Lise with a Parasol

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Lise with a Parasol
Lise with an umbrella
ArtistPierre-Auguste Renoir Edit this on Wikidata
Year1867
Mediumoil paint, canvas
Dimensions184 cm (72 in) × 115 cm (45 in)
LocationMuseum Folkwang
Accession No.G 144 Edit this on Wikidata
[edit on Wikidata]

Lise with a Parasol (French: Lise – La femme à l'ombrelle) is an oil on canvas painting by French artist Pierre-Auguste Renoir, created in 1867 during his early Salon period. The full-length painting depicts model Lise Tréhot posing in a forest. She wears a white muslin dress and holds a black lace parasol to shade her from the sunlight, which filters down through the leaves, contrasting her face in the shadow and her body in the light, highlighting her dress rather than her face. After having several paintings rejected by the Salon, Renoir's Lise with a Parasol was finally accepted and exhibited in May 1868.

The painting was one of Renoir's first critically successful works during his early Salon period, an accomplishment which would only be surpassed more than a decade later with Madame Georges Charpentier and Her Children (1878) at the Salon of 1879. In the late 1860s, Renoir's technique was still influenced by Gustave Courbet, but he continued to develop his unique style painting filtered light which he would return to in The Swing (1876) and Dance at Le Moulin de la Galette (1876). The almost life-size portrait and unusual contrast in Lise with a Parasol led several critics to ridicule the work. Théodore Duret, a passionate supporter of the nascent Impressionists, bought the painting from Renoir, who was unable to sell it. Karl Ernst Osthaus, a German patron of avant-garde art, acquired Lise with a Parasol in 1901 for the Museum Folkwang.

Background[edit]

Pierre-Auguste Renoir (1841–1919) grew up in Paris, where his father worked as a tailor and his mother as a seamstress.[1] Renoir trained as a porcelain painter for four years in his youth, but the Industrial Revolution was well underway and technological innovation in porcelain manufacturing replaced porcelain painters with machines, leaving Renoir without a career.[note 1][3] He soon found work as a decorative commercial artist during the day, painting fans for ladies, church banners for overseas missionaries, and ornamental blinds. Renoir's early decorative and artisanal work gave him the ability to paint both with speed and skill.[3][4] In addition to this work, Renoir learned to draw in the evenings and spent his free time studying paintings at the Louvre.[4]

In November 1860, he entered the private studio of Charles Gleyre (1806–1874) and was later admitted to the École des Beaux-Arts in April 1861.[5] In Gleyre's studio, Renoir became friends with fellow students Claude Monet (1840–1926), Alfred Sisley (1839–1899), and Frédéric Bazille (1841–1870).[6] During the summer of 1862, Renoir and his friends painted landscapes in the Forest of Fontainebleau, following in the tradition of the Barbizon school before them.[note 2] It was in the forest where Renoir first met Narcisse Virgilio Díaz (1807–1876), who, according to popular anecdote, saved Renoir from a vicious beating by using his cane to beat away attackers who were making fun of Renoir's porcelain smock.[8] Renoir and Díaz had shared interests; they both got their start as decorators of porcelain before turning to painting. Díaz helped mentor Renoir, gave him access to art supplies, and influenced and changed his style, discouraging Renoir's overuse of bitumen and leading him to lighten his palette.[9] Art critic Jean Bouret writes: "Diaz, still wearing his old porcelain decorator's smock (like Troyon and Dupré), happened to meet Renoir in a clearing of the forest and recommended to him to use lighter tones, the very advice he himself had been given by Rousseau thirty years earlier. So a tradition was handed on, and henceforth, it would be the task of other 'sons of light' to bear the torch."[10]

