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The Renoir Girls: A Hidden History of Art, War & Betrayal
The true story of one of impressionist artist Pierre-Auguste Renoir’s most famous paintings, and an astonishing exploration of the rise and fall of a prominent French Jewish family from the Belle epoque to World War II. Paris, 1881. The artist Pierre-Auguste Renoir knocks on the door of a wealthy Jewish family’s home in the 8th arrondissement, the grandest quarter of Paris. He has arrived to paint the portrait of the family’s two youngest daughters. The parents, the Cahen d’Anvers, are bankers, collectors, philanthropists, and pillars of Parisian society. They go to balls, breed racehorses, and ride in the Bois de Boulogne with their aristocratic friends. But for the Jewish community, the undercurrents of Parisian sentiment are already moving in a sinister direction. The story of the Renoir girls will end in the duplicity and the horror of the Second World War. With an extraordinary cast of characters, from the girls themselves, their mother’s lovers, a heroic British General; from the King of Spain to Dreyfus, Proust, and Maupassant—this is a story about one of the world’s most famous pictures, The Pink and the Blue. But really it is a story about Paris—one that prefers to be hidden. With access to never-before-seen letters, diaries, and personal recollections—it is a tale of privilege, beauty, and betrayal almost lost in the shimmering memory of a vanished world.
432 pages, Kindle Edition
Published July 14, 2026
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Did Not Finish
May 5, 2026I've decided to call it, and DNF this book.
The author includes a wealth of information and a lot of details. While I did enjoy the parts of the book that followed the Cahen d'Anvers family and Renoir, I found the other parts of the book to be overwhelming.
There were paragraphs of new information and characters being introduced without any time to remember who was who.
I wish the author had narrowed down the scope to the family working with Renoir and then the history of the painting.
With so many people being introduced, it was difficult for me to connect with the individuals, which left everything feeling flat to me.
I think this could appeal to people who are interested in the time period and are looking for detailed historical information.
Thank you to Netgalley for the opportunity to read an ARC.
The author includes a wealth of information and a lot of details. While I did enjoy the parts of the book that followed the Cahen d'Anvers family and Renoir, I found the other parts of the book to be overwhelming.
There were paragraphs of new information and characters being introduced without any time to remember who was who.
I wish the author had narrowed down the scope to the family working with Renoir and then the history of the painting.
With so many people being introduced, it was difficult for me to connect with the individuals, which left everything feeling flat to me.
I think this could appeal to people who are interested in the time period and are looking for detailed historical information.
Thank you to Netgalley for the opportunity to read an ARC.
Read
May 30, 2026This story of the family of the girls portrayed in the Renoir picture is detailed and sometimes frustrating, as it spreads through so many people, and you do not get much of their internal lives. But if you stick it out to the end, you will realize that this painting holds more than one secret worth knowing about.
June 28, 2026
Thank you NetGalley and Atria Books for the ARC of "The Renoir Girls" by Catherine Ostler.
I love Renoir's work; I think he was a brilliant artist, his paintings have so much depth to them that you can look at them for hours without losing interest. I am familiar with the paintings referenced in this book and think both of them are masterpieces. On reading the synopsis of this book I was very interested. What kind of life did these beautiful children live? Unfortunately, I never found out.
50% into the book and the author was still discussing the elite French society that the Cahen d’Anvers lived in, the nobility they hobnobbed with, the clothing they wore, and the places they vacationed. The lists of opulence began to get tedious. This book could easily have been half as long as it is. This was a DNF for me at about 60%. The only point of interest I took away was the disappointing fact that Renoir himself was anti-Semitic, though he had no problem taking commissions from Jewish people. It reminded me again of the discussion of how to separate the art from the artist. I still admire his work, but my opinion of him has disintegrated.
I love Renoir's work; I think he was a brilliant artist, his paintings have so much depth to them that you can look at them for hours without losing interest. I am familiar with the paintings referenced in this book and think both of them are masterpieces. On reading the synopsis of this book I was very interested. What kind of life did these beautiful children live? Unfortunately, I never found out.
50% into the book and the author was still discussing the elite French society that the Cahen d’Anvers lived in, the nobility they hobnobbed with, the clothing they wore, and the places they vacationed. The lists of opulence began to get tedious. This book could easily have been half as long as it is. This was a DNF for me at about 60%. The only point of interest I took away was the disappointing fact that Renoir himself was anti-Semitic, though he had no problem taking commissions from Jewish people. It reminded me again of the discussion of how to separate the art from the artist. I still admire his work, but my opinion of him has disintegrated.
August 19, 2026
« "For legends attract the very best in our times, just as ideologies attract the average, and the whispered tales of gruesome secret powers behind the scenes attract the very worst." »
«What is a portrait? An exercise in likeness, a work of art, a study of character, a thing of beauty, a statement of identity? »
« It is the Future suppressed. The past will not die, and bolds bumanity fast. The thread of life is between the specter's fingers.
On one side, the people; on the other,
the crowd!
On one side light; on the other
gloom!
Choose! »
«What is a portrait? An exercise in likeness, a work of art, a study of character, a thing of beauty, a statement of identity? »
« It is the Future suppressed. The past will not die, and bolds bumanity fast. The thread of life is between the specter's fingers.
On one side, the people; on the other,
the crowd!
On one side light; on the other
gloom!
Choose! »
Read
July 20, 2026wrote a review for the Washington Post: https://www.washingtonpost.com/opinio...
August 17, 2026
Catherine Ostler’s The Renoir Girls: A Hidden History of Art, War & Betrayal is one of those books that begins with a painting and gradually reveals that the painting is really only the doorway into a much larger, darker story. Ostler takes Renoir’s famous Pink and Blue, depicting sisters Elisabeth and Alice Cahen d’Anvers, and uses it as the entry point into the glittering world of Belle Époque Paris—and then into the increasingly horrifying history of European antisemitism, political violence, war and betrayal.
The Cahen d’Anvers family were extraordinarily wealthy Jewish bankers and prominent figures in Parisian society. Their lives were filled with everything we associate with the Belle Époque: lavish parties, artists, writers, aristocrats, racehorses, opera, salons and enormous country estates. Their mother, Louise, is arguably one of the most fascinating figures in the book. Beautiful, socially ambitious and surrounded by artists and intellectuals, she moved through a world that included figures such as Marcel Proust, Guy de Maupassant and Édouard Manet. Yet there is an unsettling contradiction at the heart of this glittering society. Some of the same people who enjoyed Louise’s hospitality and benefited from her generosity held deeply antisemitic views.
