Search Results for “renoir” – The Courtauld Thu, 12 Sep 2024 11:37:49 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.1 La Loge (The Theatre Box) /highlights/la-loge-the-theatre-box/ Thu, 22 Apr 2021 15:46:48 +0000 /?post_type=collection-hlights&p=10907 ...the artist’s studio, with a model called Nini Lopez posing for the woman and Renoir’s brother, Edmond, the man, in order for Renoir to create a symphony in black and...

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Pierre-Auguste Renoir showed La Loge (The Theatre Box)  at the first Impressionist group exhibition in Paris in 1874. The painting was designed make an impact there. Its modern subject of a contemporary, fashionable-looking couple in a loge at one of Paris’s premiere theatres was unprecedented in painting. ¸é±ð²Ô´Ç¾±°ù’s tightly cropped composition, giving the sense of a snapshot of modern life, was highly unconventional. In addition, his careful staging of the figures in stereotypically gendered roles – the woman having lowered her opera glasses to become the focus of attention, the man having raised his to look at someone else in the audience – creates an intriguing game of gazes, surely intended to provoke comment.

Indeed, critics responded extensively to the painting. Some admired ¸é±ð²Ô´Ç¾±°ù’s new subject matter and his painterly technique, praising his ‘qualities of observation and remarkable qualities of colour.’ However, several reviewers were troubled by the appearance of ¸é±ð²Ô´Ç¾±°ù’s couple, especially the woman. They were concerned that she was not a respectably married member of fine society but rather a victim of fashion, overly dressed and excessively made-up, trying to push her way onto the social scene.

Although new to painting in 1874, theatre box subjects were a familiar feature of French fashion magazines, where they provided a stage for illustrations of women modelling the latest evening wear. Loges were also often pictured in satirical journals as a setting to poke fun at their occupants’ social foibles or romantic liaisons. ¸é±ð²Ô´Ç¾±°ù’s La Loge contains aspects of both contemporary fashion and satire, but his main concern was in demonstrating his dazzling painting technique. The scene was carefully arranged in the artist’s studio, with a model called Nini Lopez posing for the woman and ¸é±ð²Ô´Ç¾±°ù’s brother, Edmond, the man, in order for Renoir to create a symphony in black and white. The bold stripes of the woman’s highly fashionable dress are a flamboyant counterpoint to the man’s similarly-coloured evening attire. His brushwork is delicate and fluent throughout. The virtuoso performance of works such as La Loge soon established Renoir as one of the leading Impressionist painters of his generation.

La Loge is on display at Musée d’Orsay (25 March – 12 July 2024) and The National Gallery of Art in Washington DC (8 Sept 2024 – 20 Jan 2025) and will return to The Courtauld Gallery in 2025.

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This painting is on display in the Weston Gallery, Level 3 of The Courtauld Gallery. You can view this room from the comforts of your home through our virtual tour.

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Explore The Courtauld’s remarkable collection of paintings, prints and drawings, sculpture and decorative arts.

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Two men sit across from each other at a table covered with a brown tablecloth, playing cards. Both men wear overcoats and hats, and the man on the left smokes a pipe. They sit inside a wooden building. i Paul Cézanne (1839-1906) The Card Players, around 1892-96, The Courtauld, London (Samuel Courtauld Trust)

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]]> Paintings /gallery/the-collection/paintings/ Thu, 15 Apr 2021 14:28:01 +0000 /?page_id=6678 ...Gogh Read more Montagne Sainte-Victoire with Large Pine Paul Cézanne Read more La Loge (The Theatre Box) Pierre-Auguste Renoir Pierre-Auguste Renoir showed La Loge (The Theatre Box) at the first...

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Highlights of The Collection

Discover the remarkable paintings in The Courtauld’s collection, which range from the Middle Ages to the 20th century.

The Courtauld is best known for its Impressionist and Post-Impressionist paintings, including iconic works by Édouard Manet, Claude Monet, Vincent van Gogh and Paul Cézanne.

The collection includes one of the richest holdings in Britain of early Italian art and paintings by the 17th-century artist Peter Paul Rubens, alongside important works by Sandro Botticelli, Lucas Cranach and Pieter Bruegel. The displays extend into the 20th century with major works by Amedeo Modigliani, Oskar Kokoschka and artists of the Bloomsbury Group.

