior Knowledge Activity - think of 5 benefits, compare with the posters in the room..

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My name is Rita Bruzsa, and I’m an English teacher and Erasmus+ coordinator at Kodály Zoltán Primary and Secondary School of Music in Budapest, Hungary. I have a background in both language education and music pedagogy.

As an Erasmus+ project leader, I manage teacher mobilities, student exchanges, and strategic collaborations with schools across Europe. I’m passionate about methodological innovation, digital tools, and inclusive education.

I’m looking forward to learning more about teaching practices and exchanging ideas with fellow educators from different countries!

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I use conflict resolution strategies and peer feedback to help students build self-awareness and social awareness. I work with talented students, whose main interest is music. So EI is a key factor in our community.

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To keep students motivated, I connect lessons to their interests, set clear goals, and celebrate effort. I also involve them in decisions and give regular feedback, which makes them feel valued and engaged.

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What is Emotional Intelligence? Knowledge Cafe

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What is Emotional Intelligence? Knowledge Cafe

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Leslee Udwin - Think Equal - Who should teach values to children? Watch the video, answer the question, Why is it difficult for parents to teach values in the 21st century? Let's discuss using Fishbowl...

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Leslee Udwin - Think Equal - Who should teach values to children? Watch the video, answer the question, Why is it difficult for parents to teach values in the 21st century? Let's discuss using Fishbowl...

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Schools, not just parents, should teach values – Leslee Udwin

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How can I teach SEL? Daily conversation prompts..

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How can I teach SEL? Daily conversation prompts..

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Character Strengths - Identify your character strengths through personal stories.

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Character Strengths - Identify your character strengths through personal stories.

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Character Strengths - Identify your character strengths through VIA Character

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Character Strengths - Identify your character strengths through VIA Character

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The study of strengths started in the early 2000s, when scientists gathered to study character more scientifically. A total of 55 distinguished scientists joined the study over several years.

The result was the VIA Classification of Character Strengths and Virtues (Peterson & Seligman, 2004), a classification of positive traits in human beings. Since then, hundreds of peer-reviewed articles have been published across many cultures.

Once the VIA Classification was complete, a ground-breaking personal strengths test, the VIA Survey, was designed specifically to measure these 24 character strengths in individuals. Since then, over 25 million surveys have been taken around the world and VIA continues to fuel the advancements of character strengths science through research, personalized reports, books and more.

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Character strengths are the positive parts of your personality that impact how you think, feel and behave. Scientists have identified 24 personal character strengths, such as bravery, creativity, honesty, and social intelligence. How can understanding character strengths change your life? Take our free survey and find out.

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SEL for teachers; Self-Awareness and Social Awareness

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SEL for teachers; Self-Awareness and Social Awareness

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SEL for teachers - Neuroscience and Mindfulness

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SEL for teachers - Neuroscience and Mindfulness

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What neuroscience says about meditation and mindfulness

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SEL for teachers - Mindfulness Based Stree reduction MBSR

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SEL for teachers - Mindfulness Based Stree reduction MBSR

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Key aspects of MBSR:

Focus on present moment awareness:

MBSR emphasizes paying attention to the present moment without judgment.

Mindfulness practices:

The program includes various mindfulness practices such as mindful breathing, body scan meditation, and mindful movement.

Evidence-based program:

MBSR is a well-researched program with evidence of its effectiveness in reducing stress, anxiety, and improving overall well-being.

8-week course:

Typically, MBSR is delivered as an 8-week course with weekly sessions and a full-day retreat.

Suitable for various conditions:

MBSR is beneficial for people experiencing psychological distress, chronic illness, and those seeking preventative wellness.

Active participation:

MBSR emphasizes that individuals are active participants in their own well-being.

Home practice:

A key component of MBSR is daily home practice, which includes guided meditations and exercises.

In Clontarf East, Dublin, Aware offers an MBSR program starting in September 2025, according to the Aware website. The Mindfulness Centre also offers MBSR and related mindfulness-based courses.

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SEL for teachers - challenging negative self talk

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SEL for teachers - challenging negative self talk

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SEL for students; The benfits of role-playing games

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SEL for students; The benfits of role-playing games

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The Surprising Benefits of Role Playing Games

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Link to BBC video - https://www.youtube.com/watch?v=vyZMSZG2Dmk&t=43s&pp=ygUeYmJjIHZpZGVvIHRoZSBwb3dlciBvZiBzdG9yaWVz

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SEL for students; The Power of stories, takeaways from the BBC video

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SEL for students; The Power of stories, takeaways from the BBC video

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SEL for students; Books plays and films and SEL

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SEL for students; Books plays and films and SEL

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SEL for Students - The power of stories!

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SEL for Students - The power of stories!

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Resources 1 - CASEL - Guiding and informing teachers - The supporting evidence for SEL

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Resources 1 - CASEL - Guiding and informing teachers - The supporting evidence for SEL

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Resources 2 - CASEL - Conversation prompts to promote student' emotional intelligence

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Resources 2 - CASEL - Conversation prompts to promote student' emotional intelligence

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Resources 3 - CASEL - Important practices for the classroom - A. Welcoming/Inclusion Activities B. 10- Engaging Strategies, Brain Breaks, and Transitions C. 19- Optimistic Closures 

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Resources 3 - CASEL - Important practices for the classroom - A. Welcoming/Inclusion Activities B. 10- Engaging Strategies, Brain Breaks, and Transitions C. 19- Optimistic Closures 

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Resources 4  - Casel - Implementing SEL in schools - reflection tool to start the process