This contradiction is really where Ostler’s book comes alive. The story isn't simply about three privileged girls who happened to be painted by Renoir. It is about how Jewish families could become thoroughly embedded in French high society and still discover that their acceptance was conditional. Ostler traces the development of antisemitism from the political and social turmoil of late nineteenth-century France through the Dreyfus Affair and eventually to the Holocaust. The result is a fascinating progression in which antisemitism begins almost as background noise before becoming something much more dangerous.
One of the major historical episodes is the Dreyfus Affair. Alfred Dreyfus, a Jewish French army officer, was falsely convicted of treason in 1894, and his persecution exposed just how deeply antisemitism had infected French political and cultural life. Ostler places this alongside the increasingly turbulent political climate of Europe, connecting the hatred directed toward Jews to the broader instability, nationalism and violence of the period. The book’s historical sweep actually begins much earlier, moving through the political violence following the Franco-Prussian War and the assassination of Tsar Alexander II before following the rise of revolutionary movements, nationalism and antisemitism toward the twentieth century.
The three sisters themselves eventually take very different paths. Irène, Elisabeth and Alice were all painted by Renoir as children, but their adult lives could not have been more different. Elisabeth converted to Catholicism and married into the aristocracy, seemingly giving herself another layer of protection from the antisemitism surrounding her family. Alice married the eccentric British military officer Charles Townshend and eventually escaped Europe during World War II. Irène’s story is considerably more complicated, involving accusations of collaboration during the Nazi occupation. Elisabeth, despite her conversion and aristocratic connections, was ultimately deported and murdered at Auschwitz in 1944.
That trajectory—from Renoir’s pastel-colored innocence to Auschwitz—is devastating. There is something particularly chilling about knowing the fate that awaits these people while reading about their parties, romances and extravagant homes. Ostler makes that sense of impending doom one of the book’s greatest strengths. The reader knows where history is heading, even while the characters remain immersed in their beautiful, seemingly permanent world.
I do think the title The Renoir Girls is somewhat misleading, though. I went into the book expecting the Cahen d’Anvers sisters and their relationship with Renoir to be the central focus, but the girls themselves occupy considerably less than half of the book. The actual subject is much broader: Belle Époque France, Jewish assimilation, the French elite, Impressionism, political extremism, the Dreyfus Affair, two world wars and the long, horrifying development of European antisemitism. In many ways, The Rise and Fall of a World might have been a more accurate title.
That isn't necessarily a criticism. In fact, I found the wider historical story more compelling than I expected. Ostler is particularly good at showing how hatred develops gradually, becoming normalized through gossip, newspapers, political rhetoric and social prejudice before it becomes outright persecution. What makes the book so unsettling is that the transition never feels as simple as flipping a switch. The world doesn't suddenly become monstrous. It gets there one small step at a time.
Ultimately, The Renoir Girls is less a book about three girls in a painting than it is a book about the world that produced the painting—and the world that eventually destroyed so much of what it represented. The Renoir portrait remains beautiful, but after reading Ostler’s account, that beauty becomes almost unbearable. Two little girls stand together in their pink and blue dresses, unaware of the history waiting for them. The painting preserves a moment of innocence that Europe itself would soon lose.
For me, that is what makes this book linger. It begins with art, but it ends up being about memory, identity, privilege and the terrifying fragility of belonging.
The Cahen d’Anvers family were extraordinarily wealthy Jewish bankers and prominent figures in Parisian society. Their lives were filled with everything we associate with the Belle Époque: lavish parties, artists, writers, aristocrats, racehorses, opera, salons and enormous country estates. Their mother, Louise, is arguably one of the most fascinating figures in the book. Beautiful, socially ambitious and surrounded by artists and intellectuals, she moved through a world that included figures such as Marcel Proust, Guy de Maupassant and Édouard Manet. Yet there is an unsettling contradiction at the heart of this glittering society. Some of the same people who enjoyed Louise’s hospitality and benefited from her generosity held deeply antisemitic views.
This contradiction is really where Ostler’s book comes alive. The story isn't simply about three privileged girls who happened to be painted by Renoir. It is about how Jewish families could become thoroughly embedded in French high society and still discover that their acceptance was conditional. Ostler traces the development of antisemitism from the political and social turmoil of late nineteenth-century France through the Dreyfus Affair and eventually to the Holocaust. The result is a fascinating progression in which antisemitism begins almost as background noise before becoming something much more dangerous.
One of the major historical episodes is the Dreyfus Affair. Alfred Dreyfus, a Jewish French army officer, was falsely convicted of treason in 1894, and his persecution exposed just how deeply antisemitism had infected French political and cultural life. Ostler places this alongside the increasingly turbulent political climate of Europe, connecting the hatred directed toward Jews to the broader instability, nationalism and violence of the period. The book’s historical sweep actually begins much earlier, moving through the political violence following the Franco-Prussian War and the assassination of Tsar Alexander II before following the rise of revolutionary movements, nationalism and antisemitism toward the twentieth century.
The three sisters themselves eventually take very different paths. Irène, Elisabeth and Alice were all painted by Renoir as children, but their adult lives could not have been more different. Elisabeth converted to Catholicism and married into the aristocracy, seemingly giving herself another layer of protection from the antisemitism surrounding her family. Alice married the eccentric British military officer Charles Townshend and eventually escaped Europe during World War II. Irène’s story is considerably more complicated, involving accusations of collaboration during the Nazi occupation. Elisabeth, despite her conversion and aristocratic connections, was ultimately deported and murdered at Auschwitz in 1944.
That trajectory—from Renoir’s pastel-colored innocence to Auschwitz—is devastating. There is something particularly chilling about knowing the fate that awaits these people while reading about their parties, romances and extravagant homes. Ostler makes that sense of impending doom one of the book’s greatest strengths. The reader knows where history is heading, even while the characters remain immersed in their beautiful, seemingly permanent world.
I do think the title The Renoir Girls is somewhat misleading, though. I went into the book expecting the Cahen d’Anvers sisters and their relationship with Renoir to be the central focus, but the girls themselves occupy considerably less than half of the book. The actual subject is much broader: Belle Époque France, Jewish assimilation, the French elite, Impressionism, political extremism, the Dreyfus Affair, two world wars and the long, horrifying development of European antisemitism. In many ways, The Rise and Fall of a World might have been a more accurate title.