The collection on display is under continuous review. This means some of the works of art on this page might not be on view at the time of your visit. Works of art not on display can be seen by appointment; please contact us for further information.

Middle Ages and Renaissance, 1250 – 1600

The Courtauld’s collection of medieval and Renaissance paintings comprises outstanding works from both northern and southern Europe. Its holdings of 14th and early 15th century Italian paintings are one of the most important in Britain. They are complemented by one of the finest examples of early Netherlandish painting, The Entombment or ‘Seilern Triptych’.

Works from later in the period include the only altarpiece by Sandro Botticelli in the UK; one of Lucas Cranach’s greatest paintings, Adam and Eve; and two rare panels by Pieter Bruegel the Elder, a leading artist of the Northern Renaissance by whom fewer than 40 paintings survive.

Adam and Eve are depicted at the fateful moment when they disobey God and commit the first sin.

Adam and Eve

Lucas Cranach the Elder

Cranach and his workshop made over 50 versions of this subject. This painting is one of the largest and most beautiful….

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Paintings in Europe, 1600 – 1800

At the heart of The Courtauld’s holdings of European painting is a world-class collection of works by the artist Peter Paul Rubens. It includes large oil studies that offer unparalleled insights into Rubens’s creative process, and very personal works such as the enchanting Landscape by Moonlight.

The 18th century collection features paintings from different parts of Europe, including Italy, Spain and England. Particularly striking works include Thomas Gainsborough’s mesmerising portrait of his wife and the only full-length portrait by Francisco de Goya in Britain.

Impressionism and Post-Impressionism

Discover The Courtauld’s extraordinary Impressionist and Post-Impressionist collection featuring paintings by Claude Monet, Edgar Degas, Pierre-Auguste Renoir, Paul Gauguin and the most significant collection of works by Paul Cézanne in the UK. Highlights include world-famous masterpieces such as Édouard Manet’s A Bar at the Folies-Bergère and Vincent van Gogh’s Self-Portrait with Bandaged Ear.

The collection is presented in The Courtauld Gallery’s spectacular Great Room, one of the largest spaces in Somerset House, after a three-year transformation project.

Pierre-Auguste Renoir, (1841- 1919) La Loge, 1874

La Loge (The Theatre Box)

Pierre-Auguste Renoir

Pierre-Auguste Renoir showed La Loge (The Theatre Box)  at the first Impressionist group exhibition in Paris in 1874….

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20th century

The Courtauld’s rich collection of modern paintings ranges from early 20th-century highlights such as Amedeo Modigliani’s Female Nude, to major Post-War paintings, including Frank Auerbach’s Rebuilding the Empire Cinema, Leicester Square, and a collection of works by Bloomsbury Group artists including Vanessa Bell, Duncan Grant and Roger Fry.

Other highlights include a significant group of works by Oskar Kokoschka, including his monumental triptych The Myth of Prometheus, and works by Ben Nicholson, Graham Sutherland, Ivon Hitchens and Frank Auerbach among others.

A painting of three women in conversation. The woman on the left leans into the other two in earnest discussion. They sit in front of an open window with a bouquet of flowers visible.

A Conversation

Vanessa Bell

A Conversation  is one of Vanessa Bell’s major achievements, which she worked on at various points over several years….

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Triptych – The Apocalypse

The Myth of Prometheus

°¿²õ°ì²¹°ù K´Ç°ì´Ç²õ³¦³ó°ì²¹

Oskar Kokoschka reworked biblical and mythological stories in the triptych to express his fears for humanity following the Second World War….

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Painted self-portrait of Van Gogh

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]]> Visit the permanent collection /whats-on/permanent-collection-display/ Thu, 30 Sep 2021 07:57:30 +0000 /?post_type=events&p=51489 ...artists including Degas, Gauguin, Monet, Renoir, Seurat and more. The Blavatnik Fine Rooms, spanning the Piano Nobile across the whole of the second floor, provide the stunning setting for displaying...

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The Courtauld’s much-loved permanent collection includes paintings, drawings, prints, sculpture and decorative arts ranging from the Renaissance through to the 20th century.

The Gallery is renowned for its remarkable group of Impressionist and Post-Impressionist paintings, including the world-famous A Bar at the Folies Bergère by Édouard Manet, Self-Portrait with Bandaged Ear by Vincent van Gogh and the most significant collection of works by Cézanne in the UK. These masterpieces are presented in The Courtauld Gallery’s spectacular LVMH Great Room, one of the largest spaces in Somerset House, alongside works by artists including Degas, Gauguin, Monet, Renoir, Seurat and more.

