Study for “Young Girls Playing Volant”
Framed: 10 5/16 x 13 7/8 x 1 3/4 inches (26.19 x 35.24 x 4.45 cm)
- 127
The Bloch Collection, The Nelson-Atkins Museum of Art, Kansas City, MO, June-August 1982, no cat.
Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, The Nelson-Atkins Museum of Art, Kansas City, MO, June 9-September 9, 2007, no. 16, as Woman Leaning on Her Elbows (Femme accoudée).
This small, unfinished oil sketch illustrates Pierre-Auguste Renoir’s informal studies of friends when they visited his studio and garden. These sketches were exercises in painting spontaneously before the subject. Through rapidly applied strokes of bright color, Renoir captured the features of his subject enjoying an ordinary, everyday moment—one of the hallmarks of Impressionism. Renoir frequently united studies of multiple heads on a single canvas. Here, he included a second portrait sketch at top right.
Probably with the artist, Paris and Les Collettes, near Cagnes-sur-Mer, France, 1890-December 3, 1919;
Probably inherited by the artist’s family, Les Collettes, near Cagnes-sur-Mer, France, 1919-October 1922 [1];
Probably by descent to one of the artist’s sons, Pierre Renoir (1885-1952), Jean Renoir (1894-1979), or Claude Renoir (1901-1969), Paris and Les Collettes, near Cagnes-sur-Mer, France, 1922;
George N. Richard (1882-1972), New York, by January 20, 1965 - February 1972 [2];
Inherited by his widow, Bernice Richard (née Rougeot, 1920-1989), 1972-February 10, 1976 [3];
Purchased from Richard, through Knoedler and Co., New York, no. CA 9756, by Marion (née Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee Mission, KS, February 10, 1976-June 15, 2015;
Given by Henry W. and Marion H. Bloch to the Nelson-Atkins Museum of Art, Kansas City, MO, 2015.
NOTES:
[1] Distribution of Renoir’s paintings among his three sons did not occur until October 1922, a few months after the youngest son, Claude, came of age. Accordingly, an itemized inventory of Renoir’s paintings titled “Partage par lots” was drawn up, presumably with an indication of which painting went to which son. The “Partage par lots” is undated, however, a typed letter dated August 8, 1922 from Pierre Renoir to his cousin Eugéne suggests that it was drawn up in October 1922; see The Unknown Renoir: The Man, The Husband, The father, The Artist, Heritage Auctions, New York, September 19, 2013, lot 89007. Unfortunately, this document is not currently accessible to scholars.
[2] George N. Richard often bought and sold works through Knoedler, New York. Knoedler made an inventory and appraisal of Richard’s art collection on January 21, 1965. The painting appears as Femme Accoudée “83”, with a short description of its location and value. See appraisal, 1965, Richard, George N. Richard, Series VI.A, box 1091, folder 4, M. Knoedler and Co. records, approximately 1848-1971, , The Getty Research Institute, Los Angeles. A label on the verso of the painting reads “A83-63 Renoir” in red ballpoint and “P” in blue ballpoint (see examination report, Forrest R. Bailey, NAMA conservator, September 24, 1979, NAMA curatorial files. This number might be Richard’s inventory number and may indicate that the painting was the 83rd item purchased by him and that it was bought in 1963.
[3] See correspondence from Jack Tanzer, Knoedler and Co., New York, to Henry Bloch, Shawnee Mission, KS, January 9, 1975, NAMA curatorial files.
“The Bloch Collection,” Gallery Events (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) (June-August 1982): unpaginated.
Alice Thorson, “A final countdown: A rare showing of Impressionist paintings from the private collection of Henry and Marion Bloch is one of the inaugural exhibitions at the 165,000-square-foot glass-and-steel structure,” Kansas City Star (June 29, 2006): B1, as Women Leaning on her Elbows.
Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 10, 15, 90-93, 158, (repro.), as Woman Leaning on Her Elbows (Femme accoudée).
Alice Thorson, “First Public Exhibition: Marion and Henry Bloch’s art collection,” Kansas City Star (June 3, 2007): E4.
“Lasting Impressions: A Tribute to Marion and Henry Bloch,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2007): 11, (repro.).
Alice Thorson, “Museum to Get 29 Impressionist Works from the Bloch Collection,” The Kansas City Star (February 5, 2010): A1.
Carol Vogel, “Inside Art: Kansas City Riches,” New York Times 159, no. 54,942 (February 5, 2010): C26.
Alice Thorson, “Henry and Marion Bloch donate impressionist collection to the Nelson,” Kansas City Star (February 7, 2010): G1.
Diane Stafford, “Bloch Gift to Go for Nelson Upgrade,” Kansas City Star 135, no. 203 (April 8, 2015): A8.
“Nelson-Atkins Museum of Art Officially Accessions Bloch Impressionist Masterpieces,” Artdaily.org (July 25, 2015): http://artdaily.com/news/80246/Nelson-Atkins-Museum-of-Art-officially-accessions-Bloch-Impressionist-masterpieces#.V6oGwlKFO9.
Nancy Staab, “Van Gogh is a Go!” 435: Kansas City’s Magazine (September 2015): 76.
“Nelson-Atkins to unveil renovated Bloch Galleries of European Art in winter 2017,” Artdaily.org (July 20, 2016): http://artdaily.com/news/88852/Nelson-Atkins-to-unveil-renovated-Bloch-Galleries-of-European-Art-in-winter-2017-#.W-nfbpNKi70.
