id: 135480
accession number: 1958.47
share license status: CC0
url: https://clevelandart.org/art/1958.47
updated: 2024-03-26 01:58:45.494000
The Apple Seller, c. 1890. Pierre-Auguste Renoir (French, 1841–1919). Oil on fabric; framed: 93 x 82.2 x 9.5 cm (36 5/8 x 32 3/8 x 3 3/4 in.); unframed: 65.8 x 54.5 cm (25 7/8 x 21 7/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.47
title: The Apple Seller
title in original language:
series:
series in original language:
creation date: c. 1890
creation date earliest: 1885
creation date latest: 1895
current location: 222 Impressionism & Post-Impressionism
creditline: Bequest of Leonard C. Hanna, Jr.
copyright:
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culture: France, 19th century
technique: oil on fabric
department: Modern European Painting and Sculpture
collection: Mod Euro - Painting 1800-1960
type: Painting
find spot:
catalogue raisonne:
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CREATORS
* Pierre-Auguste Renoir (French, 1841–1919) - artist
Renoir's parents, a tailor and a dressmaker, moved their family to Paris in 1844. At age thirteen Renoir apprenticed with the porcelain decorators Levy Frères & Cie. He earned money by painting fans, blinds, and murals for cafés. In 1860 he registered to copy Old Master paintings in the Louvre and, the following year, entered the studio of Charles Gleyre (1806-1874), where he met Frédéric Bazille (1841-1870), Monet (q.v.), and Sisley (q.v.). In 1862 he was also accepted at the École des Beaux-Arts. With his friends from Gleyre's studio, he began working en plein air and, during a visit to the forest of Fontainebleau, was introduced to Diaz de la Peña (q.v.). After a failed attempt in 1863, Renoir's first painting was accepted at the Salon of 1864, the same year he painted Cleveland's portrait of Romaine Lacaux. More typical of this early period, however, is the painting Diana the Huntress (1867, National Gallery of Art, Washington, D.C.), which reveals Courbet's (q.v.) influence. Around 1867 Renoir shared a studio with Bazille and Monet, the latter becoming an important influence on his art. Renoir and Monet's comparable impressionist style during this period is evident in two paintings each made at La grenouillère (all four titled La grenouillère, 1869: Nationalmuseum, Stockholm, and Pushkin Museum, Moscow [Renoir]; National Gallery, London, and Metropolitan Museum of Art, New York [Monet]),1 a bathing establishment on the Seine. After Renoir's military service during the Franco-Prussian War (1870-71), Monet introduced him to the dealer Durand-Ruel, who began purchasing his works. Renoir's submissions to the Salon were regularly refused, which encouraged him to participate in the first impressionist exhibition in 1874 and the 1875 auction at Hôtel Drouot, where his works were ridiculed by the critics. At the third impressionist exhibition in 1877, he showed Ball at the Moulin de la Galette (1876, Musée d'Orsay, Paris), in which he addressed a subject of modern life, one of his most characteristic impressionist paintings on a grand scale, with a rich pattern of light and shadow. In 1878 he returned to the Salon and became quite successful, establishing his reputation as a portraitist (1878, Mme Charpentier and her Children, Metropolitan Museum of Art, New York). He continued to use this official venue for the next several years, declining to exhibit with the impressionists. This decision was partly generated by the fact that his newfound clientele would be more appreciative of his participating in the Salon. He was supported by his patrons, particularly the Charpentiers, owners of a publishing house, whose journal La vie moderne furthered Renoir's reputation. After a trip to North Africa and Italy in 1881, he joined Cézanne at L'Estaque. Throughout the 1880s and 1890s Renoir traveled extensively through Brittany, Normandy, Provence, and Spain. In the mid-1880s he began to experiment with more linear contours, the application of thinner paint layers, and smoother brush strokes. This so-called Ingresque period, which had a very mixed reception, lasted for about six years. He then reflected upon the achievements of the Old Masters and favored a more fluid style, after which he returned to using broader brush strokes and more vibrant colors. In 1886 he was given a one-man show by Durand-Ruel. By 1900 Renoir was an established artist: he became Chevalier of the Legion of Honor in 1900 and four years later was honored at the Salon d'Automne with a gallery devoted to his works. Beginning in 1912 he suffered from rheumatism and began using a wheelchair, yet he continued to work until the end of his life. He now often stayed in southern France, where he owned property in Cagnes-sur-Mer. Renoir regularly exhibited his works at the Durand-Ruel and Bernheim-Jeune galleries in Paris, as well as elsewhere in Europe and in the United States.
