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Student Artwork Guide

Reading

Name Class Date

Pierre-Auguste Renoir, Reading (1889). Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Pierre-Auguste Renoir topimpressionists.com/en/artists/pierre-auguste-renoir/
Artist’s dates
1841 – 1919
Painted
1889
Medium
Oil On Canvas
Original size
81 x 65 cm
Movement
Impressionism Painters working fast and outdoors to catch how light actually looked at one moment, rather than finishing smoothly in a studio.
Period
19th Century
Artistic style
Soft brushstrokes
Influences
Renoir, Matisse
Notable elements
Intimate scene
Subject or theme
Reading, companionship

In context

Reading — Pierre-Auguste Renoir

How big is it?

The original measures 81 × 65 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1840
  2. 1850
  3. 1860
  4. 1870
  5. 1880
  6. 1890
  7. 1900
  8. 1910

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 78 at death.

Painted when the artist was 48. The artist lived to 78. 581 of the 1184 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Pierre-Auguste Renoir (1841–1919) ▲ this work, 1889 every dated painting, decade by decade

First works: up to 1879 Main working years: 1879–1903 Late works: from 1903

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/pierre-auguste-renoir-reading-8EWQ77-en/

Colours

Measured from the image

    Main colour

    Steel Blue #7aa6d1

    Catalogued palette

    • #7AA6D1
    • #B05542
    • #CA9D9C
    • #462C31

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Dark The dominant colour family in the image.
    Main colour name
    Steel Blue
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Balanced How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Pierre-Auguste Renoir over the last twelve months — 91 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 48.2%312,400 visits
    2. 2 United States of America 9.4%60,900 visits
    3. 3 Singapore 8.9%57,400 visits
    4. 4 Hong Kong 8.7%56,400 visits
    5. 5 France 6.3%40,900 visits
    6. 6 Spain 3.0%19,700 visits
    7. 7 Italy 2.0%13,100 visits
    8. 8 Brazil 1.2%7,900 visits
    9. 9 Germany 1.0%6,500 visits
    10. 10 Romania 0.9%5,700 visits
    11. · 81 other countries 10.4%67,600 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Pierre-Auguste Renoir

    1. 1 Luncheon of the Boating Party 4.1%33,900 visits
    2. 2 The Great Bathers (The Nymphs), 1919 3.8%30,900 visits
    3. 3 Dance at the Moulin de la Galette, 1876 2.1%17,300 visits
    4. 4 After the Bath, 1888 1.9%15,400 visits
    5. 5 La Grenouillere, 1869 1.9%15,200 visits
    6. 6 Two Sisters (also known as On the Terrace), 1881 1.8%15,100 visits
    7. 7 A Bouquet of Roses, 1879 0.9%7,400 visits
    8. 8 Dance at Bougival, 1883 0.8%6,900 visits
    9. 9 Young Girls at the Piano, 1892 0.8%6,800 visits
    10. 10 Umbrellas, 1886 0.8%6,400 visits
    11. 11 A Road in Louveciennes, 1870 0.6%5,000 visits
    12. 12 Cagnes Landscape with Woman and Child, 1910 0.4%3,200 visits
    13. 13 The Sunny Street, 1900 0.3%2,800 visits
    14. 14 The Seine at Asnieres (also known as The Skiff), 1879 0.3%2,800 visits
    15. 15 Young Woman Sewing, 1879 0.3%2,800 visits
    16. 16 Children by the Sea in Guernsey, 1883 0.3%2,700 visits
    17. 17 Camille Monet and Her Son Jean in the Garden at Argenteuil, 1874 0.3%2,500 visits
    18. 18 Blonde bather, 1881 0.3%2,500 visits
    19. 19 A Box in the Theater des Varietes, 1898 0.3%2,400 visits
    20. 1242 Reading, 1889 this painting 0.0%100 visits

    Together these works take 22.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 1803 works by this artist, of which 1510 were looked at at least once. This painting ranks 1242 of them, with 0.0% of that attention (100 visits). The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Reading — Pierre-Auguste Renoir

    A Moment of Quietude: Pierre-Auguste Renoir’s “Reading”

    Pierre-Auguste Renoir's "Reading," painted in 1889, isn’t merely a depiction of two women; it’s an invitation into a sanctuary of tranquility. This Impressionist masterpiece captures a fleeting moment of shared intimacy within a softly lit room, radiating a warmth and serenity that speaks to the enduring appeal of quiet contemplation. More than just a portrait, “Reading” is a testament to Renoir's profound understanding of light, color, and the subtle nuances of human connection – elements he masterfully employed to elevate the commonplace into something truly beautiful.

