An exhibition at London’s National Gallery is offering a fresh perspective on the early work of Pierre-Auguste Renoir, challenging longstanding criticism of the French impressionist known chiefly for his sentimental portraits and nudes. Titled "Renoir and Love," the show marks the institution’s first major Renoir presentation in two decades and is organized in partnership with the Musée d’Orsay in Paris and the Museum of Fine Arts in Boston.

Renoir’s artistic reputation has often been undermined by detractors who view his tender depictions of rosy-cheeked women and passive nudes as overly sentimental or even superficial. The painter has also faced criticism from contemporaries and later artists; for instance, Edgar Degas reportedly held mixed opinions, while Mary Cassatt commented unfavorably on his portrayal of women. More recently, a satirical social media account and public incidents involving stolen Renoir works have fueled negative narratives around his legacy.

The new exhibition deliberately sidesteps Renoir’s later, more controversial nudes—paintings created in his old age that many consider technically weaker or indulgent—by focusing instead on his earlier oeuvre, ending with works from the 1880s before that period began. It features relatively few nudes, reflecting Renoir’s tendency to address themes of love with innocence and subtlety rather than overt sensuality. The gallery’s presentation includes pastel-colored walls and ambient bird sounds, creating an atmosphere that echoes the painter’s gentler approach to the subject matter.

A highlight of the exhibition is a near-monochrome portrait of Renoir’s friend, painter Frédéric Bazille, which demonstrates the artist’s skill in portraiture reminiscent of Édouard Manet, the painting’s first owner. Renoir’s own self-portrait reveals a more vulnerable and earnest side of the artist, contrasting with the pleasure-seeking image often associated with his work.

The show emphasizes Renoir’s versatility across mediums and genres, from small sketches and theatrical set designs to gothic church ceiling decorations and psychologically intense landscapes. Art historian Kaywin Feldman, in the exhibition catalogue, describes Renoir as “a dominating presence across multiple styles and genres,” a claim that the displayed works strongly support.

The exhibition also explores the complexities of Renoir’s portrayal of flesh, particularly female figures, highlighting moments when his depictions convey subtle humor and nuanced human relationships. One gallery features a group of female nudes portraying a range of emotions including coquettishness, shame, and self-consciousness. A poignant portrait of Aline Charigot, Renoir’s future wife, accompanied by a sketch of their first child, is noted as a quietly monumental centerpiece.

In addition to the paintings themselves, the exhibition employs carefully curated sound design, including Saint-Saëns’s "The Swan," which adds a layer of atmosphere and underscores Renoir’s gentle optimism and humor.

Overall, "Renoir and Love" presents a reevaluation of one of modern art’s most famous figures, moving beyond clichéd interpretations of his work to reveal a complex artist capable of innovation, emotional depth, and an enduring influence on visual culture.