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measurements: Framed: 93 x 82.2 x 9.5 cm (36 5/8 x 32 3/8 x 3 3/4 in.); Unframed: 65.8 x 54.5 cm (25 7/8 x 21 7/16 in.)
state of the work:
edition of the work:
support materials:
inscriptions:
inscription: Signed center right: a. renoir / 1864
translation:
remark:
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CURRENT EXHIBITIONS
title: Color: Light to Palette
opening date: 1965-10-22T04:00:00
Color: Light to Palette. Taft Museum of Art, Cincinnati, OH (organizer) (October 22-December 6, 1965).
title: A loan exhibition for the benefit of The American Association of Museums : in commemoration of the fiftieth anniversary of Renoir’s death
opening date: 1969-03-27T05:00:00
A loan exhibition for the benefit of The American Association of Museums : in commemoration of the fiftieth anniversary of Renoir’s death. Wildenstein & Co. (March 27-May 3, 1969).
title: Renoir
opening date: 1973-02-03T05:00:00
Renoir. The Art Institute of Chicago, Chicago, IL (organizer) (February 3-April 1, 1973).
title: Renoir Retrospective
opening date: 1988-10-15T04:00:00
Renoir Retrospective. Nagoya City Art Museum, Nagoya, Japan (organizer) (October 15-December 11, 1988); Hiroshima Museum of Art, Hiroshima City, Japan (December 17, 1988-February 12, 1989); Nara Prefectural Museum of Art, Nara, Japan (February 18-April 9, 1989).
title: Rise and Fall of Modernity: Weimar- a German Example 1890-1990
opening date: 1999-05-09T00:00:00
Rise and Fall of Modernity: Weimar- a German Example 1890-1990. Kunstsammlungen zu Weimar, Weimar, Thüringen, Germany (May 9-August 1, 1999).
title: Renoir: 1870 - 1892
opening date: 2001-02-10T00:00:00
Renoir: 1870 - 1892. Bridgestone Museum of Art, Tokyo, Japan (February 10-April 15, 2001); Nagoya City Art Museum, Nagoya, Japan (organizer) (April 21-June 24, 2001).
title: CMA Highlights
opening date: 2005-06-21T00:00:00
CMA Highlights. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).
title: Monet to Dalí: Modern Masters from the Cleveland Museum of Art
opening date: 2006-05-27T00:00:00
Monet to Dalí: Modern Masters from the Cleveland Museum of Art. Beijing World Art Museum, China (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).
title: Renoir - Tradition and Innovation
opening date: 2010-01-20T00:00:00
Renoir - Tradition and Innovation. National Art Center, Tokyo, Japan (January 20-April 5, 2010); National Museum of Art, Osaka, Japan (April 17-June 27, 2010).
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LEGACY EXHIBITIONS
* {'description': 'Exposition Renoir. Durand-Ruel, Paris, France (1896).', 'opening_date': None}
* {'description': 'Exhibition of French Masters from Courbet to Seurat. Jacques Seligmann & Co., Inc. New York, NY (1937).', 'opening_date': '1937-01-01T00:00:00'}
* {'description': 'The Hanna Collection of Modern Masterpieces. J. B. Speed Memorial Museum, Louisville, KY (1944).', 'opening_date': '1944-01-01T00:00:00'}
* {'description': 'Summer Loan: group of fourteen Hanna paintings. Metropolitan Museum of Art, New York, NY . (June-September 1949).', 'opening_date': '1949-06-01T00:00:00'}
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PROVENANCE
(Durand-Ruel, Paris, France, November 9, 1891, stock no. 1915, purchased from the artist)
date: 1891
footnotes:
citations:
(Durand-Ruel, Paris, France, June 12, 1896, sold to Graf von Kessler)
date: 1891-1896
footnotes:
citations:
Graf von Kessler [1868-1937], Berlin, Germany
date: 1896-
footnotes:
citations:
Marquis de Biron [1859-1939], Geneva, Switzerland
date:
footnotes:
citations:
(Jacques Seligmann & Co., New York, NY, February 5, 1941, sold to Leonard C. Hanna Jr.)
