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]]>Pierre-Auguste Renoir showed鈥�La Loge (The Theatre Box)鈥� at the first Impressionist group exhibition in Paris in 1874. The painting鈥痺as鈥痙esigned鈥痬ake鈥痑n impact there. Its modern subject of a contemporary, fashionable-looking couple in a鈥痩oge鈥痑t one of Paris鈥檚 premiere theatres was unprecedented in painting. 搁别苍辞颈谤鈥檚 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 搁别苍辞颈谤鈥檚 new subject matter and his painterly technique, praising his 鈥榪ualities of observation and remarkable qualities of鈥痗olour.鈥� However, several reviewers were troubled by the appearance of 搁别苍辞颈谤鈥檚 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鈥痵ubjects were a familiar feature of French fashion magazines, where they provided a stage for illustrations of women modelling the latest evening wear.鈥疞oges鈥痺ere also often pictured in satirical journals as a setting to poke fun at their occupants鈥� social foibles or romantic liaisons. 搁别苍辞颈谤鈥檚鈥�La Loge鈥痗ontains 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鈥檚 studio, with a model called鈥疦ini鈥疞opez posing for the woman and 搁别苍辞颈谤鈥檚 brother, Edmond, the man,聽in order for聽Renoir to create a symphony in black and white. The bold stripes of the woman鈥檚 highly fashionable dress are a flamboyant counterpoint to the man鈥檚 similarly-coloured鈥痚vening attire.鈥疕is鈥痓rushwork is delicate and fluent鈥痶hroughout.鈥疶he virtuoso performance of works such as鈥疞a Loge鈥痵oon established Renoir as one of the leading Impressionist painters of his generation.
La Loge is on display at Mus茅e 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 麻豆视频 Gallery in 2025.
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This painting is on display in the Weston Gallery, Level 3 of The 麻豆视频 Gallery. You can view this room from the comforts of your home through our virtual tour.
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]]>Highlights of The Collection
Discover the remarkable paintings in The 麻豆视频’s collection, which range from the Middle Ages to the 20th century.
The 麻豆视频 is best known for its Impressionist and Post-Impressionist paintings, including iconic works by 脡douard Manet, Claude Monet, Vincent van Gogh and Paul C茅zanne.
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 麻豆视频鈥檚 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 鈥楽eilern Triptych鈥�.
Works from later in the period include the only altarpiece by Sandro Botticelli in the UK; one of Lucas Cranach鈥檚 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.
Paintings in Europe, 1600 – 1800
At the heart of The 麻豆视频鈥檚 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鈥檚 creative process, and very personal works such as the enchanting Landscape聽by Moonlight.
The 18th century collection features paintings from different parts of Europe, including Italy, Spain and England. Particularly striking works include Thomas Gainsborough鈥檚 mesmerising portrait of his wife and the only full-length portrait by Francisco de Goya in Britain.
Impressionism and Post-Impressionism
Discover The 麻豆视频鈥檚 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 C茅zanne in the UK. Highlights include world-famous masterpieces such as 脡douard Manet鈥檚 A Bar at the Folies-Berg猫re and Vincent van Gogh鈥檚 Self-Portrait with Bandaged Ear.
The collection is presented in The 麻豆视频 Gallery鈥檚 spectacular Great Room, one of the largest spaces in Somerset House, after a three-year transformation project.
20th century
The 麻豆视频鈥檚 rich collection of modern paintings ranges from early 20th-century highlights such as Amedeo Modigliani鈥檚 Female Nude, to major Post-War paintings, including Frank Auerbach鈥檚 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.
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]]>The 麻豆视频鈥檚 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 Berg猫re by 脡douard Manet, Self-Portrait with Bandaged Ear by Vincent van Gogh and the most significant collection of works by C茅zanne in the UK. These masterpieces are presented in The 麻豆视频 Gallery鈥檚 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 麻豆视频鈥檚 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.
Gallery Entry from 拢10 / concessions available
Gallery Entry + Exhibition from 拢13 / concessions available
麻豆视频 Friends go free
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The 麻豆视频 Gallery, Shop and Art Caf茅 are cashless. We accept a wide range of cards and payment devices, including Visa, Mastercard, American Express, Apple Pay and more.