“Nelson-Atkins Museum of Art celebrates generosity of Henry Bloch with new acquisition,” Artdaily.org (October 18, 2016): http://artdaily.com/news/90923/Nelson-Atkins-Museum-of-Art-celebrates-generosity-of-Henry-Bloch-with-new-acquisition#.XL88c-TsaUk.
Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 82, (repro.), as Women Leaning on Her Elbows.
Albert Hect, “Henry Bloch’s Masterpieces Collection to Go on Display at Nelson-Atkins Museum,” Jewish Business News (February 26, 2017): http://jewishbusinessnews.com/2017/02/26/henry-bloch-masterpieces-collection.
David Frese, "Inside the Bloch Galleries: An interactive experience," Kansas City Start 137, no. 169 (March 5, 2017): 1D, 5D, (repro.), as Women Leaning on her Elbows.
“Editorial: Thank you, Henry and Marion Bloch,” Kansas City Star (March 7, 2017): http://www.kansascity.com/opinion/editorials/article137040948.html.
Hampton Stevens, “(Not Actually) 12 Things To Do During The Big 12 Tournament,” Flatland: KCPT’s Digital Magazine (March 9, 2017): http://www.flatlandkc.org/arts-culture/sports/not-actually-12-big-12-tournament/.
Laura Spencer, “The Nelson-Atkins’ Bloch Galleries feature Old Masterworks and New Technology,” KCUR (March 10, 2017): http://kcur.org/post/nelson-atkins-bloch-galleries-feature-old-masterworks-and-new-technology#stream/0.
Victoria Stapley-Brown, “Nelson-Atkins Museum’s new European art galleries come with a “love story”,” Art Newspaper (March 10, 2017): http://theartnewspaper.com/news/museums/nelson-atkins-museum-s-new-european-art-galleries-come-with-a-love-story/.
Harry Bellet, “Don du ciel pour le Musée Nelson-Atkins,” Le Monde (March 13, 2017): http://www.lemonde.fr/arts/article/2017/03/13/don-du-ciel-pour-le-musee-nelson-atkins_5093543_1655012.html.
Menachem Wecker, “Jewish Philanthropist Establishes Kansas City as Cultural Mecca,” Forward (March 14, 2017): http://forward.com/culture/365264/jewish-philanthropist-establishes-kansas-city-as-cultural-mecca/.
Juliet Helmke, “The Bloch Collection Takes up Residence in Kansas City’s Nelson Atkins Museum,” BoulinArtInfo International (March 15, 2017): http://www.blouinartinfo.com/news/story/2005267/the-bloch-collection-takes-up-residence-in-kansas-citys?utm_source=Blouin+Artinfo+Newsletters&utm_campaign=a2555adf27-Daily+Digest+03.16.2017+-+8+AM&utm_medium=email&utm_term=0_df23dbd3c6-a2555adf27-83695841.
Erich Hatala Matthes, “Digital replicas are not soulless – they help us engage with art,” Apollo: The International Art Magazine (March 23, 2017): https://www.apollo-magazine.com/digital-replicas-3d-printing-original-artworks/.
Louise Nicholson, “How Kansas City got its magnificent museum,” Apollo (April 7, 2017): https://www.apollo-magazine.com/how-kansas-city-got-its-magnificent-museum/.
Lilly Wei, “Julián Zugazagoitia: ‘Museums should generate interest and open a door that leads to further learning,’” Studio International (August 21, 2017): http://studiointernational.com/index.php/julian-zugazagoitia-director-nelson-atkins-museum-of-art-kansas-city-interview.
Robert D. Hershey Jr., “Henry Bloch, H&R Block’s cofounder, dies at 96,” Boston Globe (April 23, 2019): https://www3.bostonglobe.com/metro/obituaries/2019/04/23/henry-bloch-block-cofounder/?arc404=true.
Robert D. Hershey Jr., “Henry W. Bloch, Tax-Preparation Pioneer (and Pitchman), Is Dead at 96,” New York Times (April 23, 2019): https://www.nytimes.com/2019/04/23/obituaries/henry-w-bloch-dead.html.
Claire Selvin, “Henry Wollman Bloch, Collector and Prominent Benefactor of Nelson-Atkins Museum of Art, Is Dead at 96,” ArtNews (April 23, 2019): http://www.artnews.com/2019/04/23/henry-bloch-dead-96/.
Frank Morris, “Henry Bloch, Co-Founder Of H&R Block, Dies At 96,” npr.org (April 24, 2019): https://www.npr.org/2019/04/24/716641448/henry-bloch-co-founder-of-h-r-block-dies-at-96.
“Henry Wollman Bloch (1963-2019),” Art Forum (April 24, 2019): https://www.artforum.com/news/henry-wollman-bloch-1922-2019-79547.
Ignacio Villarreal, “Nelson-Atkins mourns loss of Henry Bloch,” ArtDaily.org (April 24, 2019): http://artdaily.com/news/113035/Nelson-Atkins-mourns-loss-of-Henry-Bloch#.XMB76qR7laQ.
Eric Adler, “Sold for $3.25 million, Bloch’s home in Mission Hills may be torn down,” Kansas City Star 141, no. 90 (December 16, 2020): 2A.
Danielle Hampton Cullen, “Pierre-Auguste Renoir, Study for “Young Girls Playing Volant”, ca. 1887,” catalogue entry, and Mary Schafer, “Pierre-Auguste Renoir, Study for “Young Girls Playing Volant”, ca. 1887,” technical entry in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, Aimee Marcereau DeGalan, ed., (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.655