In his research on collaboration and friendship dynamics among the French Impressionists, sociologist Michael P. Farrell notes that the group learned together from their shared successes and failures. The successful application of new knowledge about color Renoir acquired from Díaz was quickly shared with his friends. Sisley was resistant at first, thinking it was "crazy" to paint colored light ("The idea of making trees blue and the ground purple!"[note 3]) instead of the dark colors used in the classical style they were used to applying. But after playing around with the idea, Sisley soon embraced the new practice, and it was shared with Monet and Bazille. Renoir's exploratory use of color confirmed what Monet had previously learned from his mentor, Dutch painter Johan Jongkind (1819–1891), a forerunner of Impressionism. But with the success of these experiments also came failures, which were still influential. Monet's experiment with large format painting and his failure with Luncheon on the Grass (1865–1866) greatly influenced the close group of friends, with Monet's style helping to later inform Renoir's approach to Lise with a Parasol in 1867.[12]

Renoir began submitting his work to the Salon in 1863.[4] His first submission, Nymph and Faun, was rejected, leading Renoir to destroy his painting. The next year, Renoir tried again, submitting La Esméralda to the Salon of 1864.[note 4] Despite its acceptance, Renoir once again destroyed his painting. Two of Renoir's works, Portrait de William Sisley (1864) and Soirée d'été, were accepted by the Salon of 1865.[14][15] Of all of Renoir's four early Salon submissions between 1863 and 1866, only one work survives (Portrait de William Sisley).[16]

In that same year, Renoir met Lise Tréhot through his friend, former architect and painter Jules Le Cœur, who was involved in a relationship with Clémence, Lise's sister. Jules was featured in two of Renoir's works in 1866, Mother Anthony's Tavern and Jules Le Cœur in Fontainebleau Forest. From around 1865 to 1872, Lise modeled for Renoir and was his lover and companion during his early Salon period. Meanwhile, Renoir continued to face rejection at the Salon with Paysage avec deux figures (1866) and Diana (1867), two works featuring Lise as a model.[17] Renoir's innovative work brought great ridicule and poverty, as he was unable to sell his paintings. He survived by devoting himself to painting portraits for wealthy patrons like the Le Cœur family.[14] For about a decade, Renoir painted portraits and still lifes for the Le Cœurs and received a commission from Jules's brother Charles (Charles Le Cœur, 1874) to paint decorations on the ceiling for a town house he was designing for Romanian Prince George Bibescu.[note 5][19] Later, in 1874, the Le Cœurs ten year patronage came to an abrupt end when Renoir sent Charles's 16-year-old daughter Marie, (Portrait of Marie Le Cœur, 1870) a love letter, leading to Renoir's permanent ban from the Le Cœur residence.[20] The Le Cœur family were the first collectors of Renoir's work and held on to his paintings until the 1920s.[21] Art historian Douglas Cooper notes, "Like Lise, the Le Coeurs had given moral support and encouragement to Renoir during those bleak years when he was struggling, in the face of poverty and frustration, to overcome the difficulties of allowing his artistic personality and vision to develop. And like Lise, too, they disappear out of Renoir's ambiance just at the moment when his style first attains to maturity and shortly before he was to experience his first worldly successes."[20]

  • Forest of Fontainebleau (1858) by Narcisse Virgilio Díaz
    Forest of Fontainebleau (1858) by Narcisse Virgilio Díaz
  • Mother Anthony's Tavern (1866)
    Mother Anthony's Tavern (1866)
  • Jules Le Cœur in Fontainebleau Forest (1866)
    Jules Le Cœur in Fontainebleau Forest (1866)
  • Woman with Bird (1866). The extant remaining portion of Paysage avec deux figures featuring Lise
    Woman with Bird (1866). The extant remaining portion of Paysage avec deux figures featuring Lise
  • Portrait of Marie Le Cœur (1870)
    Portrait of Marie Le Cœur (1870)
  • Charles Le Cœur (1872)
    Charles Le Cœur (1872)

Development[edit]