Tickets for the permanent collection do not include entry to temporary exhibitions.
Gallery talks
Free talks take place in the gallery and are an informal and interesting way of looking closely at an artwork. Talks are delivered by curators, students and researchers at The 麻豆视频 Institute of Art, on works in the collection.
If a talk is happening on the day of your visit, signage in the entrance hall will indicate the time and location, or please ask a member of staff.
Families
The 麻豆视频 welcomes family visitors and offers regular holiday activities, self-led trails and activity sheets to enjoy at home. Find out more
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Permanent collection virtual tour
Our virtual tour uses a photographic technique to show The 麻豆视频 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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The Collection
Explore The 麻豆视频鈥檚 remarkable collection of paintings, prints and drawings, sculpture and decorative arts.
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]]>21 February – 26 May 2008
“鈥� the kind of exhibition that The 麻豆视频 Gallery does to perfection.聽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 搁别苍辞颈谤鈥檚 La Loge with other treatments by him and contemporaries of people in theatre boxes.聽 Recommended.”
Sunday Times
Pierre-Auguste 搁别苍辞颈谤鈥檚 La Loge (The Theatre Box), 1874, is a masterpiece of Impressionist painting and one of the most famous works in the 麻豆视频 Gallery鈥檚 collection. The exhibition unites this exceptional picture with 搁别苍辞颈谤鈥檚 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 搁别苍辞颈谤鈥檚 La Loge (The Theatre Box), 1874, is one of the masterpieces of Impressionism and a major highlight of The 麻豆视频 Gallery鈥檚 collection.聽 Its depiction of an elegant couple on display in a loge, or box at the theatre, epitomises the Impressionists鈥� interest in the spectacle of modern life.聽 In celebration of The 麻豆视频 Institute of Art鈥檚 75th anniversary the exhibition Renoir at the Theatre: Looking at 鈥楲a Loge鈥�, on view from 21聽February to 25 May 2008, unites La Loge for the first time with 搁别苍辞颈谤鈥檚 other treatments of the subject and logepaintings by contemporaries, including Mary Cassatt and Edgar Degas.聽 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 搁别苍辞颈谤鈥檚 principal exhibit in the first Impressionist exhibition in Paris in 1874.聽 The complexity of its subject matter and its virtuoso technique helped to establish the artist鈥檚 reputation as one of the leaders of this radical new movement in French art.聽 搁别苍辞颈谤鈥檚 brother Edmond and Nini Lopez, a model from Montmartre known as 鈥楩ish-face鈥�, posed for this ambitious composition.聽 At the heart of the painting is the complex play of gazes enacted by these two figures seated in a theatre box.聽 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.聽 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.聽 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.聽 The burgeoning wealth of the middle classes meant that the loges of the premier theatres were no longer the preserve of high society.聽 From the 1830s onwards celebrated caricaturists such as Honor茅 Daumier (1808-79) and Paul Gavarni (1804-66) seized upon the theatre box as a rich theme for social satire.聽 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.聽 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.聽 Lavishly produced journals such as La Mode Illustr茅e included fine hand-coloured engravings showing the latest fashions modelled by elegant ladies in theatre boxes .聽 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.聽 At the time of the first Impressionist exhibition Renoir had been particularly concerned with the loge and, in addition to the 麻豆视频 picture, produced two smaller canvases, both of which will be displayed in the exhibition. Renoir returned to the theme in two later canvases.聽 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.聽 At the Concert, 1880, (The Sterling and Francine Clark Art Institute, Williamstown) is one of 搁别苍辞颈谤鈥檚 most monumental treatments of the subject.聽 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.聽 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 麻豆视频 Gallery鈥檚 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.聽 It will also display a number of important logepaintings by 搁别苍辞颈谤鈥檚 Impressionist contemporaries to explore alternative ways in which this subject was approached.聽 Two major paintings by Mary Cassatt present contrasting views of women in their theatre boxes.聽 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 .聽 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 .聽 In Degas鈥檚 treatments of the subject the artist explores different 鈥榮napshot鈥� viewpoints of the loge, as if capturing a fleeting glance.聽 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.