The Blavatnik Fine Rooms, spanning the Piano Nobile across the whole of the second floor, provide the stunning setting for displaying works from the Renaissance to the 18th century. Highlights include Adam and Eve by Lucas Cranach the Elder, The Family of Jan Bruegel the Elder and The Descent From The Cross by Peter Paul Rubens, The Trinity with Saints altarpiece by Sandro Botticelli, and Landscape with a flight into Egypt by Pieter Bruegel the Elder.

The Ruddock Family Gallery is dedicated to The Courtauld’s important collection of Medieval and Early Renaissance paintings and decorative arts. Rooms devoted to 20th century art and the Bloomsbury Group also showcase lesser-known areas of the collection through rotating displays.

 

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The Courtauld Gallery, Shop and Art Café are cashless. We accept a wide range of cards and payment devices, including Visa, Mastercard, American Express, Apple Pay and more.

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Our virtual tour uses a photographic technique to show The Courtauld Gallery and our collection in exceptional close-up quality.

You can roam each room of the Gallery, and zoom in to look closely at masterpieces from our collection, from individual brush strokes to the texture of the paint.

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Highlights

A vision of the Trinity dominates the work. God the Father sits on a throne surrounded by angels and holds the cross bearing his crucified son. The dove of the Holy Spirit hovers above.
Sandro Botticelli (around 1445-1510), The Trinity with Saints Mary Magdalen and John the Baptist,   Around 1491-94 , The Courtauld, London (Samuel Courtauld Trust) © The Courtauld   
A touching portrait of the family of the artist Jan Brueghel the Elder (1568-1625) by his close friend and collaborator Peter Paul Rubens
Peter Paul Rubens (1577–1640) , The Family of Jan Brueghel the Elder , Around 1613–15, The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
A landscape painting with blue sky, mountain ranges and a large river running through. In the foreground a red-cloaked figure rides a horse across a ridge, assisted by another figure in front.
Pieter Bruegel the Elder (around 1525-1569), Landscape with the Flight into Egypt, 1563, The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
An intricate, oblong-shaped metal bag with front-closure. There are detailed illustrations at regular points across the front, and gold and silver inlays.
Bag, known as The Courtauld Bag, Mosul, Iraq (Ilkhanid dynasty, 1256–1353) 1300–30, Brass, hammered, chased and inlaid with silver and gold. The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
Artist self-portrait wearing a blue hat and green coat with bandaged ear
Vincent van Gogh (1853–1890), Self-Portrait with Bandaged Ear, 1889, The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
A woman standing behind a bar facing straight ahead.
Édouard Manet (1832-1883), A Bar at the Folies-Bergère (1882), The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
A painting of three women in conversation. The woman on the left leans into the other two in earnest discussion. They sit in front of an open window with a bouquet of flowers visible.
Vanessa Bell (1879 – 1961), A Conversation, 1913-16 © Estate of Vanessa Bell. All rights reserved, DACS 2023
A painting of a bright sea scene, with blue skies and water. A mountainous skyline is in the background and a single tree, leaning towards the water from the foreground, has green leaves.
Claude Monet (1840-1926), Antibes, 1888, The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
Paul Cézanne, Montagne Sainte-Victoire with Large Pine, c.1887, oil on canvas, The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
Pierre-Auguste Renoir, (1841- 1919) La Loge, 1874
Pierre-Auguste Renoir, (1841- 1919) La Loge, 1874, oil on canvas, The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
Two girls dance on stage. They wear leotards; one girl bows to the other.
Edgar Germain Hilaire Degas, Two Dancers on a Stage, 1874, The Courtauld, London (Samuel Courtauld Trust)

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A woman standing behind a bar facing straight ahead. i Édouard Manet (1832-1883), A Bar at the Folies-Bergère (1882), The Courtauld, London (Samuel Courtauld Trust) © The Courtauld

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Visitor information

Exhibition, The Courtauld Gallery, What’s On Highlights

Roger Mayne: Youth

14 Jun – 1 Sept 2024 

An exhibition of works by photographer Roger Mayne, bringing together his evocative documentary images of communities and neighbourhoods of 1950’s inner London, alongside intimate images of his own family at home in Dorset in the 1970s….

