Ralph Flint, "The Private Collection of Josef Stransky", Art News (May 16, 1931), vol. 279, plate 70Īmbroise Vollard, Auguste Renoir (Paris, France, 1920), repr. Publication HistoryĪmbroise Vollard, Tableaux, Pastels et dessins de Pierre-Auguste Renoir (Paris, France, 1918), vol. To request a higher resolution file of this image, please submit an online request. The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. , sold to Maurice Wertheim, 1947, bequest to Fogg Art Museum, 1951.Īcquisition and Rights Credit Line Harvard Art Museums/Fogg Museum, Bequest from the Collection of Maurice Wertheim, Class of 1906 Accession Year 1951 Object Number 1951.61 Division European and American Art Contact THIS WORK HAS SIGNIFICANT LOAN RESTRICTIONS BY THE TERMS OF ITS ACQUISITION TO THE HARVARD ART MUSEUMS. Inscription: On stretcher, handwritten in red chalk: M 9-a Inscription: On center of stretcher, handwritten in blue chalk: 1/CA2764 Inscription: On center of stretcher, handwritten in black or blue crayon: PH1147 Inscription: On center of stretcher, handwritten in graphite: 1159 Stamp: On back of canvas and again on stretcher, stenciled in black ink: DOUANE / PARIS / CENTRALE View this object's location on our interactive map Physical Descriptions Medium Oil on canvas Dimensions 73.3 x 57.3 cm (28 7/8 x 22 9/16 in.)įramed: 98.4 x 82.3 x 7.2 cm (38 3/4 x 32 3/8 x 2 13/16 in.) Inscriptions and Marks Level 1, Room 1220, European Art, 19th–20th century, Collection of Maurice Wertheim, Class of 1906 Painting Date 1876 Culture French Persistent Link Location Title Self-Portrait Classification Paintings Work Type Identification and Creation Object Number 1951.61 People Pierre-Auguste Renoir, French (Limoges 1841 - 1919 Cagnes) Wertheim purchased it in 1946, just a month after acquiring Renoir’s Seated Bather, which hangs in this gallery. The first owner of this painting was Ambroise Vollard, a renowned Parisian dealer and close friend of the artist. His face, however, is portrayed with amiable intimacy and subtlety. Covering most of this canvas with sketchy, large brushstrokes, Renoir renders parts of the composition perfunctorily, leaving the position of his right arm unresolved and his palette and brushes barely discernible. By 1876, he had participated in the first and second impressionist exhibitions and was working on the large, ambitious painting that would become one of his greatest masterpieces, Dance at the Moulin de la Galette. In the first flush of major success as an artist, Renoir depicts himself in front of an easel.