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Resources 4  - Casel - Implementing SEL in schools - reflection tool to start the process

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Resources 1 - ThinkEqual - Amazing Daisy lesson plan

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Resources 1 - ThinkEqual - Amazing Daisy lesson plan

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Resources 1 - ThinkEqual - Amazing Daisy Book

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Resources 1 - ThinkEqual - Amazing Daisy Book

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Emotional Resilience for Educators - Elena Aguilar - Monitoring your emotional cycles

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Emotional Resilience for Educators - Elena Aguilar - Monitoring your emotional cycles

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Resources - Ireland and SEL - Sample pages from Social, Personal and Health Education SPHE guidebook

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Resources - Ireland and SEL - Sample pages from Social, Personal and Health Education SPHE guidebook

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Resources - Ireland and SEL - Social Personal and Health Education SPHE - short course for secondary students - 12 to 15 years

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Resources - Ireland and SEL - Social Personal and Health Education SPHE - short course for secondary students - 12 to 15 years

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1. Fold the paper so that only the heads and shoulders are visible.

2. Imagine the story... who are the characters? what are they feeling?

3. Reveal the drawing to the waist, how does your understanding change?

4. Reveal the whole picture, imagine the colours, discuss with a partner, colour some of the items.

5. Check the picture on-line (only open to the public on Thursday mornings)

6. Draw speech bubbles, what might the characters be saying as they briefly pass each other on the stairs?

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National Gallery - Principles of art - drawing activity and Feedback

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National Gallery - Principles of art - drawing activity and Feedback

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Drawing in R mode (Suppress the left side)

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 “Drawing on the Right Side of the Brain” by Betty Edwards - ‘in’ R-mode, you have a feeling of timelessness and immersion in the moment.     L-mode is verbal, analytic, sequential, linear, objective and time-bound. It is about intellect, logic and computation. R-mode involves intuition and leaps of insight. It is subjective, relational and holistic.

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 “Drawing on the Right Side of the Brain” by Betty Edwards - ‘in’ R-mode, you have a feeling of timelessness and immersion in the moment.     L-mode is verbal, analytic, sequential, linear, objective and time-bound. It is about intellect, logic and computation. R-mode involves intuition and leaps of insight. It is subjective, relational and holistic.

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You have to learn to “see” and that “seeing” is carried out by the right side of the brain. Those who try to draw from the left brain are drawing “symbolically”. They translate what they see through the left side of the brain which is where language processing occurs. Thus, rather than draw the vase in front of them, they think to themselves that is a vase and draw from the idea in their mind.

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Critical Thinking and Creativity - The Marriage of Strongbow and Aoife (Small groups)

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Critical Thinking and Creativity - The Marriage of Strongbow and Aoife (Small groups)

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1. Warm-Up: First Reactions (5 mins)

- What are three things you notice?

- What is one question you have?

- What do you think the artist wants us to feel?

2. Vocabulary Builder: Words of Power and Emotion (10 mins)

Individually or in pairs, students find or review words that describe:

- People: king, bride, knight, soldier, priest

- Emotions: proud, defeated, hopeful, nervous

- Symbols of power: sword, crown, height, colour red

3. Critical Thinking Activity:

The story of the painting; Painted by Daniel McLeish in 1854 to celebrate the idea of Irish Nationalism and identity.

- Who is the hero in this painting? How do you know?

- Who are the 3 main protagonists? What are they feeling?, imagine a short backstory for each..

- If this painting was in a newspaper, what would the headline be?

- magine the personalities of the three protagonists, what does the future hold for the 3 main protagonists?

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Make your painting speak! Find a portrait that you like, think about who the person is, their status (I am...rich, poor, wealthy, married/single)their lifestyle ( I go hunting, I go to dances and the opera, I work in the field), their problems (I hate... I don't like), what makes them happy?(I enjoy meeting my friends, spending time with my family), what they want in the future ( I would like to... get married, stop working, relax!)

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Make your painting speak! Find a portrait that you like, think about who the person is, their status (I am...rich, poor, wealthy, married/single)their lifestyle ( I go hunting, I go to dances and the opera, I work in the field), their problems (I hate... I don't like), what makes them happy?(I enjoy meeting my friends, spending time with my family), what they want in the future ( I would like to... get married, stop working, relax!)

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Simply take any photo, draw a line to make a mouth, and record your voice. Then share your Pix with friends and family as silly greetings, playful messages, creative cards, or even fancy book reports. And best of all, it's FREE! AGES: 6-12.

"ChatterPix Kids" does not collect any personal information or include sharing features.

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Simply take any photo, draw a line to make a mouth, and record your voice. Then share your Pix with friends and family as silly greetings, playful messages, creative cards, or even fancy book reports. And best of all, it's FREE! AGES: 6-12. "ChatterPix Kids" does not collect any personal information or include sharing features.

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5 Steps for appreciating Art - Understanding Irish culture and history through a painting 1. Sean Keating, An Allegory 1924 or 2. Jack Yeats, The Liffey Swim, 3. Aloysius O'Kelly, Mass in a Connemara Cabin, 1883.

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5 Steps for appreciating Art - Understanding Irish culture and history through a painting 1. Sean Keating, An Allegory 1924 or 2. Jack Yeats, The Liffey Swim, 3. Aloysius O'Kelly, Mass in a Connemara Cabin, 1883.

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Work in groups of 3

Choose one painting

Follow the 5 steps

Take a photo - think of an emotion and a colour that you connect with the painting

Show the photo to the group -ask your colleagues to guess your colour and emotion

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Put yourself in the picture - Artselfie2

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Put yourself in the picture - Artselfie2

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Neuroplasticity - A concept for all students to be aware of!