Renoir sold himself as a figure painter during the early Salon period from 1863 to 1873, where he created large-scale works featuring figures in the outdoors, with only one landscape (Soirée d'été) submitted to the Salon during that entire time. Before the Impressionists held their first exhibitions in the 1870s, conventional academic art ranked landscape painting lower than history, portraiture, and genre painting.[22] "Despite his attachment to Le Cœur and Marlotte, and to Monet and Sisley", writes art historian Colin B. Bailey, "landscape painting was a secondary endeavor for him."[23] Oddly enough, Renoir's refusal to identify himself as a landscapist to conform to the academic art demands of the day may have worked against his efforts to sell his paintings, as art dealers like Paul Durand-Ruel were looking to buy landscapes, not figure paintings.[24] Due to his financial difficulties and his parents' small apartment that had seven adults living in just three rooms, Renoir spent these early years living with his wealthy artist friends Frédéric Bazille (1841–1870),Le Cœur, Edmond Maître (1840–1898), and Sisley who also helped him find commissions. By July 1866, Renoir was living with Bazille at 20 rue Visconti on the Left Bank, and stayed there until December 1867.[25]

He began painting Lise with a Parasol in the summer of 1867, possibly in August, when he was 26 years old. Previously, it was assumed that Renoir had composed the painting in the Fontainebleau forest, close to Chailly-en-Brie near Bourron-Marlotte, just like he had done with Mother Anthony's Tavern (1866).[26] More recent scholarship points to Renoir painting the work in the Chantilly Forest of Chantilly, Oise, for two months, from July to August.[note 6][28] During this time, Maître sent a message to Bazille about how Renoir's technique had changed, writing on August 23, 1867, that although Renoir was now in Chantilly, Maître saw him in Paris earlier in the year where Renoir was "painting strange canvases, having traded turpentine for an infamous sulfate and using, instead of a knife, the little syringe that you know."[29] It is unknown if Renoir completed the painting of Lise with a Parasol in the studio or en plein air in the forest. "Even if Renoir largely worked on the painting in the studio", writes art historian Gary Tinterow, "we do not know enough about his practice in the 1860s". In spite of that, Renoir "presented his subjects as plein air painting".[30]

Self-portrait (1876), age 35.

Exhibition[edit]

Renoir submitted the work to the Salon of 1868 with the short and simple title of "Lise". The painting was accepted by the Salon and received positive feedback.[31][note 7] It was Renoir's first critically successful work at the Salon, only later surpassed with the greater success of Madame Georges Charpentier and Her Children (1878) at the Salon of 1879.[34] However, in spite of this achievement, "the jury had stigmatized Renoir as a rebel, along with Courbet, Manet, and Monet", according to Tinterow.[35] The attention Renoir garnered with Lise led the administrators of the Salon to move Lise, along with paintings by Bazille and Monet, to a remote gallery known as the "rubbish dump" (dépotoir).[31] When Renoir's work was exhibited by the Salon early in his career, it was often skied,[15] a process where his paintings were deliberately hung in areas such as high places and corners where it was difficult for the public to view and would receive the least attention.[36] Art historian Jane M. Roos notes that "relegating works to the dépotoir was a favorite tactic of the administration, a 'humiliation' in Castagnary's words and a sure sign that a painting had displeased the establishment or, perhaps, pleased the public too much."[31]

Description[edit]

Lise with a Parasol is a large format, almost life-size portrait painting of a young woman in full-length, standing on the edge of a forest clearing with the shade of a grove of oak trees composing the background. The woman stands in full frontal pose exposed to the full light of the summer sun while her face is partly obscured, turned to the left in three-quarter profile, shadowed by her parasol.[37] She wears a small, pork pie straw hat with red ribbons, and a long white muslin dress with a long black sash; the dress is modestly buttoned to the neck and has long sheer sleeves. Lise carries a black lace parasol to shade her head while her body is in strong sunlight, standing on a patch of grass. The initials of "A" (Auguste) and "L" (Lise) are marked as an arborglyph on the trunk of the tree in the shade behind her.[38]

Style and themes[edit]

Art historian John House notes that the work "explore[s] the borderlines between portraiture and genre painting".[39] Renoir's decision to name the painting using only the first name of his model indicates, according to House, that this is not a traditional portrait painting, as such works typically used family names or initials. By using Lise's first name as the title, House argues that Renoir was pointing to her status as a mistress (or an unmarried female lover and companion).[39] Renoir's presentation of Lise with a Parasol in the full-length, life-size format was, writes Peter H. Feist, a style typically reserved for royalty in the Western tradition.[40]

Visitor to scale. The large format is apparent.

