Auguste Renoir

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Luncheon of the Boating Party. Friends at lunch on the balcony of the Fournaise restaurant on the Seine, wine and fruit on the table, Caillebotte seated at the lower right and Aline Charigot, his wife to be, playing with the dog. Shown in 1882, where three critics called it the best picture in the exhibition; it hangs today in Washington.

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Bal du moulin de la Galette. A Sunday crowd dancing and drinking at the open-air ball of Montmartre, the sunlight broken through the trees over hats and jackets: the snapshot of real life of his early maturity, and among the most loved of all Impressionist canvases.

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The Umbrellas. A boulevard crowded under umbrellas, a mother and daughters on one side in feathery Impressionist touch, on the other figures redrawn with hard outline years later: one picture holding the whole change of his art in the 1880s.

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Dance at Bougival. Two dancers turning among café tables in a village on the Seine just outside Paris, the pair so caught mid-step that the viewer seems to be standing among them. One of three dance canvases commissioned by Durand-Ruel, closing the group that counts as his last foray in Impressionism.

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Girls at the Piano. Two girls at the keyboard of a bourgeois parlour, the seated one in white and blue, her friend in pink leaning close over the music. Painted in 1892 for the Musée du Luxembourg, and repeated for dealer after dealer; versions hang in Paris and New York.

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Dance in the Country. A couple whirling in the open air, a straw hat knocked back, the woman modelled by Aline Charigot, later his wife: the country member of Durand-Ruel's dance commission of 1882, kept by the dealer until the painter died.

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Dance in the City. Its city twin: the same year, the same dealer, the same turn of a dance, now in evening dress and ballroom light. The dancers are Suzanne Valadon, herself a painter, and Renoir's friend Paul Lhôte.

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Lise with a Parasol. Lise Tréhot in a white muslin dress in a wood, a black lace parasol over her shoulder, the sun filtering through the leaves onto the dress while the face stays in shadow. Accepted by the Salon of 1868, it was his first real success with the critics.

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The Bathers. Two nudes lying in the foreground, three more bathers beyond, in the garden of his house at Cagnes: the great summation of his last years, painted between 1918 and 1919, one of the models his son Jean's wife. His sons gave it to France in 1923.

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Portrait of the actress Jeanne Samary. A young actress of the Comédie-Française, fresh from her début in Tartuffe, seated in a daydream of reds and roses. He painted her more than once; this portrait met a largely negative reception where it was shown, and it passed into Morozov's Moscow collection, later seized by the Soviet state.

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La Balançoire. A woman on a swing under the trees of what is now the Musée de Montmartre's garden, with Jeanne Samary, the engraver Goeneutte and the painter's brother Edmond about her. Painted the same summer as the Moulin de la Galette and bought from the 1877 exhibition by Caillebotte.

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Claude Monet. Monet painting, in 1875, bandbox hat and beard, a portrait of one Impressionist by the friend who worked beside him on the Seine. It hangs at the Musée d'Orsay.

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Portrait of Frédéric Bazille Painting. Bazille at his easel working on a still life of a heron, painted in 1867 in answer to Bazille's portrait of Renoir from the same year. Owned by the Musée d'Orsay, it has been deposited at the Musée Fabre in Montpellier, where Bazille was born.

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In the Summer. Lise Tréhot at about twenty, informally posed in full summer light, from 1868: his companion through the late 1860s and the most painted woman of his early years.

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La Promenade. A young couple on a woodland path, he in a boater, she usually taken for Lise again: an early Impressionist picture of 1870, rococo romance refreshed by Monet, now at the Getty.

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Portrait of Adèle Besson. The wife of the critic George Besson, painted in 1918 in the full-fleshed late manner: part of the Bessons' bequest to the museum at Besançon.

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Nude woman, Anna. A seated nude of 1876, one of the many he made of the human body from his first years to his last, its soft stroke built to flatter flesh. It hangs in Moscow.

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Young Girls in Black. Two young women in dark dresses, about 1880 to 1882, sitting their idle hour out. Once in Shchukin's collection, it reached the Pushkin Museum in 1948.