date: 1937-1941
footnotes:
citations:
Leonard C. Hanna Jr. [1889-1957], Cleveland, OH, bequeathed to the Cleveland Museum of Art
date: 1941-1958
footnotes:
citations:
The Cleveland Museum of Art, Cleveland, OH
date: 1958-
footnotes:
citations:
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fun fact:
digital description:
wall description:
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RELATED WORKS
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CITATIONS
Meier-Graefe, Julius, Florence Simmonds, and George W. Chrystal. Modern art; being a contribution to a new system of æsthetics. London,UK: W. Heinemann, 1908.
page number: Reproduced: p,. 286, vol. 1
url:
Davidson, Martha. "Courbet--Seurat: From Realism to Neo-Impressionism." ARTnews 35 (March 27, 1937): 17-18, 24.
page number: Reproduced: p. 17
url:
Coe, Nancy. The History of the Collecting of European Paintings and Drawings in the City of Cleveland. Thesis M.A. Oberlin College, 1955.
page number: Reproduced: vol. 2, p. 76
url:
The Bulletin of The Cleveland Museum of Art XLV, no. 6 (June, 1958)
page number: Reproduced: on cover
url:
Cleveland Museum of Art. In Memoriam: Leonard C. Hanna, Jr. Cleveland: The Cleveland Museum of Art, 1958.
page number: Reproduced: frontispiece, no. 31
url:
"Great Show of French Masters: Cleveland Celebrates Legacy of Hanna Collection." Life 45, no. 8 (August 25, 1958): 41-46.
page number: Reproduced: p. 42
url:
The Bulletin of The Cleveland Museum of Art XLVI, no. 6 (June, 1959)
page number: Mentioned: p. 122
url:
Henning, Edward B. "From Turner to Guston." Apollo: A Journal of the Arts 78 (December 1963): 481-488.
page number: Reproduced: p. 484
url:
Taft Museum. Color, Light to Palette: [Exhibition, Taft Museum]. [Place of publication not identified]: The Museum, 1900.
page number: Reproduced: cat. no. 21
url:
The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1966. Cleveland, OH: The Cleveland Museum of Art, 1966.
page number: Reproduced: p. 176
url: https://archive.org/details/CMAHandbook1966/page/n200
The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969.
page number: Reproduced: p. 176
url: https://archive.org/details/CMAHandbook1969/page/n200
Renoir, Auguste, and Charles Durand-Ruel. A Loan Exhibition for the Benefit of The American Association of Museums; In Commemoration of the Fiftieth Anniversary of Renoir's Death, March 27-May 3 [1969]. New York: Wildenstein, 1969.
page number: Reproduced: cat. no. 75
url:
Daulte, François. Auguste Renoir: catalogue raisonné de l'œuvre peint. Lausanne, SW: Durand-Ruel, 1971.
page number: Reproduced p. 55
url:
Daulte, François. Auguste Renoir. Milano, IT: Fratelli Fabbri Editori, 1972.
page number: Reproduced: p. 52, fig. 3
url:
Renoir, Auguste, and John Maxon. Paintings by Renoir. [Chicago]: Art Institute of Chicago, 1973.
page number: Reproduced: cat. no. 57
url:
The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978.
page number: Reproduced: p. 218
url: https://archive.org/details/CMAHandbook1978/page/n238
Monneret, Sophie. L'impressionnisme et son époque: dictionnaire international illustré. Paris, FR: Denoël, 1978.
page number: Reproduced: p.130, 303, vol. 1; p. 181, vol. 2
url:
White, Barbara Ehrlich. Renoir, His Life, Art, and Letters. New York, NY: Abrams, 1984.
page number: Reproduced: p. 194; Mentioned: p. 191
url:
Renoir, Auguste. Renoir: Hayward Gallery, London, 30 January-21 April 1985, Galeries Nationales Du Grand Palais, Paris, 14 May-2 September 1985, Museum of Fine Arts, Boston, 9 October 1985-5 January 1986. [London]: Arts Council of Great Britain, 1985.
page number: Mentioned and Reproduced: cat. no 87, p. 134, 258
url:
House, John. "Renoir and the Earthly Paradise." Oxford Art Journal 8, no. 2 (1985): 21-27.
page number: Mentioned: p. 24
url:
Orton, Fred. "Reactions to Renoir Keep Changing." Oxford Art Journal 8, no. 2 (1985): 28-35.
page number: Mentioned: p. 33
url:
Wadley, Nicholas. Renoir: A Retrospective. New York, NY: H.L. Levin Associates, 1987.