That isn't necessarily a criticism. In fact, I found the wider historical story more compelling than I expected. Ostler is particularly good at showing how hatred develops gradually, becoming normalized through gossip, newspapers, political rhetoric and social prejudice before it becomes outright persecution. What makes the book so unsettling is that the transition never feels as simple as flipping a switch. The world doesn't suddenly become monstrous. It gets there one small step at a time.
Ultimately, The Renoir Girls is less a book about three girls in a painting than it is a book about the world that produced the painting—and the world that eventually destroyed so much of what it represented. The Renoir portrait remains beautiful, but after reading Ostler’s account, that beauty becomes almost unbearable. Two little girls stand together in their pink and blue dresses, unaware of the history waiting for them. The painting preserves a moment of innocence that Europe itself would soon lose.
For me, that is what makes this book linger. It begins with art, but it ends up being about memory, identity, privilege and the terrifying fragility of belonging.
July 28, 2026
Thanks to #NetGalley for providing me with an ARC.
This book was thoroughly researched, but I found it to be very dense and misleading. I really thought it was going to be about Renoir and the two girls in the painting, Pink and Blue. It was about their family and EVERYONE in their parents’ social circle. It was tedious reading. It was like a daily diary of every party and what people were wearing. It was pages of name dropping. I ended up skimming a lot because many of the names meant nothing to me, and it got rather boring. The last chapter was interesting (what happened to the sisters and other relatives during WWII).
The author did paint a clear picture of the anti-semitism in France.
This seemed more like a reference book. It was non-fiction, but it did not flow like other non-fiction books I’ve read.
This book was thoroughly researched, but I found it to be very dense and misleading. I really thought it was going to be about Renoir and the two girls in the painting, Pink and Blue. It was about their family and EVERYONE in their parents’ social circle. It was tedious reading. It was like a daily diary of every party and what people were wearing. It was pages of name dropping. I ended up skimming a lot because many of the names meant nothing to me, and it got rather boring. The last chapter was interesting (what happened to the sisters and other relatives during WWII).
The author did paint a clear picture of the anti-semitism in France.
This seemed more like a reference book. It was non-fiction, but it did not flow like other non-fiction books I’ve read.
August 5, 2026
Could not keep up with all the people and their social activities. Made it through a third of the book and it still hadn't revealed much about the girls or the painting.
July 17, 2026
Very disappointing... the narrator made this a painful recitation of a very boring history book.
August 1, 2026
Boring.
September 11, 2026
Had I known that The Renoir Girls is essentially a true story of antisemitism beginning in the mid 1800s and leading up to WW2 and beyond, I probably would have skipped it. I've read many similar books, and I'm a little burned out. I'm so glad I read this. Lured in by seeing Renoir in the title, I learned the fate of these girls and their family. By tracing the provenance of the painting and the family, Catherine Ostler taps into dark times for Jewish people in Europe. She shows that even the wealthy were not shielded from antisemitism and war. The accounts of opulence and name-dropping sometimes bothered me, as from the distance of time, I could see the dangers ahead for them. I loved gutsy Alice, the Renoir girl in pink. As a 64-year-old widow residing in England, she rescues two grandchildren from war-torn France. They are saved from being deported to the concentration camps.
There is so much more to this book. Ostler includes a selection of family photos and photos of Renoir's artworks. Unbelievably, Renoir's The Boating Party remained hidden away in an attic after the mother of the Renoir girls purchased it. Her husband was not a fan of Renoir's work, including the portraits of his children. Here is Ostler speaking about the book along with some of the photos.
There is so much more to this book. Ostler includes a selection of family photos and photos of Renoir's artworks. Unbelievably, Renoir's The Boating Party remained hidden away in an attic after the mother of the Renoir girls purchased it. Her husband was not a fan of Renoir's work, including the portraits of his children. Here is Ostler speaking about the book along with some of the photos.
Did Not Finish
September 25, 20269.20.2026
DNF@15%
Kindle/NetGalley [NLO]
Carnegie Audiobook
Nonfiction/History
Thank you to NetGalley, Catherine Ostler, and Atria Books for providing this ARC in exchange for an honest review.
DNF@15%
Kindle/NetGalley [NLO]
Carnegie Audiobook
Nonfiction/History
Thank you to NetGalley, Catherine Ostler, and Atria Books for providing this ARC in exchange for an honest review.
August 18, 2026
Renoir the great Impressionist paints two young sisters in "Pink And Blue," a classic work. Catherine Ostler's book traces the family and their friends and relations from the Belle Epoch to the horror of the Nazi death camps in this fascinating story. It's also a history of anti-Semitism and a warning of the rise of Facism in the current world. - BH.
July 29, 2026
The Renoir Girls: A Hidden History of Art, War & Betrayal by Catherine Ostler is a compelling work of historical nonfiction that uncovers the remarkable lives of the women connected to the celebrated French Impressionist painter Pierre-Auguste Renoir. Rather than focusing solely on Renoir's artistic achievements, Ostler turns her attention to the women who inspired, influenced, and inherited his legacy. Drawing on extensive archival research, personal letters, diaries, and historical records, she reveals a story that stretches across generations and is shaped by love, privilege, conflict, war, and betrayal. The book offers a fresh perspective on one of history's most famous artistic families, showing how personal relationships and historical upheavals often determine the fate of both people and great works of art.
The narrative begins by introducing the world surrounding Pierre-Auguste Renoir during the height of his artistic career in late nineteenth-century France. Renoir's paintings celebrated beauty, family life, and joyful everyday moments, but behind these luminous canvases existed a complex network of relationships. The women in his life—including his wife, children, daughters-in-law, granddaughters, models, and muses—were far more than background figures. They supported the artist emotionally, managed family affairs, protected his work, and became guardians of a legacy that would eventually be tested by some of the darkest events of the twentieth century. Ostler argues that understanding these women is essential to understanding the full history of the Renoir family.
As the story progresses, readers are introduced to several generations of women whose lives become deeply intertwined with the family's artistic reputation. Some marry into the Renoir family, while others are born into its remarkable legacy. Although they enjoy the cultural prestige associated with one of France's greatest painters, they also face expectations, family tensions, and difficult personal choices. Ostler portrays them as intelligent, resilient individuals navigating a world where women often had limited social and legal power. Their personal ambitions, loyalties, and relationships shape the family's future in ways that traditional art histories have often overlooked.
