16 Captivating Details About Renoir’s ‘Luncheon of the Boating Party’

Renowned as one of Pierre-Auguste Renoir’s most celebrated creations, Luncheon of the Boating Party stands out as a quintessential portrayal of an outdoor dining scene in the annals of art. The painting, set in a riverside café along the Seine, vividly encapsulates a moment of shared happiness among companions. Its historical context further enhances the allure of this iconic Impressionist piece.

Luncheon of the Boating Party marks a departure from the initial themes explored by the Impressionist movement.

During the initial phase of Impressionism, urban landscapes were a primary focus. By 1881, when Renoir completed Luncheon of the Boating Party, the movement had shifted toward suburban settings. The painting’s scene unfolds approximately a half-hour train journey from the bustling heart of Paris.

Renoir commenced work on Luncheon of the Boating Party in 1879.

According to Barbara Ehrlich White in Renoir: An Intimate Biography, Renoir spent 16 months finishing the painting, starting in September 1879. A bicycle accident in January 1880 temporarily hindered his progress, but he adapted by painting with his left hand. He humorously remarked to a friend, “Working with my left hand has been enjoyable and surprisingly effective—it might even surpass my right hand. Breaking my arm turned out to be a blessing, as it pushed me to improve.” He finalized the piece in February 1881, and his dealer purchased it for 6000 francs.

The artwork demonstrated a renewed emphasis on depth and clarity.

Roughly four years prior to crafting Luncheon of the Boating Party, Renoir produced another grand-scale work set in Paris, titled Dance at Le Moulin de la Galette (shown above). Like Luncheon, this painting depicts a lively social gathering under the sun, providing a glimpse into the everyday lives of Parisians. However, the loose brushstrokes in this 1876 artwork lend Dance a flatter aesthetic, contrasting with the more defined edges and detailed contours that give Luncheon a strikingly three-dimensional quality.

This painting stands as one of Renoir’s most expansive works.

Luncheon of the Boating Party spans 51 inches by 68 inches.

The painting drew its inspiration from a beloved French gathering spot.

The Maison Fournaise in Chatou, situated along the Seine River, was a popular spot for people from all walks of life. As shown in Luncheon of the Boating Party, the restaurant attracted a diverse crowd, including businessmen, socialites, seamstresses, and artists. Renoir was particularly captivated by the location, often painting there and selecting models from its visitors. He once remarked, “I was constantly drawn to Fournaise, where I found an abundance of remarkable women to paint.”

Today, the restaurant remains open to visitors.

Although Maison Fournaise closed in 1906, its cultural significance prompted the community of Chatou to initiate a restoration in 1990, reviving the restaurant to its original splendor. It now features a museum and a craft shop dedicated to its Impressionist legacy.

Luncheon of the Boating Party serves as a tribute to Renoir’s closest companions.

Renoir created the artwork both at the restaurant and in his studio, where he individually posed his models—who were also his close friends. In the background, wearing a top hat, is the prominent art collector and historian Charles Ephrussi, engaged in conversation with poet Jules Laforgue. On the right side, Renoir’s acquaintances Eugène Pierre Lestringuez and Paul Lhote are playfully interacting with the famous actress Jeanne Samary. Meanwhile, Gustave Caillebotte, a wealthy patron and fellow artist, sits in the lower right corner, chatting with actress Angèle Legault and Italian journalist Adrien Maggiolo.

Elizabeth Steele, head of conservation at the Phillips Collection, which houses the painting, explained to Washington City Paper in 2017, “While it seems Renoir captured a spontaneous moment—which he masterfully achieved—the process involved meticulous effort. Nearly every figure and object on the table underwent adjustments or refinements.”

The young woman holding the puppy later became Renoir’s wife and a frequent subject in his works...

Aline Charigot, a seamstress by profession, became Renoir’s muse and the love of his life. Their passionate relationship led to the birth of their son, Pierre, in 1885, and they married in 1890. Throughout their time together, Renoir frequently immortalized her in his art, creating pieces such as Boating Couple, Madame Renoir With a Dog, and Motherhood.

... However, her presence in the painting was unplanned.

Intriguingly, Charigot was not initially part of The Luncheon of the Boating Party. Eliza Rathbone, curator emerita at the Phillips Collection, explained to Washington City Paper, “Charigot replaced another figure in the painting after Renoir grew frustrated with the original model. The exact reasons remain unclear—perhaps she was often late or uncooperative. Renoir even referred to her as a ‘tart’ and found her entirely unhelpful.” Renoir painted over the original figure, substituting her with Charigot and her dog.

The Fournaise family is prominently featured in the painting.

Alphonse Fournaise established the Maison Fournaise in 1860. Two decades later, its elegance was immortalized, along with his children, all of whom shared his name. The woman leaning on the terrace railing is believed to be Alphonsine Fournaise, while her brother, Alphonse Fournaise, Jr., can be seen resting against the same railing in the lower left corner.

A well-known socialite makes a subtle cameo in the artwork.

In the scene, Baron Raoul Barbier, the former mayor of colonial Saigon, is depicted wearing a bowler hat with his back turned to the viewer, playfully engaging with Miss Fournaise.

The woman holding the glass is a famous actress and frequent model.

Ellen Andrée takes center stage in the painting, standing alone amidst the crowd, engaged in no conversation. The French actress is renowned for her work as a model for Impressionist legends, featuring in Luncheon of the Boating Party, Édouard Manet’s The Plum, and Edgar Degas’s provocative L’Absinthe. Her posture in Luncheon also influenced a key moment in the celebrated 2001 French film Amelie (shown above).

Luncheon of the Boating Party captures a transformation in French society.

The blending of individuals from diverse backgrounds in the painting mirrors the fading class distinctions in French culture, giving rise to a new middle class.

The painting was met with acclaim upon its debut.

Luncheon of the Boating Party premiered in 1882 at the Seventh Impressionist Exhibition, where three critics praised it as the standout work of the event. Paul de Charry noted in Le Pays, “It is vibrant and unrestrained without crossing into vulgarity,” while Armand Silvestre hailed it as “one of Renoir’s finest achievements … It stands among the most exquisite creations of this rebellious art movement by independent artists.”

A passionate admirer brought this French treasure to the United States.

After losing his brother and father within a year of each other, Duncan Phillips, an American art collector and founder of Washington D.C.’s Phillips Collection—the first modern art museum in America—attended a New York City exhibition where he encountered Luncheon of the Boating Party. The painting deeply moved him, sparking an obsession.

At the time, the artwork belonged to the private collection of Renoir’s patron, Paul Durand-Ruel. After Durand-Ruel’s death in 1922, his sons decided to sell the piece, and Phillips acquired it for $125,000 (equivalent to about $2.3 million today). He traveled to France to finalize the purchase, dedicating his entire annual art budget to this single masterpiece.

Phillips was determined to introduce this evolving art form to America, viewing Luncheon of the Boating Party not only as a crown jewel of his collection but also as “one of the world’s greatest paintings.” Rumor has it that fellow collector Dr. Albert C. Barnes once remarked to Phillips, “That’s the only Renoir you own, isn’t it?” to which Phillips replied, “It’s the only one I’ll ever need.”

A Hollywood icon once dreamed of stealing Luncheon of the Boating Party.

Edward G. Robinson, a Hollywood icon celebrated for his roles as gangsters in classics like Key Largo (1948) and Little Caesar (1931), was also a devoted art lover. He once remarked, “For more than three decades, I frequently visited a Washington museum to gaze at Renoir’s Luncheon of the Boating Party, spending countless hours in front of that breathtaking masterpiece, dreaming up schemes to steal it.”