Renoir completes La Loge (also titled The Theatre Box), a modern-life scene that connects his Impressionist circle to contemporary Parisian leisure and spectatorship.
Renoir participates in the first independent exhibition organized by the Société anonyme des artistes, held at Nadar’s former studio—an institutional break that helped define Impressionism’s public emergence.
Renoir resides on Rue Cortot in Montmartre (site of today’s Musée de Montmartre), placing him at the center of the hill’s semi-rural gardens, studios, and popular dance culture he would paint repeatedly.
In a key early Seine subject at Chatou’s Maison Fournaise, Renoir develops the social, riverbank modernity that will culminate in his later boating-party compositions.
Renoir paints his large Montmartre dance scene—an ambitious plein-air figure painting rooted in the local leisure of the Butte and its outdoor venues.
Painted in the Montmartre gardens associated with Rue Cortot, The Swing links Renoir’s intimate figure studies to the same outdoor light and sociability explored in his nearby Moulin de la Galette scenes.
Renoir depicts the garden environment of Rue Cortot, recording Montmartre’s “village” atmosphere and the cultivated outdoor spaces that supported his summer painting practice.
Renoir exhibits Bal du moulin de la Galette at the third group show, where it was promoted as a prominent work within the evolving public identity of “Impressionists.”
Renoir starts The Umbrellas around 1880–81 and later reworks it, making the canvas a well-known marker of his stylistic transition across the early-to-mid 1880s.
Renoir completes his celebrated Seine-side group portrait on the balcony of Maison Fournaise in Chatou—an apex of his river leisure subjects and social circle portraiture.
Renoir paints Two Sisters (On the Terrace) overlooking the Seine; the work remains closely linked to the same Chatou setting and friendships that shaped his major boating scenes.
Renoir exhibits Luncheon of the Boating Party at the Paris Salon of 1882, bringing a quintessential Seine leisure image into the official exhibition system.
Renoir returns to exhibit in the seventh Impressionist exhibition, widely described as among the most characteristically “Impressionist” of the group’s shows, as key artists (including Monet and Sisley) also rejoin.
By the mid-1880s, works begun earlier in the decade (notably The Umbrellas) were still being reworked, reflecting Renoir’s move away from his earlier Montmartre-and-Seine Impressionist manner toward more structured approaches.
Pierre-Auguste Renoir in Montmartre and the Seine (1874–1884)