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A pen and ink drawing with coloured pencils of four figures standing in a setting with brown walls

Exhibition, The Courtauld Gallery, What’s On Highlights

Henry Moore: Shadows on the Wall

8 Jun – 22 Sept 2024 

This exhibition, a collaboration with Henry Moore Foundation, considers Henry Moore’s (1898 – 1986) celebrated Shelter drawings as the point of departure for a new reading of the artist’s fascination with images of the wall. …

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]]> Renoir at the Theatre: Looking at La Loge /gallery/exhibitions/renoir-at-the-theatre-looking-at-la-loge/ Wed, 11 Aug 2021 09:53:55 +0000 /?page_id=47145 ...it context.” The Daily Telegraph “Another of those close-focus shows this gallery does so well. It brings together Renoir’s La Loge with other treatments by him and contemporaries of people...

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21 February – 26 May 2008

“… the kind of exhibition that The Courtauld Gallery does to perfection. It takes an Impressionist masterpiece from its own incomparable collections and gives it context.”
The Daily Telegraph

“Another of those close-focus shows this gallery does so well. It brings together ¸é±ð²Ô´Ç¾±°ù’s La Loge with other treatments by him and contemporaries of people in theatre boxes.  Recommended.”
Sunday Times

Pierre-Auguste ¸é±ð²Ô´Ç¾±°ù’s La Loge (The Theatre Box), 1874, is a masterpiece of Impressionist painting and one of the most famous works in the Courtauld Gallery’s collection. The exhibition unites this exceptional picture with ¸é±ð²Ô´Ç¾±°ù’s other paintings of elegant Parisians on display in their loges.

It also includes other depictions of the theatre box by his Impressionist contemporaries, with important works by Mary Cassatt, Edgar Degas and others borrowed from international collections. Their shared interest in the spectacle of modern society at the theatre is further explored through a rich array of printed material such as contemporary fashion magazines and caricatures.

Pierre-Auguste ¸é±ð²Ô´Ç¾±°ù’s La Loge (The Theatre Box), 1874, is one of the masterpieces of Impressionism and a major highlight of The Courtauld Gallery’s collection.  Its depiction of an elegant couple on display in a loge, or box at the theatre, epitomises the Impressionists’ interest in the spectacle of modern life.  In celebration of ÐÇ¿Õ´«Ã½â€™s 75th anniversary the exhibition Renoir at the Theatre: Looking at ‘La Loge’, on view from 21 February to 25 May 2008, unites La Loge for the first time with ¸é±ð²Ô´Ç¾±°ù’s other treatments of the subject and logepaintings by contemporaries, including Mary Cassatt and Edgar Degas.  Concentrating on the early years of Impressionism during the 1870s, the exhibition explores how these artists used the loge to capture the excitement and changing nature of fashionable Parisian society.

La Loge was ¸é±ð²Ô´Ç¾±°ù’s principal exhibit in the first Impressionist exhibition in Paris in 1874.  The complexity of its subject matter and its virtuoso technique helped to establish the artist’s reputation as one of the leaders of this radical new movement in French art.  ¸é±ð²Ô´Ç¾±°ù’s brother Edmond and Nini Lopez, a model from Montmartre known as ‘Fish-face’, posed for this ambitious composition.  At the heart of the painting is the complex play of gazes enacted by these two figures seated in a theatre box.  The elegantly dressed woman lowers her opera glasses, revealing herself to admirers in the theatre, whilst her male companion trains his gaze elsewhere in the audience.  In turning away from the performance, Renoir focused instead upon the theatre as a social stage where status and relationships were on public display.

Theatre in Paris was a rapidly expanding industry during the 19th century, dominating the cultural life of the city.  At the time of La Loge it was estimated that over 200,000 theatre tickets were sold every week in Paris. Theatres ranged from the popular variety act venues to the fashionable elegance of the great opera houses.  The burgeoning wealth of the middle classes meant that the loges of the premier theatres were no longer the preserve of high society.  From the 1830s onwards celebrated caricaturists such as Honoré Daumier (1808-79) and Paul Gavarni (1804-66) seized upon the theatre box as a rich theme for social satire.  By the 1870s leering men with over-sized opera glasses, middle-aged women struggling to maintain their appeal, fathers parading their elegant daughters, and gauche visitors from the provinces had emerged as stock types in weekly magazines such as Le Petit Journal pour Rire.  The interest in the theatre, and particularly the loge as a space for social display, was also harnessed by the booming fashion industry which catered to the aspirational and newly wealthy middle class.  Lavishly produced journals such as La Mode Illustrée included fine hand-coloured engravings showing the latest fashions modelled by elegant ladies in theatre boxes .  A rich selection of this little-known graphic material from contemporary Parisian journals is also on display in the exhibition.