    The scene unfolds with remarkable simplicity: two women are seated together, lost in the act of reading. One, positioned slightly forward, is deeply absorbed in her book, a gentle curve to her spine suggesting both comfort and engagement. Her dark hair cascades down her shoulders, framing a face that holds an expression of serene concentration. The other woman, seated beside her, observes with quiet interest, her gaze directed towards the reader – a subtle gesture hinting at shared experience and unspoken connection. The room itself is rendered in soft, diffused light, characteristic of Renoir’s Impressionistic style, where he prioritized capturing the ephemeral effects of light rather than precise detail. The background, a hazy blend of greens and ochres, recedes into an indistinct space, further emphasizing the intimacy of the immediate scene.

    The Language of Light and Color

    Renoir’s genius lies in his ability to translate visual sensations onto canvas using light and color with breathtaking subtlety. He employs a delicate palette – muted greens, warm browns, and creamy whites – creating an atmosphere that is both luminous and comforting. Notice how the light seems to emanate from within the scene itself, bathing the figures in a gentle glow. The brushstrokes are loose and fluid, almost dissolving into one another, contributing to the painting’s sense of movement and immediacy. This technique, central to Impressionism, allows the eye to wander across the canvas, absorbing the play of light and shadow with each glance.

    The use of color is particularly noteworthy. Renoir doesn't rely on stark contrasts; instead, he employs subtle gradations and harmonies, creating a sense of depth and atmosphere. The warm tones of the room – the browns and ochres – are balanced by the cool greens of the background, resulting in a harmonious composition that feels both inviting and restful.

    A Window into the Late 19th Century

    "Reading" was created during a pivotal period in Renoir’s artistic development. Following his early work with porcelain, he began to explore themes of domestic life and female subjects, reflecting the changing social landscape of late 19th-century France. This shift is evident in works like “Reading,” which captures a sense of quiet intimacy and feminine grace that was becoming increasingly valued during this era. The painting can be viewed as a subtle commentary on the evolving role of women in society – a moment of respite from the demands of public life, found within the sanctuary of home and literature.

    Furthermore, Renoir’s style aligns with broader artistic trends of the time. He was deeply influenced by artists like Claude Monet and Edgar Degas, both pioneers of Impressionism. However, unlike Monet's focus on capturing fleeting moments of light and atmosphere, Renoir often incorporated a sense of human emotion and narrative into his paintings. “Reading” exemplifies this balance – it’s a beautiful depiction of light and color, but also a poignant portrayal of two women sharing a quiet moment of connection.

    Symbolism and Emotional Resonance

    The act of reading itself carries significant symbolic weight within the painting. It represents not just intellectual pursuit, but also escape, contemplation, and connection – a shared experience that transcends individual differences. The book becomes a bridge between the two women, fostering a sense of intimacy and understanding. The relaxed posture of the figures suggests a comfortable familiarity, hinting at a long-standing friendship or perhaps even a deeper bond.

    “Reading” is more than just a pretty picture; it’s an evocative portrayal of human connection and the beauty of quiet moments. It invites us to pause, reflect, and appreciate the simple pleasures in life – a book, a companion, and a shared sanctuary of light and color. It remains a powerful reminder that even in the midst of a bustling world, there is always room for tranquility and contemplation.

    Artist and museum

    Artist

    Pierre-Auguste Renoir

    Born in Limoges, France

    A Childhood of Porcelain and Light

    In the provincial streets of Limoges, France, a young boy named Pierre-Auguste Renoir began his life immersed in the delicate precision of craftsmanship. His father was a tailor, and the family eventually moved to Paris in 1845, seeking better prospects in the bustling capital. At thirteen, necessity led him into an apprenticeship as a porcelain painter, a role that demanded a keen eye for detail and a steady hand. This early work with ceramics instilled in him a lasting appreciation for color and texture. While his days were spent decorating fine china, his spirit often wandered toward the galleries of the Louvre. There, he studied the techniques of the Old Masters, absorbing the way they handled light and form.

    The path from decorative art to the canvas was paved by a desire for something more expressive than mere reproduction. After leaving the porcelain factory, he sought formal training at the studio of Charles Gleyre. It was within this creative circle that he met fellow students such as Claude Monet, Alfred Sisley, and Frédéric Bazille. These friendships formed the bedrock of a new way of seeing. They shared a common goal to move away from the rigid rules of academic painting, preferring instead to capture the fleeting atmosphere of a moment. His early successes, like Lise with a Parasol in 1867, began to show this emerging interest in the natural world and the soft glow of outdoor light.