A major theme throughout the book is the relationship between art and inheritance. Renoir's paintings, which would later become some of the world's most valuable works of art, are not merely beautiful objects but symbols of family identity, financial security, and emotional attachment. As ownership of these masterpieces passes through generations, disagreements emerge over responsibility, preservation, and control. The paintings become both treasured heirlooms and sources of conflict, illustrating how valuable cultural objects can strengthen family bonds while also creating rivalry and mistrust. Ostler demonstrates that the history of great art often extends far beyond the studio where it was created.
The outbreak of the Second World War dramatically transforms the family's circumstances. As Nazi Germany occupies France, artworks throughout Europe become vulnerable to confiscation, forced sales, looting, and destruction. The Renoir family's collection suddenly carries not only artistic and financial value but also political significance. Ostler carefully explains how families across occupied Europe struggled to protect priceless cultural treasures while facing uncertainty, fear, and impossible moral decisions. The women at the center of the story are forced to navigate a dangerous world where trust becomes scarce and every decision may carry life-altering consequences.
War also exposes the complexities of loyalty and survival. The book avoids presenting history in simple terms of heroes and villains. Instead, Ostler explores the difficult choices individuals made under extraordinary pressure. Some family members attempt to preserve both their loved ones and their artistic inheritance, while others find themselves caught between competing responsibilities and shifting political realities. Questions of collaboration, resistance, silence, and self-preservation emerge repeatedly, showing that history is often shaped by circumstances far more complicated than later generations might assume. These moral ambiguities give the narrative emotional depth and historical realism.
Betrayal forms another central thread running through the story. The betrayals depicted are not limited to wartime politics but also include personal relationships, family disagreements, broken trust, and hidden secrets that remain concealed for decades. Ostler gradually uncovers these forgotten episodes through meticulous research, revealing how unresolved conflicts continued to influence later generations. The emotional consequences of these betrayals prove just as significant as their financial or legal effects, reminding readers that family history is often defined by both affection and misunderstanding. Even as years pass, the legacy of past decisions continues to shape the lives of descendants.
Alongside its historical narrative, the book explores the evolving role of women within both family and society. Many of the Renoir women are expected to preserve traditions, support male relatives, and quietly manage domestic responsibilities. Yet Ostler demonstrates that they exercised considerable influence behind the scenes, making critical decisions about property, inheritance, relationships, and the preservation of artistic heritage. Their resilience, intelligence, and determination become increasingly evident as the story unfolds. By bringing their experiences into focus, the author challenges traditional histories that have concentrated primarily on celebrated male artists while overlooking the contributions of the women around them.
The book also reflects on the enduring importance of memory and historical research. Ostler pieces together forgotten letters, photographs, official documents, and family records to reconstruct lives that had largely disappeared from public attention. In doing so, she illustrates how history is rarely complete and how new discoveries can reshape familiar narratives. The Renoir family's story becomes an example of how personal archives and overlooked voices can transform our understanding of cultural history. Rather than presenting art as something separate from everyday life, the book shows that paintings carry the emotions, relationships, and struggles of the people who created and protected them.
Ultimately, The Renoir Girls: A Hidden History of Art, War & Betrayal is much more than a biography of an artist's family. Catherine Ostler combines art history, family biography, and wartime history into a richly detailed narrative that reveals the human stories behind some of the world's most admired paintings. By focusing on the women whose lives were intertwined with Renoir's legacy, she uncovers a history filled with love, sacrifice, courage, conflict, and resilience. The book reminds readers that great works of art do not exist in isolation—they pass through generations shaped by the people who preserve them, fight for them, and sometimes lose them. In bringing these hidden lives to light, Ostler offers a thoughtful exploration of how family, history, and culture become inseparable, leaving readers with a deeper appreciation for both the enduring power of art and the remarkable individuals whose stories have too often remained untold.
The narrative begins by introducing the world surrounding Pierre-Auguste Renoir during the height of his artistic career in late nineteenth-century France. Renoir's paintings celebrated beauty, family life, and joyful everyday moments, but behind these luminous canvases existed a complex network of relationships. The women in his life—including his wife, children, daughters-in-law, granddaughters, models, and muses—were far more than background figures. They supported the artist emotionally, managed family affairs, protected his work, and became guardians of a legacy that would eventually be tested by some of the darkest events of the twentieth century. Ostler argues that understanding these women is essential to understanding the full history of the Renoir family.
As the story progresses, readers are introduced to several generations of women whose lives become deeply intertwined with the family's artistic reputation. Some marry into the Renoir family, while others are born into its remarkable legacy. Although they enjoy the cultural prestige associated with one of France's greatest painters, they also face expectations, family tensions, and difficult personal choices. Ostler portrays them as intelligent, resilient individuals navigating a world where women often had limited social and legal power. Their personal ambitions, loyalties, and relationships shape the family's future in ways that traditional art histories have often overlooked.
A major theme throughout the book is the relationship between art and inheritance. Renoir's paintings, which would later become some of the world's most valuable works of art, are not merely beautiful objects but symbols of family identity, financial security, and emotional attachment. As ownership of these masterpieces passes through generations, disagreements emerge over responsibility, preservation, and control. The paintings become both treasured heirlooms and sources of conflict, illustrating how valuable cultural objects can strengthen family bonds while also creating rivalry and mistrust. Ostler demonstrates that the history of great art often extends far beyond the studio where it was created.
The outbreak of the Second World War dramatically transforms the family's circumstances. As Nazi Germany occupies France, artworks throughout Europe become vulnerable to confiscation, forced sales, looting, and destruction. The Renoir family's collection suddenly carries not only artistic and financial value but also political significance. Ostler carefully explains how families across occupied Europe struggled to protect priceless cultural treasures while facing uncertainty, fear, and impossible moral decisions. The women at the center of the story are forced to navigate a dangerous world where trust becomes scarce and every decision may carry life-altering consequences.
War also exposes the complexities of loyalty and survival. The book avoids presenting history in simple terms of heroes and villains. Instead, Ostler explores the difficult choices individuals made under extraordinary pressure. Some family members attempt to preserve both their loved ones and their artistic inheritance, while others find themselves caught between competing responsibilities and shifting political realities. Questions of collaboration, resistance, silence, and self-preservation emerge repeatedly, showing that history is often shaped by circumstances far more complicated than later generations might assume. These moral ambiguities give the narrative emotional depth and historical realism.