page number: Reprooduced: p. 376
url:
Renoir, Auguste. Runoāru ten: 1988-nen 10-gatsu 15-nichi--12-gatsu 11 nichi, Nagoya-shi Bijutsukan. [Nagoya-shi?]: Chūnichi Shinbunsha, 1988.
page number: Reproduced: cat no. 40
url:
Stevenson, Lesley. Renoir. London, UK: Bison Books Ltd, 1991.
page number: Reproduced: p. 140-141
url:
Denvir, Bernard. The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists. London, UK: Thames and Hudson, 1993.
page number: Reproduced: p. 207
url:
Wiggins, Colin. Post-Impressionism. London, UK: Dorling Kindersley in association with the Art Institute of Chicago, 1993.
page number: Reproduced: p. 44
url:
Chong, Alan. European & American Painting in the Cleveland Museum of Art: A Summary Catalogue. Cleveland, Ohio: Cleveland Museum of Art, 1993.
page number: Reproduced: p. 195
url:
Distel, Anne. Renoir, "il faut embellir". [Paris]: Gallimard, 1993.
page number: Mentioned and reproduced: 102
url:
House, John, Anthea Callen, and Kathleen Adler. Renoir: Master Impressionist. Sydney, AS: Art Exhibitions Australia, 1994.
page number: Reproduced: fig. 7
url:
Bothe, Rolf, and Thomas Föhl. Aufstieg und Fall der Moderne. Ostfildern: Hatje Cantz, 1999.
page number: Reproduced: p. 100-101
url:
D' Argencourt, Louise, and Roger Diederen. Catalogue of Paintings. Pt. 4. European Paintings of the 19th Century. Cleveland: Cleveland Museum of Art, 1974.
page number: Mentioned and reproduced: vol. 2, p. 530-532
url:
Runowāru: itanji kara kyoshō e no michi, 1870-1892. Nagoya-shi, Japan: Chūnichi Shinbunsha, 2001.
page number: Reproduced: p. 162-163
url:
Jiminez, Jill Berk, and Joanna Banham. Dictionary of Artists' Models. London, UK: Fitzroy Dearborn, 2001.
page number: Reproduced: p. 118
url:
Néret, Gilles. Renoir: Painter of Happiness 1841-1919. Köln, DK: Taschen Verlag, 2001.
page number: Reproduced: p. 282; Mentioned: p. 282-283
url:
Shone, Richard. The Janice H. Levin Collection of French Art. New York, NY: Metropolitan Museum of Art, 2002.
page number: Reproduced: p. 86
url:
Rubin, James Henry. Impressionist Cats & Dogs: Pets in the Painting of Modern Life. New Haven, CT: Yale University Press, 2003.
page number: Reproduced: p. 75, fig. 98
url:
Brettell, Richard R., Paul Hayes Tucker, and Natalie Henderson Lee. The Robert Lehman Collection III: Nineteenth and Twentieth Century Paintings. New York, N.Y.: Metropolitan Museum of Art in association with Princeton University Press, 2009.
page number: Reproduced: p. 212, fig. 1
url:
Renoir: tradition and innovation. Osaka, JP: Yomiuri Shimbun, 2010.
page number: Reproduced: p. 192-193
url:
Loire, Stephane. "L'Emergence du Paysage a Rome: Entre 1600 et 1650." L'Estampille 466 (Mars 2011): 48-57.
page number: Reproduced: p. 55
url:
Lucy, Martha and John House. Renoir in the Barnes Foundation. New Haven, CT: Yale University Press, 2012.
page number: Reproduced: p. 131, fig. 1
url:
Drost, Julia and Alexandre Kostka. Harry Graf Kessler: Porträt eines europäischen Kulturvermittlers. Berlin: Deutscher Kunstverlag, [2015]
page number: Reproduced: p. 105, plate III
url:
Kessler, Harry. Journal: regards sur l'art et les artistes contemporains, 1889-1937. Paris : Éditions Fondation Maison des sciences de l’homme, [2017].
page number: Reproduced: pl. 14
url:
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IMAGES
web: https://openaccess-cdn.clevelandart.org/1958.47/1958.47_web.jpg
print: https://openaccess-cdn.clevelandart.org/1958.47/1958.47_print.jpg
full: https://openaccess-cdn.clevelandart.org/1958.47/1958.47_full.tif