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Neuroplasticity - A concept for all students to be aware of!

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SEL and Carravaggio's, The Taking of Christ

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SEL and Carravaggio's, The Taking of Christ

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1. Silent Observation & Emotional Self-Awareness (5 mins)

- Observe the painting silently.
- Write down one emotion you feel personally.
- Pair-share: 'What emotion came up for you? Why?'

2. Identifying Emotions in the Painting (5 mins)

- Use the feelings wheel to identify more specific emotions
- Optional: 'Which character do you empathise with most?'

3. Collaborative Freeze Frame / Tableau (7 mins)

- Groups of 5–6 recreate a frozen tableau from the painting.
- Focus on portraying character emotion.
- Take a photo, upload to whatsapp

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The power of stories - How did a masterpiece by Caravaggio end up in a Dublin dining room?

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The power of stories - How did a masterpiece by Caravaggio end up in a Dublin dining room?

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How did a masterpiece by Caravaggio end up in a Dublin dining room?

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Recreate the teacher's "The Last Supper" Leanardo would be delighted..

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Recreate the teacher's "The Last Supper" Leanardo would be delighted..

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1. Who are the characters in the painting.

2. Recreate an allegory of the painting, who are the characters from education or the world of knowledge that you want represented.

3. Which character do you want to be? what can you do to adapt your appearance to make the photo authentic?

4. Designate 1 or 2 photographers.

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Honest, truthful, the loneliness of modern life

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Woman at the Piano | The Art Institute of Chicago https://share.google/jjeJ3fW0PApQ3ZvB9

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Impressive tremendous and funny

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Enchanted, hopeful, inspiring

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Hartmut Kiewert: Sand

Life like we used to lead it has come to an end, animals and people live happily side by side

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It represents calmness, love of arts.

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Show this image

Related Article

Woman at the Piano

Date:

1875/76

Artist:

Pierre-Auguste Renoir
French, 1841-1919

Related Article

About this artwork

On View

European Painting and Sculpture, Gallery 201

Artist

Pierre-Auguste Renoir

Title

Woman at the Piano

Origin

France

Date

1875-1876

Medium

Oil on canvas

Inscriptions

Inscribed at lower left: Renoir

Dimensions

93 × 74 cm (36 9/16 × 29 1/8 in.)

Credit Line

Mr. and Mrs. Martin A. Ryerson Collection

Reference Number

1937.1025

Extended information about this artwork

Catalogue de la 2e exposition de peinture, exh. cat. (Alcan-Lévy, 1876), p. 21, cat. 219.

Possibly Dowdeswell and Dowdeswell/Société des Impressionnistes, Catalogue of Paintings, Drawings and Pastels by Members of "La société des impressionnistes," exh. cat. (Dowdeswell and Dowdeswell, 1883), p. 9, cat. 13.

Possibly unsigned review of Paintings, Drawings and Pastels by Members of "La société des impressionnistes," Standard, Apr. 25, 1883, p. 2.

"Good Prices Realized. Close of the Durand-Ruel Sale of Paintings," New York Times, May 7, 1887, p. 5.

Durand-Ruel, New York, Exhibition of Paintings by Claude Monet and Pierre Auguste Renoir, exh. cat. (Durand-Ruel, 1900), no. 39.

"Art Notes and News," New York Times, Apr. 8, 1900, p. 9.

Durand-Ruel, New York, Exhibition of Paintings by Pierre Auguste Renoir, exh. cat. (Durand-Ruel, 1908), no. 5.

Possibly Durand-Ruel, New York, Exhibition of Paintings by Renoir, exh. cat. (Durand-Ruel, 1912), cat. 19.

"Renoir at Durand-Ruel's," American Art News 10, 19 (Feb. 17, 1912), pp. 2, 9 (ill.).

Renaissance Society of the University of Chicago, Some Modern Primitives: International Exhibition of Paintings and Prints, Summer 1931, exh. cat. (Renaissance Society of the University of Chicago, 1931), cat. 73.

Renaissance Society of the University of Chicago, Renaissance Society of the University of Chicago Bulletin (Spring and Summer 1931), p. 33 (ill.).

Renaissance Society of the University of Chicago, Commemorative Exhibition from the Martin A. Ryerson Collection, exh. cat. (Renaissance Society of the University of Chicago, 1932), cat. 18.

Art Institute of Chicago, Catalogue of "A Century of Progress": Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1933), p. 48, cat. 337; pl. 56/cat. 337.

Art Institute of Chicago, "The Century of Progress Exhibition of the Fine Arts," Bulletin of the Art Institute of Chicago 27, 4 (Apr.-May 1933), p. 67.

Art Institute of Chicago, "The Rearrangement of the Paintings Galleries," Bulletin of the Art Institute of Chicago 27, 7 (Dec. 1933), p. 115.

Pennsylvania Museum of Art, "Manet and Renoir," Pennsylvania Museum Bulletin 29, 158 (Dec. 1933), p. 19.

Art Institute of Chicago, Catalogue of "A Century of Progress": Exhibition of Paintings and Sculpture, 1934, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1934), p. 38, cat. 226.

Toledo (Ohio) Museum of Art, French Impressionists and Post-Impressionists, exh. cat. (Toledo Museum of Art, 1934), cat. 16.

Albert C. Barnes and Violette de Mazia, The Art of Renoir (Minton, Balch, 1935), pp. 261, no. 97 (ill.); 401, no. 97; 451.