Renoir's early use of the misty effect in his portrait of Lise with a Parasol would later be drawn upon by the artist in future works, writes art critic Charles Louis Borgmeyer. At least two later paintings featuring this mistiness, best exemplified by the figure of the man in La Loge (1874) and the figure of the ballerina in The Dancer (1874), were presented at the first exhibition of what would later be known as the Impressionists in April 1874. "What Claude Monet, Sisley, Guillaumin and Pissarro were doing with landscape", writes Borgmeyer, "Renoir did with figures. He adopted their pure color and bright tonality and under his brush the face, the flesh, even the accessories, took on exceptional radiance."[41]

Historian Aileen Ribeiro notes Renoir's interest in fashion may have originated with family, as his father was a tailor and his mother was a dressmaker.[note 8] Renoir was interested in female fashion, and would often plan the outfits and accessories his models would wear in his paintings. Accounts from the time indicate that Renoir took a particular interest in female hats.[43] According to Anne Distel, although Lise was a working class seamstress, her appearance in a "fine dress and umbrella suggests some holiday extravagance" in the context of the painting.[44]

Critical reception[edit]

In the late 1860s, Renoir was still in the process of developing his own unique style and technique. Critics noted that Lise with a Parasol, like several of Renoir's earlier paintings, Mother Anthony's Tavern (1866) and Diana (1867), showed the influence of other artists, notably French Realist painter Gustave Courbet.[45] Art historians Lionello Venturi and Jean Leymarie both note the influence of Courbet, particularly from his work Young Ladies of the Village (1852). The model for the central figure in that painting is Courbet's sister Juliette, who appears in profile holding a parasol in a similar pose to Renoir's Lise.[46] Critics evoked comparison with previous paintings and artists such as the image of the Symphony in White, No. 1: The White Girl (1861–62) by James Abbott McNeill Whistler, the image of Olympia (1863) by Édouard Manet, and the painting of Camille (1866) by Claude Monet.[47]

Art critic Zacharie Astruc and writer Émile Zola both viewed Renoir's Lise with a Parasol as a continuation of Monet's Camille.[48] Astruc, who was also Renoir's personal friend, described Lise as the "likeable Parisian girl in the woods",[49] and viewed the painting as part of a trinity beginning with Manet's Olympia, followed by Camille and ending with Lise with a Parasol.[50]

There was no major opposition to Lise with a Parasol at the Salon.[51] Art critic Théophile Thoré, an early supporter of the Impressionists, praised the work.[52] Thoré wrote: "The dress of white gauze is in full light, but with a slight greenish cast from the reflection of the foliage. The head and neck are held in a delicate half-shadow under the shade of the parasol. The effect is so natural and so true that one might very well find it false, because one is used to nature represented in conventional colors, but does not color depend on the environment which surrounds it?"[53]

Tinterow attributes direct criticism of the painting to Renoir's decision to shadow Tréhot's face in darkness and emphasize the reflection of sunlight from her white dress. This unusual contrast was immediately noticed by critics who ridiculed Tréhot's appearance.[30] In Le Salon Pour Rire, French caricaturist André Gill likened Tréhot in Lise with a Parasol to "a nice semisoft cheese out for a stroll",[54] while Ferdinand de Lasteyrie described the painting as "the figure of a fat woman daubed with white".[55]

  • Works
  • Young Ladies of the Village (1852) by Gustave Courbet
    Young Ladies of the Village (1852) by Gustave Courbet
  • Comparison between the central figure of Young Ladies of the Village and Lise with a Parasol
    Comparison between the central figure of Young Ladies of the Village and Lise with a Parasol
  • Symphony in White, No. 1: The White Girl (1861–62) by James Abbott McNeill Whistler
    Symphony in White, No. 1: The White Girl (1861–62) by James Abbott McNeill Whistler
  • Olympia (1863) by Edouard Manet
    Olympia (1863) by Edouard Manet
  • Camille (1866) by Claude Monet
    Camille (1866) by Claude Monet
  • Women in the Garden (1866) by Claude Monet
    Women in the Garden (1866) by Claude Monet

Provenance[edit]

In a letter from Renoir to Frédéric Bazille in September 1869, Renoir writes about his desperation for money: "I exhibited [the portraits of] Lise and Sisley at Carpentier's. I am going to try to stick him for about 100 francs, and I'm going to put my woman in white up for auction. I'll sell it for whatever price it goes for; it's all the same to me."[56] Renoir was unable to sell the painting.