Betrayal forms another central thread running through the story. The betrayals depicted are not limited to wartime politics but also include personal relationships, family disagreements, broken trust, and hidden secrets that remain concealed for decades. Ostler gradually uncovers these forgotten episodes through meticulous research, revealing how unresolved conflicts continued to influence later generations. The emotional consequences of these betrayals prove just as significant as their financial or legal effects, reminding readers that family history is often defined by both affection and misunderstanding. Even as years pass, the legacy of past decisions continues to shape the lives of descendants.
Alongside its historical narrative, the book explores the evolving role of women within both family and society. Many of the Renoir women are expected to preserve traditions, support male relatives, and quietly manage domestic responsibilities. Yet Ostler demonstrates that they exercised considerable influence behind the scenes, making critical decisions about property, inheritance, relationships, and the preservation of artistic heritage. Their resilience, intelligence, and determination become increasingly evident as the story unfolds. By bringing their experiences into focus, the author challenges traditional histories that have concentrated primarily on celebrated male artists while overlooking the contributions of the women around them.
The book also reflects on the enduring importance of memory and historical research. Ostler pieces together forgotten letters, photographs, official documents, and family records to reconstruct lives that had largely disappeared from public attention. In doing so, she illustrates how history is rarely complete and how new discoveries can reshape familiar narratives. The Renoir family's story becomes an example of how personal archives and overlooked voices can transform our understanding of cultural history. Rather than presenting art as something separate from everyday life, the book shows that paintings carry the emotions, relationships, and struggles of the people who created and protected them.
Ultimately, The Renoir Girls: A Hidden History of Art, War & Betrayal is much more than a biography of an artist's family. Catherine Ostler combines art history, family biography, and wartime history into a richly detailed narrative that reveals the human stories behind some of the world's most admired paintings. By focusing on the women whose lives were intertwined with Renoir's legacy, she uncovers a history filled with love, sacrifice, courage, conflict, and resilience. The book reminds readers that great works of art do not exist in isolation—they pass through generations shaped by the people who preserve them, fight for them, and sometimes lose them. In bringing these hidden lives to light, Ostler offers a thoughtful exploration of how family, history, and culture become inseparable, leaving readers with a deeper appreciation for both the enduring power of art and the remarkable individuals whose stories have too often remained untold.
Review of advance copy received from NetGalley
Ostler did an excellent job of researching this work. The high level of detail opened a French perspective on many historical events (e.g., WWI and WWII) centered around a single aristocratic family. The writing was also so emotive, and I was truly emotional at the end as Ostler described the movement from Paris to Auschwitz. I had tears in my eyes.
I also really appreciated that Ostler examined the interpersonal dynamics within the Cahen d’Anvers family. I found the findings in the Epilogue and the exploration of Irène's legacy within her family the most interesting parts of the book. I do wish that there had been a few more pieces of information or interviews regarding the rest of the family members about Irène, but the few glimpses that were present in the text spoke volumes.
Where this book fell short for me was in the structure. The book is broken up into three parts, which appear to be the early Cahen d’Anvers family history/Renoir's influence on art, the development of the family and Renoir's work with the family, and the outcome of the family after WWII. However, this breakdown felt in tension with what I considered the three components of the book: a biography of Renoir, the Cahen d’Anvers family, and French history. As a result, many of the facts presented in this work felt muddled and confused. For example, the reader was often introduced to the aristocratic and political people that the Cahen d’Anvers were associated with, or that played a role in French history. While this was interesting, I often felt lost about where these relationships linked to the Cahen d’Anvers, as they were also a large family.
I also felt that Renoir's biography was well integrated at the start of the story to set the stage for how he came to paint the daughters of the Cahen d’Anvers, but it seemed to just peter out. Now that I've finished the book, I could not tell you if it mentions his death (it might), but it did mention some of his romantic entanglements and friendships.
Additionally, I think that Ostler's exploration of Jewish heritage and how specifically for the Cahen d’Anvers it impacted them during the German occupation of France was beautifully written. She was able to capture the fear and unease of those living through those experiences on the page. I think that the complexity of this discussion, even though it was sometimes eclipsed by the larger French history details, did allow a unique look at how certain members of a family could survive, and others could not.
Overall, this book was interesting. If you look at it simply as a historical work that follows the life of a painting (i.e., Renoir's "Pink and Blue"), I think that it makes coherent sense. However, if you are looking for a biography of Elizabeth and Alice Cahen D'Anvers, you may be slightly disappointed. The biographical information is there, it is just somewhat hidden within a larger context that sometimes subsumes the information.
Thank you to NetGalley and Atria Books for a free copy of this book in exchange for an honest review.
CONTENT WARNINGS
Graphic: Animal death, Child death, Death, Infidelity, Antisemitism, Death of parent, War, Injury/Injury detail, Classism
Moderate: Emotional abuse, Pregnancy
I also really appreciated that Ostler examined the interpersonal dynamics within the Cahen d’Anvers family. I found the findings in the Epilogue and the exploration of Irène's legacy within her family the most interesting parts of the book. I do wish that there had been a few more pieces of information or interviews regarding the rest of the family members about Irène, but the few glimpses that were present in the text spoke volumes.
Where this book fell short for me was in the structure. The book is broken up into three parts, which appear to be the early Cahen d’Anvers family history/Renoir's influence on art, the development of the family and Renoir's work with the family, and the outcome of the family after WWII. However, this breakdown felt in tension with what I considered the three components of the book: a biography of Renoir, the Cahen d’Anvers family, and French history. As a result, many of the facts presented in this work felt muddled and confused. For example, the reader was often introduced to the aristocratic and political people that the Cahen d’Anvers were associated with, or that played a role in French history. While this was interesting, I often felt lost about where these relationships linked to the Cahen d’Anvers, as they were also a large family.
I also felt that Renoir's biography was well integrated at the start of the story to set the stage for how he came to paint the daughters of the Cahen d’Anvers, but it seemed to just peter out. Now that I've finished the book, I could not tell you if it mentions his death (it might), but it did mention some of his romantic entanglements and friendships.
Additionally, I think that Ostler's exploration of Jewish heritage and how specifically for the Cahen d’Anvers it impacted them during the German occupation of France was beautifully written. She was able to capture the fear and unease of those living through those experiences on the page. I think that the complexity of this discussion, even though it was sometimes eclipsed by the larger French history details, did allow a unique look at how certain members of a family could survive, and others could not.
Overall, this book was interesting. If you look at it simply as a historical work that follows the life of a painting (i.e., Renoir's "Pink and Blue"), I think that it makes coherent sense. However, if you are looking for a biography of Elizabeth and Alice Cahen D'Anvers, you may be slightly disappointed. The biographical information is there, it is just somewhat hidden within a larger context that sometimes subsumes the information.