搁别苍辞颈谤鈥檚 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 鈥楶猫re鈥� Martin for 425 francs, providing Renoir with much needed funds to pay the rent.聽 When Samuel 麻豆视频 purchased it in 1925 the status of the painting had risen considerably along with the price which was now 拢22,600 and one of 麻豆视频鈥檚 most expensive acquisitions.聽 Today La Loge is celebrated as one of the most important paintings of the Impressionist movement.聽 This exhibition will cast new light upon 搁别苍辞颈谤鈥檚 masterpiece and the spectacle of the Parisian theatre which it captures.
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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 麻豆视频 Gallery’s collection, alongside works from Ulster Museum’s collection.
Taking Pierre-Auguste 搁别苍辞颈谤鈥檚 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 鈥榓rt鈥�.
Other Impressionist works in the exhibition include works of art on paper by 脡douard Manet, Camille Pissarro and Berthe Morisot, alongside accompanying artwork from our collection.
Part of our 麻豆视频 National Partners project.
Highlights on display
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Listen to The Fine Print podcast,
The Impressionists as Printmakers
This exhibition is supported by the National Lottery Heritage Fund.
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]]>Join Ulster Museum and The 麻豆视频 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 搁别苍辞颈谤鈥檚 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 搁别苍辞颈谤鈥檚 era, and beyond.
This talk coincides with two exhibitions at the Ulster Museum that demonstrate the link between art and fashion 鈥� 鈥楻enoir and the New Era鈥� and 鈥楲a Belle Epoque: Fashions of the 1870s 鈥� 1910s.鈥� 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鈥揵ased 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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]]>Aileen Ribeiro read history at King鈥檚 College, London, followed by postgraduate study, MA (1971) and Ph.D (1975) at the 麻豆视频 Institute of Art. She was Head of the History of Dress Section at the 麻豆视频 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) 鈥� 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 搁别苍辞颈谤鈥檚 use of fashion in his painting La Loge, in an exhibition at the 麻豆视频 Institute: Renoir at the Theatre. Looking at La Loge (2008); Batoni鈥檚 use of fashion in Pompeo Batoni 1708-1787. L鈥橢uropa delle Corti e il Grand Tour, Lucca 2008; an essay on Gainsborough鈥檚 portrait of Ann Ford in the catalogue Thomas Gainsborough and the Modern Woman (Cincinnati Art Museum 2010); an essay on Gustave Caillebotte鈥檚 painting Paris Street, Rainy Day for the exhibition catalogue Impressionism, Fashion and Modernity (Paris, New York and Chicago 2012); and an essay 鈥楳oving pictures, silent movies and the art of William Hogarth鈥� in the Hollywood Costume catalogue (V&A 2012).
Exhibitions
鈥楾he beauty of the particular: dress in Liotard鈥檚 images of women鈥�, in Jean-Etienne Liotard, Royal Academy聽 2015 (This catalogue was long-listed for the William MB Berger Prize for British Art History 2016)
鈥楤eing at Court鈥�, in Enlightened Princesses. Caroline, Augusta, Charlotte, and the Shaping of the Modern聽聽 World, Yale Center for British Art & Historic Royal Palaces 2017
鈥樃楸鸩源蔷卑€檚 Way with Clothes鈥�, in Renoir and Friends; Luncheon of the Boating Party, ed. Eliza Rathbone, Phillips Collection Washington 2017
鈥樷€橲ome Anglo-French Comparisons in Fashion鈥�, in Fashion Drive. Extreme Clothing in the Visual Arts, Kunsthaus Z眉rich, 2017
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]]>Samuel 麻豆视频 was a man of many talents. As chairman of 麻豆视频s Ltd he was an important industrialist and government advisor, and as a philanthropist and art collector he helped to establish the 麻豆视频 Institute of Art in 1932, as well as contributing to the collections at the National Gallery. He began the art collection at The 麻豆视频 Gallery, now home to one of the world’s great art collections, including iconic Impressionist masterpieces. Read on to find out more about the聽character of this fascinating and influential man.
