Who painted The Dancer?

The Dancer was painted by Pierre-Auguste Renoir in 1874.

Where can I see The Dancer?

The Dancer is held by National Gallery of Art.

What movement is The Dancer?

The Dancer is associated with Impressionism.

Can I buy a print of The Dancer?

Museum-quality prints of The Dancer are available made-to-order from Artifact World Gallery.

The Dancer by Pierre-Auguste Renoir (1874)

Inscription: Inscribed:lower right: A. Renoir. 74.

About this work

Subject & Meaning

Exhibited at the first Impressionist exhibition in 1874, the work exemplifies the movement's interest in contemporary urban leisure and performance.

The painting depicts a young ballet dancer, portrayed standing in the classical fifth position before a blue-green background. She wears a sky-blue tutu, a choker, and a bracelet, with her blond hair falling waist-length. Her head is turned to the left, and she directly engages the viewer with her gaze.

The model was likely the actress Henriette Henriot. Exhibited at the first Impressionist exhibition in 1874, the work exemplifies the movement's interest in contemporary urban leisure and performance. As a portrait, it captures a fleeting moment of the dancer's poised posture, emphasizing grace and the theatricality of the ballet world.

Technique & Style

Executed in oil on canvas, The Dancer (1874) exemplifies Renoir's Impressionist technique. The vertical composition depicts a young ballet dancer standing in the classical fifth position, her head turned to the left and gaze meeting the viewer. Renoir employs broad, visible brushwork to render the sky-blue tutu and the blue-green background, characteristic of the Impressionist interest in capturing light and movement.

The portrait likely models actress Henriette Henriot, depicted with blond hair, a bracelet, a choker, and a handkerchief, set against a softly modulated ground. The handling emphasizes color harmony and loose facture over meticulous detail, creating a sense of spontaneity and elegance consistent with the artist's early Impressionist works.

History & Provenance

Painted in 1874, the work was first exhibited that same year at the inaugural Impressionist exhibition in Paris. It was initially with the dealer Durand-Ruel et Cie before being sold on 17 May 1878 to collector Charles Deudon. After his death, the painting passed to his cousin Eugène Deudon, who sold it on 8 March 1899 to Paul Durand-Ruel for his private collection.

The painting remained in the Durand-Ruel family until it was acquired by the Estate of Peter A.B. Widener (by 1925). Joseph E. Widener then gifted it to the National Gallery of Art in Washington, D.C., in 1942, where it remains.

The painting is held by the National Gallery of Art in Washington, D.C., to which it was gifted in 1942. Its exhibition history includes the first Impressionist exhibition in Paris in 1874 and the later exhibition “Discovering the Impressionists: Paul Durand-Ruel and the New Painting.” No inventory or accession number is recorded in the provided sources.

Context

Debuting at the seminal first Impressionist exhibition in 1874, The Dancer occupies a key place in the movement's early history. Scholars have identified the sitter as likely the actress Henriette Henriot, a model Renoir frequently employed, linking the work to his broader practice of portraying modern Parisian life. Its presentation at that landmark exhibition firmly situates the painting within the foundational moment of Impressionism, while its subsequent trajectory through the collections of Charles Deudon and Paul Durand-Ruel underscores the commercial networks that sustained the avant-garde.

The work thus exemplifies both Renoir's early Impressionist portraiture and the historical shift in taste that the movement catalyzed.

Overview

Pierre-Auguste Renoir's oil painting, The Dancer, created in 1874, depicts a young ballerina in a practice room. This significant work was among the seven pieces Renoir presented at the groundbreaking first Impressionist exhibition in Paris. Measuring 142.5 by 94.5 centimeters, the canvas captures a moment of quiet preparation, showcasing the artist's early engagement with modern subjects and innovative painting techniques. Its initial reception was notably more favorable than many other works in the controversial 1874 show.