As the first artist to make the theatre box a subject for modern painting, Renoir drew on this popular visual culture, which would also have shaped the context in which his paintings were viewed.  At the time of the first Impressionist exhibition Renoir had been particularly concerned with the loge and, in addition to the Courtauld picture, produced two smaller canvases, both of which will be displayed in the exhibition. Renoir returned to the theme in two later canvases.  At the Theatre, 1876-7, (National Gallery, London) takes an oblique view of a theatre box, setting a young woman and her companion off against the blurred mass of the audience.  At the Concert, 1880, (The Sterling and Francine Clark Art Institute, Williamstown) is one of ¸é±ð²Ô´Ç¾±°ù’s most monumental treatments of the subject.  This work started as a portrait of the family of Monsieur Turquet, the under-secretary of state for the fine arts, posed in their opulent theatre box.  Renoir subsequently altered the composition, painting out his male patron who was originally shown in the background, and transforming the image into a fashionable but anonymous genre scene.

A major highlight of the exhibition is a small version of the Courtauld Gallery’s La Loge which was recently sold at auction in London and was one of the sensations of the sale, doubling its pre-auction estimate. Renoir seems to have painted it in 1874, perhaps in response to the critical success of the larger picture at exhibition, but this is the first time the two have been exhibited together.

Renoir at the Theatre will be the first exhibition to focus on this group of works.  It will also display a number of important logepaintings by ¸é±ð²Ô´Ç¾±°ù’s Impressionist contemporaries to explore alternative ways in which this subject was approached.  Two major paintings by Mary Cassatt present contrasting views of women in their theatre boxes.  Woman with a Pearl Necklace, 1879, (Philadelphia Museum of Art) shows a beautifully dressed woman in the sparkling interior of a theatre box as the passive recipient of admiring gazes .  In the Loge,1878, is a very different representation where a soberly attired woman assertively surveys the theatre through her opera glasses as an active participant in the play of gazes that surrounds her .  In Degas’s treatments of the subject the artist explores different ‘snapshot’ viewpoints of the loge, as if capturing a fleeting glance.  This is epitomised by his ambitious pastel La Loge, 1880 (private collection), in which the viewer is placed in the theatre stalls looking up at the head of a lone woman who emerges from the gilded surround of a loge, her pale face caught momentarily in a pool of light.

¸é±ð²Ô´Ç¾±°ù’s La Loge received enthusiastic reviews when it was first exhibited in Paris in 1874 and later that year it travelled to London for an exhibition organised by his dealer Durand-Ruel, making it one of the first major Impressionist paintings to be shown in this country. However, the painting did not sell at either exhibition and was bought inexpensively the following year by the minor dealer ‘Père’ Martin for 425 francs, providing Renoir with much needed funds to pay the rent.  When Samuel Courtauld purchased it in 1925 the status of the painting had risen considerably along with the price which was now £22,600 and one of Courtauld’s most expensive acquisitions.  Today La Loge is celebrated as one of the most important paintings of the Impressionist movement.  This exhibition will cast new light upon ¸é±ð²Ô´Ç¾±°ù’s masterpiece and the spectacle of the Parisian theatre which it captures.

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]]> Renoir and the New Era: Impressionist works from The Courtauld /whats-on/renoir-and-the-new-era/ Mon, 26 Apr 2021 14:04:19 +0000 /?post_type=events&p=14377 ...Taking Pierre-Auguste Renoir’s La Loge (1874) from as its centrepiece, Renoir and the New Era explores the Impressionists in the late 1900s, through refocusing attention on their position as agitators...

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Ulster Museum, Belfast

Online exhibition

An exhibition at Ulster Museum, Belfast featuring a series of works by celebrated Impressionists in The Courtauld Gallery’s collection, alongside works from Ulster Museum’s collection.