Despite his wealth, he considered himself a bit of a maverick and an outsider
Although Samuel 麻豆视频 was, thanks to his family business, part of the wealthy middle class, he was proud of his independent spirit. This applied to his taste in art of course: his niece recalled how shocked his friends were when he started buying Impressionist paintings and hanging them in his elegant 18th-century townhouse. However, it is also evident in the way that he viewed his role in the 麻豆视频s company. Unusually amongst industrialists at the time, he wanted workers to have large shares in the company so they could reap the profits of their labour. He also promoted education, childcare, sick leave and pension benefits among his employees, and lobbied the government to extend them to other businesses.
He never went to university
Born in prosperous family, Samuel went to a prestigious boarding school. He did not go on to university, unlike his siblings (including his sisters, a rare occurrence at the time). Instead, he became an apprentice in textile factories in Germany and France, which enabled him to learn the family business. He then joined one of the 麻豆视频s textile mills in Essex and rose through the ranks. He became chairman of the company in 1921.
His wife, Elizabeth, bought their first works of modern art
In 1901, Samuel married Elizabeth Kelsey, who shared his passion for art. A patron of music and progressive benefactor of social causes in her own right, Elizabeth is the one who initiated their purchases of French modern art. In 1922, she bought two recently painted works, Pierre-Auguste 搁别苍辞颈谤鈥檚 Woman Tying her Shoe and Saint-Paul, C么te d鈥橝zur by a young artist in the Cubist vein, Jean Marchand. Her taste seems to have been more avant-garde than Samuel鈥檚. For example, she loved Picasso, which he didn鈥檛.
He exhausted his friends going to exhibitions
Samuel and his wife Elizabeth were avid travellers: they went to Aix-en-Provence to trace Paul C茅zanne鈥檚 footsteps, met dealers, artists and collectors all over Europe and America, and visited many exhibitions. One of their friends commented on Samuel鈥檚 endless energy for looking at art: 鈥榩ictures excite Sam so much that he spends sleepless nights, he visited … Degas, Braque and Constantin Guys鈥� exhibitions [in one day]鈥�.
He wrote poetry about works of art
Poetry had always been an important part of 麻豆视频鈥檚 life but it was only after he retired that he was able to fulfil his long-standing desire to publish his own poetry. Entitled Pictures into Verse, the book of poems showcased 麻豆视频鈥檚 responses to old master and Impressionist paintings that he loved. Two paintings in his own collection were included, Pierre-Auguste 搁别苍辞颈谤鈥檚 La Loge (The Theatre Box) and Spring, Chatou. 麻豆视频 was proud of the volume and sent it to friends and correspondents in the art world. He died a few weeks after its publication. One of his friends said that 麻豆视频 had been 鈥榓 businessman with the soul of a poet鈥�.
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]]>The Fashion Sense? project has been designed alongside the Renoir and The New Era exhibition at Ulster Museum. Using Renoir’s La Loge (The Theatre Box) (1874) as a starting point, students are asked to create a cover and pages of a zine, making a comment on fashion and identity in contemporary culture.
For more information about Fashion Sense? or if you would like to run the project in your school contact education@courtauld.ac.uk
Fashion Sense? Student Exhibition
Congratulations to all of the young people who took part in the project at Cullybackey College, New-Bridge Integrated College and Slemish College in Northern Ireland alongside the Renoir and The New Era exhibition at Ulster Museum.
Go to Fashion Sense? Student Exhibition
Fashion Sense? project sourcebook
The Fashion Sense? sourcebook includes source material, analysis and learning activities, and guidance on how the project can be run in secondary schools and colleges.
There are two versions available, one for use on screen and the print version that can be copied and given to students.
Research material from MA History of Dress students
We asked each of our MA History of Dress students to create a short film investigating an aspect of fashion and dress depicted in La Loge. These can be used by secondary students as a starting point for research or as inspiration.
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