Pierre-Auguste Renoir (1841-1919) was the only Impressionist artist to paint Orientalist themes, yet little has been written about the two journeys he took to the French North African colony of Algeria in 1881 and 1882. There he created more than two dozen stunning works, depicting exotic scenes of ancient stone mosques, milling crowds at a festival in the Casbah, and spectacular palm fronds in the botanical garden. This important book, published to accompany a traveling exhibition organized by the Sterling and Francine Clark Art Institute, assembles for the first time all of Renoir's Algerian paintings as a coherent body of work. Handsomely illustrated, the book situates Renoir's early studio Orientalism within the great tradition of French Orientalist painting. The landscapes and figure paintings Renoir completed in Algiers, several of which are previously unpublished, are discussed in the context of the topography of the city and of the ethnography of its people. Fascinating period photographs, engravings, maps, and postcards, together with an essay exploring the Algeria beyond Renoir's canvases, provide important historical and cultural background on the country and on the French presence there.

Pierre-Auguste Renoir (1841-1919) was the only Impressionist artist to paint Orientalist themes, yet little has been written about the two journeys he took to the French North African colony of Algeria in 1881 and 1882. There he created more than two dozen stunning works, depicting exotic scenes of ancient stone mosques, milling crowds at a festival in the Casbah, and spectacular palm fronds in the botanical garden. This text, published to accompany a travelling exhibition organized by the Sterling and Francine Clark Art Institute, assembles for all of Renoir's Algerian paintings as a coherent body of work. The volume situates Renoir's early studio Orientalism within the great tradition of French Orientalist painting. The landscapes and figure paintings Renoir completed in Algiers, several of which are previously unpublished, are discussed in the context of the topography of the city and of the ethnography of its people. Period photographs, engravings, maps and postcards, together with an essay exploring the Algeria beyond Renoir's canvases, provide historical and cultural background on the country and on the French presence there.

Review
“A scrupulous examination of a significant but understudied area of Renoir's oeuvre.” John House, Courtauld Institute of Art

Roger Benjamin is senior lecturer in art theory at the National Institute of the Arts and visiting fellow at the Centre for Cross-Cultural Research, Australian National University. David Prochaska is associate professor of history at the University of Illinois, Urbana-Champaign.