Henry McBride, "The Renoirs of America: An Appreciation of the Metropolitan Museum's Exhibition," Art News 35, 31 (May 1, 1937), p. 158.

Toledo (Ohio) Museum of Art, Paintings by French Impressionists and Post-Impressionists, exh. cat. (Toledo Museum of Art, 1937), cat. 24 (ill.).

Metropolitan Museum of Art, Renoir: A Special Exhibition of His Paintings, exh. cat. (Metropolitan Museum of Art/Bradford, 1937), no. 27 (ill.).

Josephine L. Allen, "Paintings by Renoir," Bulletin of the Metropolitan Museum of Art 32, 5 (May 1937), p. 112.

Art Institute of Chicago, "Annual Report of the Director," Bulletin of the Art Institute of Chicago Report for the Year Nineteen Hundred Thirty-Seven 32, 3, pt. 3 (Mar. 1938), p. 46.

Art Institute of Chicago, "Exhibition of the Ryerson Gift," Bulletin of the Art Institute of Chicago 32, 1 (Jan. 1938), front cover (ill.), p. 4.

Josephine L. Allen, "The Entire Ryerson Collection Goes to the Chicago Art Institute," Art News 36, 21 (Feb. 19, 1938), pp. 10 (ill.), 11.

Lionello Venturi, Les archives de l'impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley, et autres; Mémoires de Paul Durand-Ruel; Documents, vol. 2 (Durand-Ruel, 1939), p. 258.

Alfred M. Frankfurter, "Master Paintings and Drawings of Six Centuries at the Golden Gate," Art News 38, 38 (July 13, 1940), pp. 11 (ill.), 14.

Julia G. Andrews, "Rare Paintings Displayed," San Diego Union, Oct. 13, 1940, p. 7C.

Golden Gate International Exposition, Art, Official Catalog, exh. cat. (Recorder/H. S. Crocker/Schwabacher-Frey, 1940), pp. 20, cat. 292; 66, cat. 292 (ill.).

Reginald Howard Wilenski, Modern French Painters (Reynal & Hitchcook, [1940]), p. 337.

Duveen Galleries, Renoir: Centennial Loan Exhibition, 1841-1941; For the Benefit of the Free French Relief Committee (Vilmorin/Bradford, 1941), pp. 36, cat. 14 (ill.); 123-124, cat. 14.

Art Institute of Chicago, "The United States Now an Art Publishing Center," Bulletin of the Art Institute of Chicago 36, 2 (Feb. 1942), p. 30.

"Chicago Perfects Its Renoir Group," Art News 44, 16, pt. 1 (Dec. 1-14, 1945), p. 18.

Bruno F. Schneider, Renoir (Safari, [1957]), pp. 24, 26 (ill.). Translated into English by Desmond and Camille Clayton as Renoir (Crown, 1978), pp. 26 (ill.), 34.

Art Institute of Chicago, Masterpieces in the Art Institute of Chicago (Art Institute of Chicago, 1952), (ill.).

Charles Fabens Kelley, "Chicago: Record Years," Art News 51, 4 (June-Aug. 1952), p. 107.

Dorothy Bridaham, Renoir in the Art Institute of Chicago (Conzett & Huber, 1954), pl. 1.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), pp. 277 (ill.), 394.

Frederick A. Sweet, "Great Chicago Collectors," Apollo 84, 55 (Sept. 1966), pp. 200, fig. 28; 202.

Charles C. Cunningham, Instituto de arte de Chicago, El mundo de los museos 2 (Editorial Codex, 1967), pp. 11, ill. 32; 58, ill. 2.

André Parinaud and Charles C. Cunningham, Art Institute of Chicago, Grands musées 2 (Hachette-Filipacchi, 1969), pp. 36, fig. 2; 69, no. 32.

Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 50, pl. 36; 159.

John Maxon, The Art Institute of Chicago (Abrams, 1970), p. 84 (ill.).

François Daulte, Auguste Renoir: Catalogue raisonné de l'oeuvre peint, vol. 1, Figures, 1860-1890 (Durand-Ruel, 1971), pp. 170-71, cat. 187 (ill.).

Elda Fezzi, L'opera completa di Renoir: Nel periodo impressionista, 1869-1883, Classici dell'arte 59 (Rizzoli, 1972), p. 99, cat. 232 (ill.).

Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pp. 26; 68-69, cat. 20 (ill.); 74; 138; 210; 211; 214.

Wildenstein, Renoir: The Gentle Rebel; A Loan Exhibition for the Benefit of the Association for Mentally Ill Children, with a foreword by François Daulte, exh. cat. (Wildenstein, 1974), cat. 10 (ill.).

Art Institute of Chicago, 100 Masterpieces (Art Institute of Chicago, 1978), pp. 22; 98-99, pl. 55.

Patricia Erens, Masterpieces: Famous Chicagoans and Their Paintings (Chicago Review, 1979), p. 36.

J. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Crown, 1979), pp. 68-69 (ill.).

Isetan Museum of Art and Kyoto Municipal Museum, Exposition Renoir, exh. cat. (Isetan Museum of Art/Kyoto Municipal Museum/Yomiuri Shimbun Sha, 1979), cat. 16 (ill.).

Charles F. Stuckey, with the assistance of Naomi E. Maurer, Toulouse-Lautrec: Paintings, exh. cat. (Art Institute of Chicago, [1979]), p. 158, fig. 2 (ill.).

Diane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. 259 (ill.), 438.

Diane Kelder, The Great Book of French Impressionism, Tiny Folios (Abbeville, 1980), p. 156, pl. 16.