In 1872, Théodore Duret (1834–1917), now known as "one of the earliest and most ardent defenders" of the Impressionists,[57] met Renoir for the first time through Edgar Degas (1834–1917). At the time, Duret was not impressed by Renoir's Bohemian approach. However, Degas praised Renoir's work, which encouraged Duret to seek out his paintings in local galleries. In March 1873, Duret purchased Renoir's In Summer (1868) for 400 or 500 francs, possibly at an art gallery in Montmartre. Now interested in what Renoir had to offer, Duret went searching for the artist. Renoir told Duret that he was unable to pay rent for his studio and needed to quickly sell his paintings. Duret met with Renoir in his studio and chose to purchase Lise, the painting Duret liked most, on the spot for 1,200 francs. Before Duret purchased Lise, the canvas was sitting on the floor rolled up because Renoir was forced to sell the stretcher bar. "Nobody wanted the canvas", wrote German art critic Julius Meier-Graefe.[58]

Duret later sold the painting to Paul Durand-Ruel in Paris on June 5, 1890; Durand-Ruel exhibited the painting in March 1901 in Hamburg, Germany, at a gallery owned by Berlin art dealer Paul Cassirer, a manager of the Berlin Secession who was promoting French paintings in Germany against the wishes of the Kaiser.[59] Cassirer bought the painting several months later on May 10.[60] Later that same month, on May 23, Karl Ernst Osthaus, a patron of the European avant-garde, paid 18,000 Goldmarks for Lise with a Parasol and brought it to his Folkwang Museum in Hagen, Germany.[61] In a letter to his wife Gertrude, Osthaus writes, "The Renoir is so incredibly beautiful that I couldn't resist."[62] The painting was moved to Essen when the museum relocated in 1922 as the Museum Folkwang.[63]

Related work[edit]

A sister painting, Portrait of Lise (Lise holding a bouquet of wild flowers) (1867), was completed around the same time as the larger Lise with a Parasol. In both works, she appears in a forest wearing a similar dress and the same earrings, but in Portrait of Lise she wears a blue rather than a black sash.[64] House notes the thematic and narrative similarity between Lise with a Parasol and La Promenade (1870), as the expectations of the waiting woman in Lise with a Parasol are fulfilled in La Promenade, with the private, romantic rendezvous between lovers in the forest, a popular nineteenth century theme.[65] A later painting, Woman with Parasol Seated in the Garden (1872), features Lise seated, modeling a similar dress with a red sash, hat, and parasol.[66]

Lise with a Parasol was the first of Renoir's paintings to feature a human figure with light filtering through plant leaves from above. Later works by Renoir that make use of this same style include The Swing (1876) and Bal du moulin de la Galette (1876).[67]

In May 1878, Théodore Duret published Les Peintres Impressionnistes, one of the first historical works about the Impressionist movement. For Duret's book, Renoir created a drawing of Lise with a Parasol, which Duret used as a frontispiece; it is the only image of a painting from the entire Impressionist movement in the book.[68] In the section on Renoir, Duret speaks glowingly about Lise with a Parasol to help Renoir win commissions from future patrons. "Renoir excels in portraiture", writes Duret. "I doubt that any painter has ever depicted women in a more seductive way."[69]

Year Image Title Type Dimensions Gallery Notes
1867 Portrait of Lise (Lise holding a bouquet of wild flowers) Oil on canvas 156 cm × 129 cm Private collection The sister painting to Lise with a Parasol. Once owned by French haute couture fashion designer Jeanne Lanvin[70]
1870 La Promenade Oil on canvas 813 cm × 648 cm Getty Center The romantic rendezvous hinted at in Lise with a Parasol
1872 Woman with Parasol Seated in the Garden Oil on canvas 46 cm × 37.9 cm Private collection Similar outfit to Lise with a Parasol
1878 Lise with a Parasol (drawing) Drawing by Renoir used as a frontispiece by Duret in his 1878 book on Impressionism[68]