Thank you to NetGalley and Atria Books for a free copy of this book in exchange for an honest review.
CONTENT WARNINGS
Graphic: Animal death, Child death, Death, Infidelity, Antisemitism, Death of parent, War, Injury/Injury detail, Classism
Moderate: Emotional abuse, Pregnancy
Review of advance copy received from Publisher
The Renoir Girls is a story I thought would be a blend of art history, specifically Renoir, and the Cahen d’Anvers family, particularly the girls in the painting (and on the book’s cover); from the subtitle, I knew it would deal with war. But it is a far more complex and extensive story than that. You can really see all the research the author has put in; it covers art, Impressionism, the Parisian Belle Époque, the girls’ family history, the bourgeoisie, and the treatment of Jews in Europe, even more than half a century before WWII. It’s fascinating, but I think a bit complex if you don’t know anything about this period.
My favorite part is the Cahen d’Anvers family; it begins with the girls’ grandparents and ends with their grandchildren. They were a rather wealthy Jewish family, and most of their story is set in Paris. In 1880, Renoir was commissioned to paint the family’s three girls. Irena (8 years old) has her own portrait, whilst Elisabeth and Alice (6 and 5 years old) share the canvas. The paintings are very popular; I’ve always liked them, the girls look adorable, and it’s only through this book that I’ve learnt the family didn’t like them very much, and they had them displayed in the servants’ hall.
It’s divided into three main sections, with family and the political climate being the central themes. Right from the start, it mentions that the lovely girls of the 1880s, decades later, lost their lives in the Second World War, and provides information on what happened to the rest of the family. What I found interesting is that, although it’s a story set in France and the WWII is not the main focus, it offers a great context on the perception of Jews over the decades, (although we know that anti-Semitism goes back centuries, most modern history books, always focus on the WWII), here is mention how they had been persecuted in various countries, how there were people who would defend them but how many others were hostile, and how it seems they were living better when something happened and there was scandal and once again the hostility began.
As for Renoir, although he is the artist most frequently mentioned, little is said about his life, just a few details here and there about his family and other paintings. There is also some discussion of Impressionism and the various artistic movements, as well as what France was like at the time. However, the chapters do not read like a traditional biography, as there are several jumps in time, and his other paintings are not analyzed. (I was expecting that)
I think that, in essence, the story was more political than anything else; France takes centre stage, as do the political climate and Jewish heritage. Renoir, Irene, Elisabeth, and Alice are mentioned quite a lot, but it doesn’t really end up being a biography of them. It’s good, but I’d recommend it to someone who’s interested in this historical period as a whole, rather than just for a couple of specific elements.
My favorite part is the Cahen d’Anvers family; it begins with the girls’ grandparents and ends with their grandchildren. They were a rather wealthy Jewish family, and most of their story is set in Paris. In 1880, Renoir was commissioned to paint the family’s three girls. Irena (8 years old) has her own portrait, whilst Elisabeth and Alice (6 and 5 years old) share the canvas. The paintings are very popular; I’ve always liked them, the girls look adorable, and it’s only through this book that I’ve learnt the family didn’t like them very much, and they had them displayed in the servants’ hall.
It’s divided into three main sections, with family and the political climate being the central themes. Right from the start, it mentions that the lovely girls of the 1880s, decades later, lost their lives in the Second World War, and provides information on what happened to the rest of the family. What I found interesting is that, although it’s a story set in France and the WWII is not the main focus, it offers a great context on the perception of Jews over the decades, (although we know that anti-Semitism goes back centuries, most modern history books, always focus on the WWII), here is mention how they had been persecuted in various countries, how there were people who would defend them but how many others were hostile, and how it seems they were living better when something happened and there was scandal and once again the hostility began.
As for Renoir, although he is the artist most frequently mentioned, little is said about his life, just a few details here and there about his family and other paintings. There is also some discussion of Impressionism and the various artistic movements, as well as what France was like at the time. However, the chapters do not read like a traditional biography, as there are several jumps in time, and his other paintings are not analyzed. (I was expecting that)
I think that, in essence, the story was more political than anything else; France takes centre stage, as do the political climate and Jewish heritage. Renoir, Irene, Elisabeth, and Alice are mentioned quite a lot, but it doesn’t really end up being a biography of them. It’s good, but I’d recommend it to someone who’s interested in this historical period as a whole, rather than just for a couple of specific elements.
August 31, 2026
Catherine Ostler’s The Renoir Girls is a meticulously researched history that unfortunately loses its way in an overabundance of detail. I wanted to give this book a higher rating to reward the author's obvious passion and impressive scholarship, but finishing it ultimately felt like a struggle.
The primary issue lies in expectation versus delivery, and this may well be the publisher’s doing. Despite the title and promotional copy claiming it is "a story about one of the world’s most famous pictures, The Pink and the Blue," Renoir barely features beyond the introduction and the odd mention here and there. Instead, the narrative is an expansive biography of the wealthy Cahen d’Anvers family, focusing on the two daughters depicted in the artwork, Alice and Elisabeth.
The book could easily have been edited down to half its size. Ostler frequently bogs down the narrative with exhaustive accounts of the family’s accoutrements, social salons, entourage, and peripheral figures. Excessive space is devoted to side figures, such as Alice’s suitor and eventual husband, Charles Townshend. Readers are treated to lengthy side tangents regarding his posting in South Africa, his political maneuvering for a post in India, his anxieties over inheritance and titles, and marital dynamics. Descriptions of estates like Raynham Hall go far beyond context. Details like the fact that Louis Cahen d’Anvers bought over 30 specific works of art at an estate sale to preserve Townshend's family history (complete with a tedious list of individual family portraits!) severely drag down the pacing.
Despite the pacing issues, the book is not without merit. Ostler excels at setting the historical backdrop. Her research into the economic crises of the era, societal expectations, and the systemic anti-Semitism in France and broader Europe is deeply informative and insightful. The depth of historical digging is undeniably impressive, offering a vivid window into late 19th-century high society for readers patient enough to wade through the excess.
The Renoir Girls offers valuable historical insight into a prominent Jewish family during a tumultuous era in France, but its execution suffers under the weight of unedited, granular details. If you are looking for a focused art history, you may find yourself, like me, simply looking forward to being done.
I received an advance review copy for free through NetGalley, and I am leaving this review voluntarily.