Musée Toulouse-Lautrec and Art Institute of Chicago, Trésors impressionnistes du Musée de Chicago, exh. cat. (Musée Toulouse-Lautrec, 1980), pp. 38, no. 19 (ill.); 68.

Possibly Kate Flint, ed., Impressionists in England: The Critical Reception (Routledge & Kegan Paul, 1984), pp. 58, 361.

Anne Distel, "Renoir's Collector: The Pâtissier, the Priest and the Prince," in Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Arts Council of Great Britain, 1985), p. 27, n. 22.

Anne Distel, "Les amateurs de Renoir: Le prince, le prêtre et le pâtissier," in Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Réunion des Musées Nationaux, 1985), p. 32, n. 22.

Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Arts Council of Great Britain, 1985), pp. 80, cat. 35 (ill.); 208, cat. 35 (ill.); 256.

Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Réunion des Musées Nationaux, 1985), pp. 136-137, cat. 34 (ill.).

Denys Sutton, "Renoir's Kingdom," Apollo 121, 278 (Apr. 1985), pp. 244; 245, pl. 10.

Charles S. Moffett, ed., with the assistance of Ruth Berson, Barbara Lee Williams, and Fronia E. Wissman, The New Painting: Impressionism, 1874-1886, exh. cat. (Fine Arts Museums of San Francisco, 1986), pp. 164.

Phillippe Ariès and Georges Duby, eds., Histoire de la vie privée: De la Révolution à la Grande Guerre, vol. 4 (Éd. du Seuil, 1987), p. 487 (ill.). Translated by Arthur Goldhammer as A History of Private Life: From the Fires of Revolution to the Great War, vol. 4 (Belknap Press/Harvard University Press, 1990), p. 532 (ill.).

Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 31, 33 (ill.), 119.

Horst Keller, Auguste Renoir (Bruckmann, 1987), pp. 56, fig. 41; 165.

Ministry of Culture; State Hermitage Museum; Pushkin State Museum of Fine Arts; Metropolitan Museum of Art, New York; and Art Institute of Chicago, Ot Delakrua do Matissa: Shedevry frantsuzskoi zhivopisi XIX-nachala XX veka, iz Muzeia Metropoliten v N'iu-Iorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Masterpieces of French painting of the nineteenth to the beginning of the twentieth century from the Metropolitan Museum of Art, New York, and the Art Institute of Chicago], trans. from English by Iu. A. Kleiner and A. A. Zhukov, exh. cat. (Avrora, 1988), cat. 20.

Robert Trachtenberg, "Great Art Where You Least Expect It: The Pioneers of Hollywood Art Colleting," Spy (Sept. 1988), pp. 97-98.

Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood and Katharine C. Lee (Art Institute of Chicago/New York Graphic Society Books/Little, Brown, 1988), pp. 9, 56 (ill.).

Birger Carlström, Hide-and-Seek: Text and Picture in the Pictures; Impressionists from Turner from [sic] Gainsborough (Carlström, 1989), pp. 42; 164, pl. 36; 165, pl. 36.

Raffaele De Grada, Renoir (Giorgio Mondadori, 1989), p. 48, pl. 27.

Sophie Monneret, Renoir, Profils de l'art (Chêne, 1989), pp. 64-65, fig. 3.

Violette de Mazia, "Form and Matter: The Form of Renoir's Color," Vistas (V.O.L.N./Barnes Foundation) 5, 2 (1991), pp. 15; pl. 38.

M. Therese Southgate, "The Cover," JAMA: The Journal of the American Medical Association 270, 18 (Nov. 10, 1993), front cover (ill.), p. 2145.

Art Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago, with an introduction by James N. Wood (Art Institute of Chicago/Abbeville, 1993), p. 56 (ill.).

Art Institute of Chicago and Niigata Prefectural Museum of Modern Art, Shikago bijutsukan ten: Kindai kaiga no 100-nen [Masterworks of modern art from the Art Institute of Chicago], exh. cat. (Asahi Shinbunsha, 1994), pp. 50-51, cat. 6 (ill.).

Anne Distel, Douglas Druick, Gloria Groom, and Rodolphe Rapetti, Gustave Caillebotte: Urban Impressionist, exh. cat. (Réunion des Musées Nationaux/Musée d'Orsay/Art Institute of Chicago/Abbeville, 1995), p. 193, fig. 1. Translated into French by Jeanne Bouniort as Gustave Caillebotte: 1848-1894, exh. cat. (Réunion des Musées Nationaux, 1994), p. 231, fig. 1.

Gerhard Gruitrooy, Renoir: A Master of Impressionism (Todtri, 1994), p. 29 (ill.).

Ruth Berson, ed., The New Painting: Impressionism, 1874-1886; Documentation, vol. 2, Exhibited Works (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 44, 63 (ill.).

Michael Shapiro, ed., Rings: Five Passions in World Art, exh. cat. (High Museum of Art/Abrams, 1996), pp. 298-99 (ill.).

Karin Sagner-Düchting, Renoir: Paris and the Belle Époque, trans. Fiona Elliott (Prestel, 1996), p. 72 (ill.).

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), pp. 6; 15 (detail); 28; 30; 46; 84, pl. 3; 109.

Charlotte Nalle Eyerman, "The Composition of Femininity: The Significance of the 'Woman at the Piano' Motif in Nineteenth-Century French Culture from Daumier to Renoir" (Ph.D. diss., University of California, Berkeley, 1997), pp. 143; 245, fig. 58.

