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“I like a girl with a substantial bottom,' said Renoir, drawing in the air the size bottom he preferred.”
― Christopher Moore, Sacré Bleu: A Comedy d'Art

“يمكن للقراءة أن تصبح آفة أسوأ من الكحول والمورفين. لا ينبغي أن تتخم بالكتب، لكن لو فعلت هذا، عليك عندئذ أن تقرأ الأعمال العظيمة فقط. الكتّاب العظام يقربوننا من الطبيعة، أما الرومنتيكيون فيبعدوننا عنها. الأمر المثالي هو أن يقرأ المرء كتابا واحداً فقط طيلة حياته.
اليهود فعلوا ذلك بإخلاصهم للكتاب المقدس، والعرب مع القرآن.”
― Jean Renoir

“He had a thought that amused him. "Figures, still life, landscape, AND an animal! Zola, eat your hat!" he bellowed.”
― susan vreeland, Luncheon of the Boating Party

“We'll be fine��, Pierre-Auguste Renoir said assertively. ‘We are good artist; we know that. Remember what Baudelaire said before he died: "Nothing can be done except little by little." That is what we are doing, it is not big, but it is something!”
― Will Gompertz, What Are You Looking At?: 150 Years of Modern Art in a Nutshell

“The spring evenings had grown long, and it was hard to darken the room. They sat in their separate chairs and waited for Fassbinder, their silence a respectful preparation. They had waited this way for their meetings with Truffaut, Bergman, Visconti, Renoir, Wilder, and all the other honored guests that Jonna had chosen and enthroned–the finest present she could give her friend.”
― Tove Jansson, Fair Play

“The music began, passages of immense technical complexity fluidly bridging Caravaggio’s chiaroscuro with Renoir’s impressionism. The gloom and shadows of claustrophobic chambers contrasting with the vibrant radiance of a wide-open landscape. The realism of humanity down to its dirty nails and rotten wounds combined with the fleeting sanguinity of the moment.”
― Ella Leya, The Orphan Sky

“Jeu de Paume. C'est un petit gout, he'd said. A little taste. The hostel knew Marguerite was a gourmand; he saw the treasures she brought home each night from the boulangerie, the fromagerie, and the green market. Bread, cheese, figs: She ate every night sitting on the floor of her shared room. She was in Paris for the food, not the art, though Marguerite had always loved Renoir and this painting in particular appealed to her. She was attracted to Renoir's women, their beauty, their plump and rosy good health; this painting was alive. The umbrellas- les parapluies- gave the scene a jaunty, festive quality, almost celebratory, as people hoisted them into the air.
It's charming, Marguerite said.
A feast for the eyes, Porter said.”
― Elin Hilderbrand, The Love Season