Taking Pierre-Auguste ¸é±ð²Ô´Ç¾±°ù’s La Loge (1874) from as its centrepiece, Renoir and the New Era explores the Impressionists in the late 1900s, through refocusing attention on their position as agitators and anarchists outside of the established art system. Though they have become household names and are cemented within mainstream art history, it is easy to forget that their style of painting was revolutionary and their decision to group together and exhibit in 1874 an act of defiance against the art establishment, the state and what was even considered ‘art’.

Other Impressionist works in the exhibition include works of art on paper by Édouard Manet, Camille Pissarro and Berthe Morisot, alongside accompanying artwork from our collection.

Part of our Courtauld National Partners project.

Highlights on display

A black and white etching of the artist Berthe Morisot wearing a black hat and coat
Édouard Manet (1832 – 1883), Berthe Morisot, 1872, The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
A delicate drawing depicting the artist Berthe Morisot drawing with her daughter
Berthe Morisot (1841-1895), Berthe Morisot drawing, with her daughter, 1889, The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
Pierre-Auguste Renoir, (1841- 1919) La Loge, 1874
Pierre-Auguste Renoir, (1841- 1919) La Loge, 1874, oil on canvas, The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
Figures are shown from the back; a lively atmosphere of a busy market, attended by mainly women who crowd around an unknown object of desire
Camille Pissarro (1830-1903), Market at Gisors, The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
A black and white etching of people queing with umbrellas outside of a butchers shop
Édouard Manet (1832 – 1883), La queue devant la boucherie (The queue in front of the butcher’s shop), The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
A drawing of a Young Woman with long hair reclining on a chaise lounge, propping up her head with her hand
Berthe Morisot (1841-1895), Young Woman reclining (Jeune Femme au Repos), 1889, ink on paper, The Courtauld, London (Samuel Courtauld Trust) © The Courtauld

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Explore the Renoir and the New Era – Impressionist works from The Courtauld exhibition from the comfort of home.

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The Impressionists as Printmakers

This exhibition is supported by the National Lottery Heritage Fund.

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Gallery Virtual Tours

Explore each floor of The Courtauld Gallery with our virtual tours. Zoom in to look closely at masterpieces from our remarkable collection, from individual brush strokes to the texture of the paint….

Read more

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]]> Reading Renoir with The Dress Detective /whats-on/reading-renoir-with-the-dress-detective/ Tue, 11 May 2021 09:05:54 +0000 /?post_type=events&p=29775 ...discuss how historic fashions, such as the glamorous outfits worn in Renoir’s La Loge, can be understood by a modern audience. She will also draw upon the art and fashion...

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Join Ulster Museum and The Courtauld on Saturday 15th May for a chance to hear from acclaimed author of The Dress Detective and Reading Fashion in Art.

Dr Mida will discuss how historic fashions, such as the glamorous outfits worn in ¸é±ð²Ô´Ç¾±°ù’s La Loge, can be understood by a modern audience. She will also draw upon the art and fashion collections of the Ulster Museum to discuss how dress was depicted in painting during ¸é±ð²Ô´Ç¾±°ù’s era, and beyond.

This talk coincides with two exhibitions at the Ulster Museum that demonstrate the link between art and fashion – ‘Renoir and the New Era’ and ‘La Belle Epoque: Fashions of the 1870s – 1910s.’ This is a must for all those interested in art and fashion history!

Dr Ingrid E. Mida is an art and dress historian, artist, photographer and curator. She is the lead author of The Dress Detective: A Practical Guide to Object–based Research in Fashion (Bloomsbury 2015) and Reading Fashion in Art with The Dress Detective (2020), and has also contributed to various print and online publications including Teaching Fashion Studies (Bloomsbury 2018) and Smarthistory.

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]]> Professor Aileen Ribeiro /people/aileen-ribeiro/ Fri, 27 Feb 2015 15:31:01 +0000 /people/all/aileen-ribeiro/ ...New York. Recent contributions to exhibition catalogues include an essay on Renoir’s use of fashion in his painting La Loge, in an exhibition at the Courtauld Institute: Renoir at the...