James Elkins, Why Are Our Pictures Puzzles? On the Modern Origins of Pictorial Complexity (Routledge, 1999), opp. p. 1, pl. 1; pp. xviii; 1; 4; 5, pl. 3; 8-9; 49; 78; 228.

Renaud Temperini, "Estetiche della modernità," in La pittura Francese, vol. 3, ed. Pierre Rosenberg, trans. Cosima Campagnolo, Valentina Palombi, and Stefano Salpietro (Electra, 1999), pp. 816, fig. 832; 818.

Art Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 2000), pp. 9, 52 (ill.).

Patrick Shaw Cable, "Questions of Work, Class, Gender, and Style in the Art and Life of Gustave Caillebotte" (Ph.D. diss., Case Western Reserve University, 2000), pp. 47; 258, fig. 15.

Bridgestone Museum of Art and Nagoya City Art Museum, Renoir: From Outsider to Old Master, 1870-1892, exh. cat. (Bridgestone Museum of Art/Nagoya City Art Museum/Chunichi Shimbun, 2001), p. 84, fig. 40.

Gilles Néret, Renoir: Painter of Happiness, 1841-1919, trans. Josephine Bacon (Taschen, 2001), pp. 84-85 (ill); 110.

Michael Marrinan, "Caillebotte as Professional Painter: From Studio to the Public Eye," in Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris, ed. Norma Broude (Rutgers University Press, 2002), pp. 50; 51, fig. 21.

Sylvie Patin, L'impressionisme (Bibliothèque des Arts, 2002), pp. 119; 120-21, fig. 88.

John House, Impressionism: Paint and Politics (Yale University Press, 2004), pp. 56, 57, pl. 44.

Aviva Burnstock, Klaas Jan van den Berg, and John House, "Painting Techniques of Pierre-Auguste Renoir: 1868-1919," Art Matters: Netherlandish Technical Studies in Art 3 (2005), pp. 51, 52, 54.

Ann Dumas, "Renoir and the Feminine Ideal: An Introduction to Renoir's Women," in Ann Dumas and John Collins, Renoir's Women, exh. cat. (Columbus Museum of Art/Merrell, 2005), pp. 26; 29, fig. 18.

Richard R. Brettell, "Gauguin's Paintings in the Impressionist Exhibition of 1882," in Richard R. Brettell and Anne-Brigitte Fonsmark, Gauguin and Impressionism, exh. cat. (Kimbell Art Museum/Ordrupgaard, 2005), pp. 158; 159, fig. 123.

Kyoko Kagawa, Runowaru [Pierre-Auguste Renoir], Seiyo kaiga no kyosho [Great masters of Western art] 4 (Shogakukan, 2006), p. 25 (ill.).

Guy-Patrice Dauberville and Michel Dauberville, with the collaboration of Camille Frémontier-Murphy, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 1, 1858-1881 (Bernheim-Jeune, 2007), p. 403, cat. 372 (ill.).

Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. 16 (ill.); 66-67, cat. 24 (ill.); 69. Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2008), pp. 16 (ill.); 66-67, cat. 24 (ill.); 69.

Gloria Groom, "The Social Network of Fashion," in Impressionism, Fashion, and Modernity, ed. Gloria Groom, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art/Musée d'Orsay/Yale University Press, 2012), p. 35.

Gloria Groom, "Les réseaux mondains de la mode," in L'impressionnisme et la mode, ed. Gloria Groom, exh. cat. (Musée d'Orsay/Skira Flammarion, 2012), p. 77.

Gloria Groom, ed., Impressionism, Fashion, and Modernity, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art/Musée d'Orsay/Yale University Press, 2012), p. 289, cat. 55 (ill.).

Gloria Groom, ed., L'Impressionnisme et la mode, exh. cat. (Musée d'Orsay/Skira Flammarion, 2012), p. 301, cat. 100.

Justine de Young, "Fashion and Intimate Portraits," in Impressionism, Fashion, and Modernity, ed. Gloria Groom, exh. cat. (Art Institute of Chicago/Metropolitan Museum of Art/Musée d'Orsay/Yale University Press, 2012), pp. 120; 121, cat. 55 (ill.).

Justine de Young, "La mode en portraits intimes," in L'impressionnisme et la mode, ed. Gloria Groom, exh. cat. (Musée d'Orsay/Skira Flammarion, 2012), pp. 150; 158, cat. 100 (ill.).

Janet Whitmore, "Whitmore Reviews: Impressionism, Fashion and Modernity," Nineteenth-Century Art Worldwide 13, 1 (Spring 2014), p. 20, fig. 8.

"Cat. 3: Woman at the Piano, 1875/76," in Renoir Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014).

Guillermo Solano, ed., Renoir: Intimacy, exh. cat. (Museo Thyssen-Bornemisza, 2016), pp. 70, 98-99, cat. 15 (ill).

Paris, 11, rue Le Peletier, 2e exposition de peinture [second Impressionist exhibition], Apr. 1876, cat. 219, as Femme au Piano. Appartient à M. Poupin.

Possibly London, Dowdeswell and Dowdeswell, Paintings, Drawings and Pastels by Members of "La société des impressionnistes," Apr.-July 1883, cat. 13, as Femme au piano.

New York, Durand-Ruel, Exhibition of Paintings by Claude Monet and Pierre Auguste Renoir, Apr. 1900, cat. 39, as Jeune Femme au Piano.

New York, Durand-Ruel, Exhibition of Paintings by Pierre Auguste Renoir, Nov. 14-Dec. 5, 1908, cat. 5, as Jeune femme au piano, 1878.