See also[edit]

Notes and references[edit]

Notes

  1. ^ Edward Alden Jewell: "It is amusing to note that if it had not been for the unhappy invention of machine printing on porcelain, Renoir would have remained a decorator of china vases to the end of his days."[2]
  2. ^ See the history of rail transport in France. "In 1849 the extension of the railway to the departmental capital of nearby Melun brought hoards of visitors to the forest. A contemporary guide book complains that the once virgin forest was now criss-crossed with countless paths laid out for bourgeois visitors; as one mid-century writer put it: 'everyone today knows Fontainebleau. For the Parisians, above all, the railway has turned it into a suburb.'"[7]
  3. ^ As quoted in Farrell 2001, pp. 35-36. Regarding the novelty of painting colored light and the conservative backlash to the practice by the art world at the time, Duret writes: "Owing to their practice of always working face to face with nature, the Impressionists had learned to catch all its multitudinous aspects, and thus recorded on their canvases certain unsuspected effects. For instance they perceived that in winter sunshine the shadows thrown upon the snow appear to be blue, and they painted them blue accordingly. They had also discovered that in summer the light under the trees gives the ground a violet tinge, and therefore in painting woods they made the ground violet. Renoir in particular had painted a ball at Montmartre, Moulin de la galette, and a picture of a swing, Balançoire, in which the figures underneath sunlit trees are dappled with splashes of light, and the whole canvas is conceived in a general violet tone...The novelty of blue and violet shadows had produced a great outcry. Nobody seriously inquired whether in bright sunlight the shadows on the snow and under the trees might not actually possess the colors which the Impressionists had given them. The fact that such effects had never been seen in pictures before was sufficient to lead the conservative prejudices of the beholders to reject them with contempt."[11]
  4. ^ La Esméralda draws upon the character of Esméralda from Victor Hugo's 1831 novel The Hunchback of Notre-Dame.[13]
  5. ^ Prince George Bibescu was the son of Gheorghe Bibescu and Zoe Brâncoveanu (born Mavrocordatos).[18]
  6. ^ There is some debate about where the painting was made. Douglas Cooper argues that the painting was probably completed in Chantilly, not Fontainebleau as commonly assumed according to Vollard.[27]
  7. ^ The social and economic importance of the Salon as an institution accepting Renoir's work is best explained by Gérard Monnier: "The Salon in the nineteenth century was [...] the place where the artist established his relationship with power—administrative power, academic power and economic power. Stemming from its status as a shop-window, demonstrative of the realities operating elsewhere, the Salon was transformed into a place of confrontation and competition, a place of sales, a place determining the extent of the social existence of the artist."[32] Sylvie Patry: "The Salon was a crucial milestone in an artist's career. Having work accepted and being seen and noticed was absolutely critical for an artist."[33]
  8. ^ Renoir came from a family of tailors and dressmakers. His father was a tailor, his mother was a dressmaker, and his brother Victor was a tailor who married a dressmaker. Renoir's elder sister Maria Elisa was also a dressmaker. She married fashion illustrator Charles Leray in 1864.[42]