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Aileen Ribeiro read history at King’s College, London, followed by postgraduate study, MA (1971) and Ph.D (1975) at the Courtauld Institute of Art. She was Head of the History of Dress Section at the Courtauld Institute from 1975 to 2009; appointed Professor in the History of Art at the University of London in 2000, she is now Professor Emeritus. She sit on the board of the British Art Journal. She has published many books and articles on various aspects of the history of dress, and lectures widely in Great Britain, Europe and North America. She has acted as costume consultant/contributor to many major exhibitions, which include: Reynolds (Royal Academy of Arts, London: 1986); Winterhalter and the Courts of Europe 1830 to 1870 (National Portrait Gallery, London: 1987 and the Petit Palais, Paris: 1988); John Singleton Copley in America, Museum of Fine Arts, Boston,1995; Goya: La imagen de la mujer (Prado, Madrid: 2001 and National Gallery of Art, Washington: 2002); Whistler, Women and Fashion (Frick Collection, New York: 2003) – the catalogue of this exhibition was given the William E. Fischelis Book Award by the Victorian Society in America for 2004. In 2018 she received an Iris Foundation Award for Outstanding Contributions to the Decorative Arts, from the Bard Graduate Center, New York.

Recent contributions to exhibition catalogues include an essay on ¸é±ð²Ô´Ç¾±°ù’s use of fashion in his painting La Loge, in an exhibition at the Courtauld Institute: Renoir at the Theatre. Looking at La Loge (2008); Batoni’s use of fashion in Pompeo Batoni 1708-1787. L’Europa delle Corti e il Grand Tour, Lucca 2008; an essay on Gainsborough’s portrait of Ann Ford in the catalogue Thomas Gainsborough and the Modern Woman (Cincinnati Art Museum 2010); an essay on Gustave Caillebotte’s painting Paris Street, Rainy Day for the exhibition catalogue Impressionism, Fashion and Modernity (Paris, New York and Chicago 2012); and an essay ‘Moving pictures, silent movies and the art of William Hogarth’ in the Hollywood Costume catalogue (V&A 2012).

Exhibitions

‘The beauty of the particular: dress in Liotard’s images of women’, in Jean-Etienne Liotard, Royal Academy  2015 (This catalogue was long-listed for the William MB Berger Prize for British Art History 2016)

‘Being at Court’, in Enlightened Princesses. Caroline, Augusta, Charlotte, and the Shaping of the Modern   World, Yale Center for British Art & Historic Royal Palaces 2017

‘¸é±ð²Ô´Ç¾±°ù’s Way with Clothes’, in Renoir and Friends; Luncheon of the Boating Party, ed. Eliza Rathbone, Phillips Collection Washington 2017

‘’Some Anglo-French Comparisons in Fashion’, in Fashion Drive. Extreme Clothing in the Visual Arts, Kunsthaus Zürich, 2017

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]]> Shock, Rebellion and Monet | Impressionism (in-person) /whats-on/shock-rebellion-and-monet-impressionism-in-person/ Tue, 13 Aug 2024 10:35:54 +0000 /?post_type=events&p=127106 ...The Courtauld’s best known artworks – by artists including Degas, Monet, Morisot and Renoir – and see them in a whole new light. Explore the often turbulent cultural, social and...

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Join us in-person at The Courtauld Gallery to uncover why Impressionist artworks were so shocking when first exhibited in Paris in the second half of the 1800s.

Analyse some of The Courtauld’s best known artworks – by artists including Degas, Monet, Morisot and Renoir – and see them in a whole new light. Explore the often turbulent cultural, social and political contexts of 19th-century Paris that led to a rebellious outlook in certain artistic circles. Reflect on Impressionism’s legacy with its commitment to capturing contemporary experience and willingness to challenge conventions.

Visit The Griffin Catalyst Exhibition, Monet and London. Views of the Thames, which capture three extraordinary views of the Thames as it had never been seen before, full of evocative atmosphere, mysterious light and radiant colour.

Key Information
Event: Shock, Rebellion and Monet | Impressionism
Date: Thursday 31st October 2024
Time: 10:00am – 3:00pm
Location: In-person, at The Courtauld Gallery

These workshops are free and open to students attending UK state schools and colleges. Suitable for ages 16-18, with preference given to Y12 students (or equivalent). Booking is essential due to popular demand. Any questions, please email education@courtauld.ac.uk

 

Claude Monet (1840-1926), Autumn Effect at Argenteuil, 1873, The Courtauld, London (Samuel Courtauld Trust) © The Courtauld
painting of a woman bartender looking straight ahead
Édouard Manet (1832-1883), A Bar at the Folies-Bergère (1882), oil on canvas, The Courtauld, London (Samuel Courtauld Trust © The Courtauld
Get involved in the Courtauld’s Young People’s Programme

Join us in-person at The Courtauld Gallery to uncover why Impressionist artworks were so shocking when first exhibited in Paris in the second half of the 1800s.