New York, Durand-Ruel, 1911.

Possibly New York, Durand-Ruel, Exhibition of Paintings by Renoir, Feb. 14-Mar. 16, 1912, cat. 19, as Fillette en robe bleue.

Renaissance Society of the University of Chicago, Some Modern Primitives: International Exhibition of Paintings and Prints, Summer 1931, July 2-Aug. 16, 1931, cat. 73.

Renaissance Society of the University of Chicago, Commemorative Exhibition from the Martin A. Ryerson Collection, Oct. 9-30, 1932, cat. 18.

Art Institute of Chicago, "A Century of Progress": Loan Exhibition of Paintings and Sculpture, May 23-Nov. 1, 1933, cat. 337 (ill.).

Philadelphia, Pennsylvania Museum of Art, Manet and Renoir, Nov. 29, 1933-Jan. 1, 1934, no cat. no.

Art Institute of Chicago, "A Century of Progress": Loan Exhibition of Paintings and Sculpture for 1934, June 1-Oct. 31, 1934, cat. 226.

Toledo (Ohio) Museum of Art, French Impressionists and Post-Impressionists, Nov. 1934, cat. 16.

New York, Metropolitan Museum of Art, Renoir: A Special Exhibition of His Paintings, May 18-Sept. 12, 1937, cat. 27 (ill.).

Toledo (Ohio) Museum of Art, Paintings by French Impressionists and Post-Impressionists, Nov. 7-Dec. 12, 1937, cat. 24 (ill.).

Art Institute of Chicago, Special Exhibition of the Ryerson Bequest: Paintings, Oriental and Decorative Arts, Jan. 26-31, 1938, no cat.

San Francisco, Palace of Fine Arts, Golden Gate International Exposition, May 25-Sept. 29, 1940, cat. 292 (ill.).

San Diego, Fine Arts Gallery, Special Loans of Old Masters and Contemporary Paintings from the San Francisco Exposition and Los Angeles County Fair, Oct. 12-Nov. 2, 1940, no cat.

New York, Duveen Galleries, Renoir: Centennial Loan Exhibition, 1841-1941; For the Benefit of the Free French Relief Committee, Nov. 8-Dec. 6, 1941, cat. 14 (ill.).

Art Institute of Chicago, Paintings by Renoir, Feb. 3-Apr. 1, 1973, cat. 20 (ill.).

New York, Wildenstein, Renoir: The Gentle Rebel; A Loan Exhibition for the Benefit of the Association for Mentally Ill Children, Oct. 24-Nov. 30, 1974, cat. 10 (ill.).

Art Institute of Chicago, Art at the Time of the Centennial, June 19-Aug. 8, 1976, no cat.

Tokyo, Isetan Museum of Art, Exposition Renoir, Sept. 26-Nov. 6, 1979, cat. 16 (ill.); Kyoto Municipal Museum, Nov. 10-Dec. 9, 1979.

Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27-Aug. 31, 1980, cat. 19 (ill.).

London, Hayward Gallery, Renoir, Jan. 30-Apr. 21, 1985, cat. 35 (ill.); Paris, Galeries Nationales du Grand Palais, May 14-Sept. 2, 1985, cat. 34 (ill.); Boston, Museum of Fine Arts, Oct. 9, 1985-Jan. 5, 1986.

Leningrad (now Saint Petersburg), State Hermitage Museum, Ot Delakrua do Matissa: Shedevry frantsuzskoĭ zhivopisi XIX-nachala XX veka, iz Muzeia Metropoliten v N'iu-Iorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great masterpieces of French painting of the nineteenth to the beginning of the twentieth century from the Metropolitan Museum of Art, New York, and the Art Institute of Chicago], Mar. 15-May 16, 1988, cat. 20 (ill.); Moscow, Pushkin Museum of Fine Arts, May 30-July 30, 1988.

Nagaoka, Niigata Prefectural Museum of Modern Art, Shikago bijutsukan ten: Kindai kaiga no 100-nen [Masterworks of modern art from the Art Institute of Chicago], Apr. 20-May 29, 1994, cat. 6 (ill.); Nagoya, Aichi Prefectural Museum of Art, June 10-July 24, 1994; Yokohama Museum of Art, Aug. 6-Sept. 25, 1994.

Atlanta, High Museum of Art, Rings: Five Passions in World Art, July 4-Sept. 29, 1996, no cat. no.

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29-Nov. 2, 2008, cat. 24 (ill.).

Musée d'Orsay, Paris, L'impressionnisme et la mode, Sept. 25, 2012-Jan. 20, 2013, cat. 100; Metropolitan Museum of Art, New York, Feb. 26-May 27, 2013, cat. 55, as Impressionism, Fashion, and Modernity; Art Institute of Chicago, June 26-Sept. 29, 2013.

Madrid, Museo Thyssen-Bornemisza, Renoir: Intimacy, Oct. 18, 2016-Jan. 22, 2017, cat. 15 (ill.).

Acquired by Paul-Victor Poupin, Paris, by Apr. 1876. [See Catalogue de la 2e exposition de peinture, exh. cat. (Alcan-Lévy, 1876), p. 21, cat. 219, which lists Femme au piano as "appartient à M. Poupin." According to Hayward Gallery, Galeries Nationales du Grand Palais, Paris, and Museum of Fine Arts, Boston, Renoir, exh. cat. (Arts Council of Great Britain, 1985), p. 208, Poupin had premises at 8, rue La Fayette, was a business associate of Durand-Ruel's, and "perhaps may simply have been acting on Durand-Ruel's behalf, as the title of the painting he lent in 1876 (Femme au piano) is identical to that of a canvas listed as being in the dealer's stock in 1876." Hayward Gallery, Renoir, further states that "Durand-Ruel's stock lists for 1876 also include a Femme au piano, which was deposited with a M. Cottineau of the rue Rambuteau on 3 July 1880, but there is no further record of it." See also Ruth Berson, ed., The New Painting: Impressionism, 1874-1886; Documentation, vol. 2, Exhibited Works (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 44, 63 (ill.), which also identifies cat. 219 as the Art Institute's painting.]