References

  1. ^ Distel 2010.
  2. ^ Jewell 1944, p. 36.
  3. ^ a b Feist 1987, p. 8.
  4. ^ a b c Lucy & House 2012, p. 1.
  5. ^ Tinterow 1994b, pp. 304-305.
  6. ^ Eitner 1992, p. 369.
  7. ^ Adams 1994, p. 8.
  8. ^ Vollard 1925, pp. 33-34.
  9. ^ Tinterow 1994b, pp. 306, 453; Vollard 1925, pp. 33-34.
  10. ^ Bouret 1973, p. 239.
  11. ^ Duret 1910, "Chapter XI. Last Years", pp. 93-94.
  12. ^ Farrell 2001, pp. 35-36.
  13. ^ Loyrette 1994b p. 39.
  14. ^ a b Duret 1910, pp. 160-169.
  15. ^ a b Kingsley 1899, pp. 442–443.
  16. ^ Patry 2022. Event occurs at 0:12:07.
  17. ^ Distel 1995, pp. 21-24.
  18. ^ (in Romanian) Roseti, Roxana; Teodorescu, Vlad (March 20, 2010). "Prințul rătăcitor". Jurnalul Național.
  19. ^ White 2017, pp. 37-38.
  20. ^ a b Cooper 1959b, p. 328.
  21. ^ Distel 1990, pp. 11-16.
  22. ^ House 2007, pp. 10-11; Bailey 2007, p. 51-53.
  23. ^ Bailey 2007, p. 53.
  24. ^ Bailey 2007, p. 54.
  25. ^ White 2017, pp. 64-67.
  26. ^ Bouret 1973, pp. 208, 234, 239, 255.
  27. ^ Cooper 1959a, p. 167.
  28. ^ Tinterow 1994b, p. 319.
  29. ^ Tinterow 1994a, p. 141.
  30. ^ a b Tinterow 1994a, p. 140.
  31. ^ a b c Roos 1996, p. 118-119.
  32. ^ Monnier 1995, p. 129, as cited in Maloon 2005, p. 244.
  33. ^ Patry 2022. Event occurs at 11:41.
  34. ^ Donahue 2013, p. 20.
  35. ^ Tinterow 2003, p. 516.
  36. ^ Borgmeyer 1913, p. 146.
  37. ^ Patry 2022. Event occurs at 0:07:02.
  38. ^ Distel 2010; Lucy & House 2012, pp. 2, 69; Patry 2022. Event occurs at 0:15:15.
  39. ^ a b Lucy & House 2012, p. 69.
  40. ^ Feist 1987, pp. 17-18.
  41. ^ Borgmeyer 1913, p. 155.
  42. ^ Groom 2012, p. 249.
  43. ^ Ribeiro 2019. Event occurs at 10:58.
  44. ^ Distel 2012. Event occurs at 11:16.
  45. ^ Wintle 2009, p. 634.
  46. ^ Venturi 1950, p. 99; Leymarie 1955, pp. 48-49.
  47. ^ Denvir 1993, p. 51-52; Distel 1995, pp. 24-26.
  48. ^ Tinterow 1994a p. 140; Loyrette 1994a, p. 210.
  49. ^ House 2013, pp. 29-30.
  50. ^ Loyrette 1994a, p. 210.
  51. ^ Duret 1910, p. 111; Borgmeyer 1913, p. 146.
  52. ^ Schneider 1958, p. 91.
  53. ^ Denvir 1990, p. 36.
  54. ^ Tinterow 1994a p. 140; Distel 1995, p. 25.
  55. ^ White 2010, p. 28.
  56. ^ Distel 1990, p. 53; House 1997, pp. 45-46; 57.
  57. ^ Alexandre 1892, pp. 13-14.
  58. ^ Meier-Graefe 1920, p. 10-12.
  59. ^ Hansen 2015, p. 164-165.
  60. ^ Patry 2022.
  61. ^ Parent 2000, p. 124.
  62. ^ Patry 2022. Event occurs at 00:03:18.
  63. ^ Museum Folkwang 2022; Patry 2022. Event occurs at 00:00:50.
  64. ^ Christie's 2008.
  65. ^ House 1997, pp. 45-46; 57.
  66. ^ Whitmore 2014, pp. 346-347; 359.
  67. ^ Duret 1910, p. 162-163.
  68. ^ a b De Grada 1989, p. 14; Denvir 1993, p. 109; Duret 1878.
  69. ^ White 2017, p. 67. See Duret 1878, pp. 27–28.
  70. ^ Schlumberger 1963 as cited in Christie's 2008.

Bibliography[edit]

Further reading[edit]

External links[edit]

Wikimedia Commons has media related to Lise - La femme à l'ombrelle (1867) by Pierre-Auguste Renoir in the Museum Folkwang.
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