Analyse some of The Courtauld’s best known artworks – by artists including Degas, Monet, Morisot and Renoir – and see them in a whole new light. Explore the often turbulent cultural, social and political contexts of 19th-century Paris that led to a rebellious outlook in certain artistic circles. Reflect on Impressionism’s legacy with its commitment to capturing contemporary experience and willingness to challenge conventions.

Visit The Griffin Catalyst Exhibition, Monet and London. Views of the Thames, which capture three extraordinary views of the Thames as it had never been seen before, full of evocative atmosphere, mysterious light and radiant colour.

Key Information
Event: Shock, Rebellion and Monet | Impressionism
Date: Thursday 31st October 2024
Time: 10:00am – 3:00pm
Location: In-person, at The Courtauld Gallery

These workshops are free and open to students attending UK state schools and colleges. Suitable for ages 16-18, with preference given to Y12 students (or equivalent). Booking is essential due to popular demand. Any questions, please email education@courtauld.ac.uk

 

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]]> ¸é±ð²Ô´Ç¾±°ù’s masterpiece La Loge goes on display at Ulster Museum /news-blogs/2020/la-loge-ulster-museum/ Fri, 11 Dec 2020 09:58:21 +0000 /news-blogs/posts/la-loge-ulster-museum/

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]]> Adam and Eve /highlights/adam-and-eve/ Thu, 22 Apr 2021 15:40:24 +0000 /?post_type=collection-hlights&p=10898 ...the artist’s studio, with a model called Nini Lopez posing for the woman and Renoir’s brother, Edmond, the man, in order for Renoir to create a symphony in black and...

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Pierre-Auguste Renoir showed La Loge (The Theatre Box)  at the first Impressionist group exhibition in Paris in 1874. The painting was designed make an impact there. Its modern subject of a contemporary, fashionable-looking couple in a loge at one of Paris’s premiere theatres was unprecedented in painting. ¸é±ð²Ô´Ç¾±°ù’s tightly cropped composition, giving the sense of a snapshot of modern life, was highly unconventional. In addition, his careful staging of the figures in stereotypically gendered roles – the woman having lowered her opera glasses to become the focus of attention, the man having raised his to look at someone else in the audience – creates an intriguing game of gazes, surely intended to provoke comment.

Indeed, critics responded extensively to the painting. Some admired ¸é±ð²Ô´Ç¾±°ù’s new subject matter and his painterly technique, praising his ‘qualities of observation and remarkable qualities of colour.’ However, several reviewers were troubled by the appearance of ¸é±ð²Ô´Ç¾±°ù’s couple, especially the woman. They were concerned that she was not a respectably married member of fine society but rather a victim of fashion, overly dressed and excessively made-up, trying to push her way onto the social scene.

Although new to painting in 1874, theatre box subjects were a familiar feature of French fashion magazines, where they provided a stage for illustrations of women modelling the latest evening wear. Loges were also often pictured in satirical journals as a setting to poke fun at their occupants’ social foibles or romantic liaisons. ¸é±ð²Ô´Ç¾±°ù’s La Loge contains aspects of both contemporary fashion and satire, but his main concern was in demonstrating his dazzling painting technique. The scene was carefully arranged in the artist’s studio, with a model called Nini Lopez posing for the woman and ¸é±ð²Ô´Ç¾±°ù’s brother, Edmond, the man, in order for Renoir to create a symphony in black and white. The bold stripes of the woman’s highly fashionable dress are a flamboyant counterpoint to the man’s similarly-coloured evening attire. His brushwork is delicate and fluent throughout. The virtuoso performance of works such as La Loge soon established Renoir as one of the leading Impressionist painters of his generation.

La Loge is on display at Musée d’Orsay (25 March – 12 July 2024) and The National Gallery of Art in Washington DC (8 Sept 2024 – 20 Jan 2025) and will return to The Courtauld Gallery in 2025.

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Two men sit across from each other at a table covered with a brown tablecloth, playing cards. Both men wear overcoats and hats, and the man on the left smokes a pipe. They sit inside a wooden building. i Paul Cézanne (1839-1906) The Card Players, around 1892-96, The Courtauld, London (Samuel Courtauld Trust)

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