The primary issue lies in expectation versus delivery, and this may well be the publisher’s doing. Despite the title and promotional copy claiming it is "a story about one of the world’s most famous pictures, The Pink and the Blue," Renoir barely features beyond the introduction and the odd mention here and there. Instead, the narrative is an expansive biography of the wealthy Cahen d’Anvers family, focusing on the two daughters depicted in the artwork, Alice and Elisabeth.
The book could easily have been edited down to half its size. Ostler frequently bogs down the narrative with exhaustive accounts of the family’s accoutrements, social salons, entourage, and peripheral figures. Excessive space is devoted to side figures, such as Alice’s suitor and eventual husband, Charles Townshend. Readers are treated to lengthy side tangents regarding his posting in South Africa, his political maneuvering for a post in India, his anxieties over inheritance and titles, and marital dynamics. Descriptions of estates like Raynham Hall go far beyond context. Details like the fact that Louis Cahen d’Anvers bought over 30 specific works of art at an estate sale to preserve Townshend's family history (complete with a tedious list of individual family portraits!) severely drag down the pacing.
Despite the pacing issues, the book is not without merit. Ostler excels at setting the historical backdrop. Her research into the economic crises of the era, societal expectations, and the systemic anti-Semitism in France and broader Europe is deeply informative and insightful. The depth of historical digging is undeniably impressive, offering a vivid window into late 19th-century high society for readers patient enough to wade through the excess.
The Renoir Girls offers valuable historical insight into a prominent Jewish family during a tumultuous era in France, but its execution suffers under the weight of unedited, granular details. If you are looking for a focused art history, you may find yourself, like me, simply looking forward to being done.
I received an advance review copy for free through NetGalley, and I am leaving this review voluntarily.
September 21, 2026
I received a free copy of this book through a Goodreads Giveaway in exchange for an honest review.
When I look at a portrait, I wonder about the life of the subject. So I am always interested when a book like this comes out. Who were these little girls? How did they come about to be posing for this painting? What happened to them as they grew up? That information is in this book, but it is just a small part of it. Elisabeth and Alice Cahen d’Anvers were the youngest daughters of a wealthy Jewish banking family in Belle Epoque Paris. Their older sister, Irène, also sat for a portrait by famous impressionist Pierre-Auguste Renoir. But even 50 years before the Nazis began their rise, antisemitism was deeply embedded in French society. This book leads us on a century long journey of the Cahen d’Anvers, other prominent French jews, and Renoir, laying the groundwork to build up to the greatest crime of the 20th century.
I love impressionism. It is BY FAR my favorite school of art. Monet and Pissaro are my favorites, but I didn't think Renoir was bad. I definitely have a lower opinion of him now, having learned that he was vehemently antisemitic. This book was interesting, but definitely overwhelming. We go from the parents of Louis and Louise Cahen d’Anvers, and journey to the top of Parisian society, to the Dreyfus affair (a turn of the century spy story with antisemitic roots), through World War I, and right on through to the fall of the Nazis. That is A LOT of time. Ms. Ostler doesn't just talk about the Cahen d’Anvers, but nearly everyone they were friends with. It was just too much, and too overwhelming. And at the same time not enough. I could have done with less information about who was sleeping with who, and whose marriage fell apart, and more with what happened to these girls when they were old women in Nazi occupied France. I kept comparing it to The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer by Anne-Marie O'Connor, and it kept coming up short. It was an interesting read, and good enough, but not what I was expecting.
When I look at a portrait, I wonder about the life of the subject. So I am always interested when a book like this comes out. Who were these little girls? How did they come about to be posing for this painting? What happened to them as they grew up? That information is in this book, but it is just a small part of it. Elisabeth and Alice Cahen d’Anvers were the youngest daughters of a wealthy Jewish banking family in Belle Epoque Paris. Their older sister, Irène, also sat for a portrait by famous impressionist Pierre-Auguste Renoir. But even 50 years before the Nazis began their rise, antisemitism was deeply embedded in French society. This book leads us on a century long journey of the Cahen d’Anvers, other prominent French jews, and Renoir, laying the groundwork to build up to the greatest crime of the 20th century.
I love impressionism. It is BY FAR my favorite school of art. Monet and Pissaro are my favorites, but I didn't think Renoir was bad. I definitely have a lower opinion of him now, having learned that he was vehemently antisemitic. This book was interesting, but definitely overwhelming. We go from the parents of Louis and Louise Cahen d’Anvers, and journey to the top of Parisian society, to the Dreyfus affair (a turn of the century spy story with antisemitic roots), through World War I, and right on through to the fall of the Nazis. That is A LOT of time. Ms. Ostler doesn't just talk about the Cahen d’Anvers, but nearly everyone they were friends with. It was just too much, and too overwhelming. And at the same time not enough. I could have done with less information about who was sleeping with who, and whose marriage fell apart, and more with what happened to these girls when they were old women in Nazi occupied France. I kept comparing it to The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer by Anne-Marie O'Connor, and it kept coming up short. It was an interesting read, and good enough, but not what I was expecting.
July 16, 2026
The Renoir Girls by Catherine Ostler is a fascinating and thoroughly-researched true story about the wonderful “Pink” and “Blue” painting by Pierre-Auguste Renoir. The subjects are Alice and Elisabeth Cahen D’Anvers, Jewish French aristocracy who were young children when painted in 1881. Looking at the beautiful innocence in the painting, one would never know what pain, joys, and sorrows awaited these girls. Their lives and those of their sister and brothers, parents, and relatives are detailed. Older sister Irène had been painted by Renoir as well. Renoir’s life is described as well, though less than I had hoped for. However, it was incredible to learn more about this Impressionist’s career, skills, family, and illness.
The book is not just about remarkable people but also history, events, and rampant antisemitism which knows no boundaries. According to the Nazis, Jews were scapegoats and therefore needed to be eradicated. Elisabeth was one of the murder victims, along with several family members. Alice thankfully escaped. Deportations and camp selections are sobering and harrowing.
Contemporaries of the time are mentioned throughout the book as well such as other painters, Vanderbilts, Rothschilds, and Marcel Proust. Letters and excerpts from the family themselves are included which lend a lovely personal touch. There are photographs as well. The fabulous painting changed locations and moved to its current place in the Museu de Arte de São Paulo in 1952. The portrait of Irène (The Little Girl with the Blue Ribbon) was eventually given to the Foundation E.G. Bührle in Zurich.