Possibly acquired by Durand-Ruel, Paris, by Apr. 1883. [In the exhibition catalogue, cat. 13 is listed as Femme au piano with an asking price of £100; see Dowdeswell and Dowdeswell/Société des Impressionnistes, Catalogue of Paintings, Drawings and Pastels by Members of "La société des impressionnistes," exh. cat. (Dowdeswell and Dowdeswell, 1883), p. 9, cat. 13. According to Daniel Wildenstein, Monet: Catalogue raisonné/Werkverzeichnis, vol. 2, Nos. 1-968 (Taschen/Wildenstein Institute, 1996), pp. 283-84, cat. 758; and Frances Fowle, "Making Money out of Monet: Marketing Monet in Britain 1870-1905," in Monet and French Landscape: Vétheuil and Normandy, ed. Frances Fowle (National Galleries of Scotland, 2006), p. 145, this exhibition was organized by Durand-Ruel. The Durand-Ruel Archives cannot confirm that the Art Institute's painting was the one exhibited in London in April-July 1883. According to Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago: "Il est possible qu'il s'agisse du même tableau mais nous n'avons aucun document nous le prouvant."]

Sold (possibly by Renoir) to Durand-Ruel, Paris, Sept. 8, 1886, for 1,200 francs. [This transaction is recorded in the Durand-Ruel, Paris, stock book for 1884-90 (no. 1200, as La Femme au piano): "Acheté par Durand-Ruel Paris le 8 septembre 1886 pour 1200 francs, La Femme au piano ... (?) peut-être à Renoir," as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago.]

Possibly sold at Moore's Art Galleries, New York, May 6, 1887, lot 93, for $675. [According to Guy-Patrice Dauberville and Michel Dauberville, with the collaboration of Camille Frémontier-Murphy, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 1, 1858-1881 (Bernheim-Jeune, 2007), p. 403, cat. 372 (ill.). See also Moore's Art Galleries, New York, The Durand-Ruel Collection of French Paintings, sale cat. (Moore's Art Galleries, May 5-6, 1887), p. 28, lot 93. A sale price is listed in "Good Prices Realized. Close of the Durand-Ruel Sale of Paintings," New York Times (May 7, 1887), p. 5. However, according to the Durand-Ruel Archives, "Le tableau n'a pas été vendu en 1887 lors de la vente à la 'Moore's Art Galleries': il s'agissait d'une vente fictive (aucun tableau n'a été vendu) destinée à faire de la publicité pour les tableaux apportés par Durand-Ruel à New York." See Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago.]

Acquired by Durand-Ruel, New York, by Dec. 16, 1911. [According to the Durand-Ruel, New York, stock book for 1888-93 (no. 112, as Jeune femme au piano): "vendu à Martin A. Ryerson le 16 décembre 1911 pour $16,000, Jeune femme au piano," as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago.]

Sold by Durand-Ruel, New York, to Martin A. Ryerson, Chicago, Dec. 16, 1911, for $16,000. [This transaction is record in the Durand-Ruel, New York, stock book for 1888-93 (no. 112, as Jeune femme au piano): "vendu à Martin A. Ryerson le 16 décembre 1911 pour $16,000,Jeune femme au piano," as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file, Art Institute of Chicago. This corrects information previously published by François Daulte and by Guy-Patrice Dauberville and Michel Dauberville that the painting was purchased by Ryerson for 16,000 francs; see François Daulte, Auguste Renoir: Catalogue raisonné de l'oeuvre peint, vol. 1, Figures, 1860-1890 (Durand-Ruel, 1971), pp. 170, cat. 187 (ill.), and Guy-Patrice Dauberville and Michel Dauberville, with the collaboration of Camille Frémontier-Murphy, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 1, 1858-1881 (Bernheim-Jeune, 2007), p. 403, cat. 372 (ill.). This also updates information provided to the Art Institute of Chicago by Caroline Durand-Ruel Godfroy, Dec. 14, 1994, which states that Ryerson purchased the painting for $15,000, curatorial object file, Art Institute of Chicago.]

By descent from Martin A. Ryerson (died 1932), to his wife, Mrs. Martin A. Ryerson, Chicago. [This painting was on loan from Mrs. Martin A. Ryerson to the Art Institute of Chicago, intermittently, by 1934, according to Museum Registration Department Artists Sheets, on file in Museum Registration, Art Institute of Chicago.]

Bequeathed by Mrs. Martin A. Ryerson (died 1937), to the Art Institute of Chicago, 1937.

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Woman at the Piano | The Art Institute of Chicago

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Show this image Related Article Woman at the Piano 1875/76 Pierre-Auguste RenoirFrench, 1841-1919 Related Article On View European Painting and Sculpture, Gallery 201 Artist Pierre-Auguste Renoir Title Woman at the Piano Origin France Date 1875-1876 Medium Oil on canvas Inscriptions Inscribed at lower left: Renoir Dimensions 93 × 74 cm (36 9/16 × 29 1/8 in.)

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