    The Pulse of Parisian Life

    As the years progressed, Renoir became a central figure in the movement known as Impressionism. He participated in the first exhibition of this group in 1874, displaying six paintings that challenged the traditional art establishment. His work during this period focused on the joy found in everyday social gatherings and the lively energy of the city. In works such as Dance at Le Moulin de la Galette, he used broken brushstrokes to mimic the way sunlight filters through leaves, creating a sense of movement and warmth. He did not seek grand historical narratives; rather, he looked for beauty in the simple pleasure of a summer afternoon or a group of friends enjoying a meal.

    The subject matter of his canvases often celebrated the human form and the softness of skin. He had a particular talent for portraying feminine beauty, drawing inspiration from the sensual lines of Peter Paul Rubens and Jean-Antoine Watteau. His paintings, such as Luncheon of the Boating Party, captured the conviviality of life on the Seine, with figures bathed in a natural, luminous glow. This period of his life was defined by an embrace of the ephemeral, focusing on how light dances across fabric and settles upon a garden landscape.

    A Shift Toward Form and Final Years

    In the 1890s, Renoir’s approach to the canvas underwent a significant change. Following travels to Italy, where he studied the works of Raphael and Titian, he began to move away from the loose, blurry edges of his youth. He sought a more structured and classical method, emphasizing volume, contour, and clear lines. This transition toward a more disciplined technique is evident in his later works, such as The Great Bathers, which possess a sculptural quality. Despite the physical struggle of rheumatoid arthritis, which eventually forced him to paint with a brush attached to his hand, his dedication to his vision never wavered.

    He eventually settled in Cagnes-sur-Mer, France, at the Domaine des Collettes, a place filled with olive groves and orange trees that provided fresh inspiration. In these later years, his palette remained warm, even as his style became more formal. He continued to produce portraits, landscapes, and still lifes until his death in 1919. His legacy remains tied to his ability to find divinity in the mundane, leaving behind a body of work that continues to reflect the warmth and light of the human experience.

    Where to read more

    Find this online

    QR code linking to the download page for Reading

    topimpressionists.com/en/art/download/pierre-auguste-renoir-reading-8EWQ77-en/

    Cite this artwork

    MLA
    Renoir, Pierre-Auguste. Reading. 1889, https://topimpressionists.com/en/art/pierre-auguste-renoir-reading-8EWQ77-en/
    APA
    Renoir, Pierre-Auguste (1889). Reading [Painting]. https://topimpressionists.com/en/art/pierre-auguste-renoir-reading-8EWQ77-en/
    Chicago
    Pierre-Auguste Renoir. Reading. 1889. https://topimpressionists.com/en/art/pierre-auguste-renoir-reading-8EWQ77-en/
    Harvard
    Renoir, Pierre-Auguste (1889) Reading. Available at: https://topimpressionists.com/en/art/pierre-auguste-renoir-reading-8EWQ77-en/

    Look closely

    Reading — Pierre-Auguste Renoir

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: reading, women, renoir. Do you agree? What would you add, or take away?
    4. Look back at The Great Bathers (The Nymphs) (1919), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Impressionism: Painters working fast and outdoors to catch how light actually looked at one moment, rather than finishing smoothly in a studio. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Reading — Pierre-Auguste Renoir

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic movement is Pierre-Auguste Renoir’s ‘Reading’ primarily associated with?

      • A Cubism
      • B Impressionism
      • C Surrealism
    2. 2. According to the description, what is a key characteristic of Renoir’s style evident in ‘Reading’?

      • A Bold, geometric shapes
      • B Loose brushstrokes and an emphasis on light and color
      • C Detailed realism and meticulous rendering
    3. 3. In the painting ‘Reading’, what does the setting of a cozy room primarily suggest?

      • A A sense of urgency and excitement
      • B Intimacy, warmth, and shared learning
      • C Isolation and loneliness
    4. 4. What year was ‘Reading’ painted by Pierre-Auguste Renoir?

      • A 1860
      • B 1889
      • C 1905
    5. 5. The description mentions that Renoir’s later works, including ‘Reading’, shifted towards what kind of tone and focus?

      • A More vibrant colors and dynamic compositions
      • B Subdued tones and a focus on domestic scenes
      • C Abstract forms and non-representational imagery

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2A · 3A · 4A · 5A

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Is "Reading" by Pierre-Auguste Renoir a light or a dark artwork?

    "Reading" by Pierre-Auguste Renoir is recorded as bright, with a gentle luminance luminance.

    What is "Reading" made with, and in which style?

    In "Reading", the oil on canvas technique meets the Impressionism movement.

    What are the dimensions of the original "Reading" by Pierre-Auguste Renoir?

    The original "Reading" by Pierre-Auguste Renoir measures 81 x 65 cm.