I was so intrigued by the D’Anvers family and Renoir that I looked up as much as I could possibly find (though this book is comprehensive on the family in particular, a superb resource). One needn’t be knowledgeable about art to be entranced by this book. But the most enjoyable aspects to me were learning about the sisters and Renoir. Alice utterly mesmerized me with her eyes and expression, exquisitely captured. She seems to have had the personality to match!
The ARC was provided by the publisher via Netgalley in exchange for an honest review. Thank you.
The book is not just about remarkable people but also history, events, and rampant antisemitism which knows no boundaries. According to the Nazis, Jews were scapegoats and therefore needed to be eradicated. Elisabeth was one of the murder victims, along with several family members. Alice thankfully escaped. Deportations and camp selections are sobering and harrowing.
Contemporaries of the time are mentioned throughout the book as well such as other painters, Vanderbilts, Rothschilds, and Marcel Proust. Letters and excerpts from the family themselves are included which lend a lovely personal touch. There are photographs as well. The fabulous painting changed locations and moved to its current place in the Museu de Arte de São Paulo in 1952. The portrait of Irène (The Little Girl with the Blue Ribbon) was eventually given to the Foundation E.G. Bührle in Zurich.
I was so intrigued by the D’Anvers family and Renoir that I looked up as much as I could possibly find (though this book is comprehensive on the family in particular, a superb resource). One needn’t be knowledgeable about art to be entranced by this book. But the most enjoyable aspects to me were learning about the sisters and Renoir. Alice utterly mesmerized me with her eyes and expression, exquisitely captured. She seems to have had the personality to match!
The ARC was provided by the publisher via Netgalley in exchange for an honest review. Thank you.
Review of advance copy received from NetGalley
An exploration of Renoir’s society portraits of Alice (pink dress) and Elizabeth (blue dress) Cahen d’Anvers, the youngest daughters of one of France’s wealthiest bankers (the year before Renoir had painted their elder sister, Irene) providing a history of the portraits - personal, family, and historical context - that emerges in a captivating book.
The three Cahen d’Anvers sisters lived in that splendid Parisian Belle Époque period - glam, glitter, balls, yachts, architecture and, art. This is splendidly brought to life by the author, especially with the addition of references to Marcel Proust’s book which capture this period so well. Then in 1894 the infamous Dreyfus case divided France into Dreyfusards and anti-Dreyfusards and moved Hews to the lowest on the social ladders. Many concerted to Catholicism as did the Cahen d’Anvers sisters. The sisters were decorated for their nursing efforts in WWI but by then antisemitism was a creeping evil. In spite of this and more because of their love of Paris that the the sisters stayed during WWIi. The sad fate of Elizabeth, betrayed by a countryman, she died in Auschwitz. As to the paintings by luck they survived and decorate museums in Switzerland and Brazil.
This is such an interesting history as it sweeps to the heights and then sinks to depth of history but the resilience of people lies in the way to total defeat. Loved that. I found the structure though a bit unwieldy and confusing when reading . That’s my only criticism of the book. But the book’s spotlight on the evils of antisemitism is the real winner in this remarkable book.
My thanks to NetGalley and Atria Books for allowing me to read this ARC.
The three Cahen d’Anvers sisters lived in that splendid Parisian Belle Époque period - glam, glitter, balls, yachts, architecture and, art. This is splendidly brought to life by the author, especially with the addition of references to Marcel Proust’s book which capture this period so well. Then in 1894 the infamous Dreyfus case divided France into Dreyfusards and anti-Dreyfusards and moved Hews to the lowest on the social ladders. Many concerted to Catholicism as did the Cahen d’Anvers sisters. The sisters were decorated for their nursing efforts in WWI but by then antisemitism was a creeping evil. In spite of this and more because of their love of Paris that the the sisters stayed during WWIi. The sad fate of Elizabeth, betrayed by a countryman, she died in Auschwitz. As to the paintings by luck they survived and decorate museums in Switzerland and Brazil.
This is such an interesting history as it sweeps to the heights and then sinks to depth of history but the resilience of people lies in the way to total defeat. Loved that. I found the structure though a bit unwieldy and confusing when reading . That’s my only criticism of the book. But the book’s spotlight on the evils of antisemitism is the real winner in this remarkable book.
My thanks to NetGalley and Atria Books for allowing me to read this ARC.
July 20, 2026
I picked this up expecting a book about a famous Renoir painting, but it turned out to be so much more. Catherine Ostler uses The Pink and the Blue as the starting point for a deeply researched family history that spans decades of privilege, upheaval, and unimaginable loss.
What I appreciated most was how the book connected art with real lives. The portrait isn't treated as just a masterpiece hanging in a museum it becomes a silent witness to the changing fortunes of the Cahen d'Anvers family and the growing antisemitism that eventually culminated in World War II. Knowing what lies ahead for the family adds a quiet sadness to the earlier chapters.
The research is clearly impressive, and the amount of historical detail is remarkable. At times, I did feel the narrative became a bit dense with names and historical figures, so I occasionally had to slow down to keep track of everyone. Still, the emotional impact of the family's story made it worthwhile.
If you enjoy books that blend art history, biography, and European history, this is an engaging and moving read. It's less about the painting itself than the people behind it, reminding us that every portrait captures a moment in time, while the lives beyond the canvas can be far more extraordinary and heartbreaking than we imagine.
What I appreciated most was how the book connected art with real lives. The portrait isn't treated as just a masterpiece hanging in a museum it becomes a silent witness to the changing fortunes of the Cahen d'Anvers family and the growing antisemitism that eventually culminated in World War II. Knowing what lies ahead for the family adds a quiet sadness to the earlier chapters.
The research is clearly impressive, and the amount of historical detail is remarkable. At times, I did feel the narrative became a bit dense with names and historical figures, so I occasionally had to slow down to keep track of everyone. Still, the emotional impact of the family's story made it worthwhile.
If you enjoy books that blend art history, biography, and European history, this is an engaging and moving read. It's less about the painting itself than the people behind it, reminding us that every portrait captures a moment in time, while the lives beyond the canvas can be far more extraordinary and heartbreaking than we imagine.
August 27, 2026
For those of you used to non-fiction that reads like a story or novel, this book is not in that genre. Well researched and documented, this book is literally almost like a catalog of Parisian society in the late 1800s. Centered around the two Renoir portraits of three young girls, the book delves deeply into their incredibly wealthy and powerful Jewish family and others who were drivers of industry, banking and patrons of the arts. The underlying (and at times blatant) antisemitism among the French elite and general public is on full display and serves as a precursor of the ease of the atrocities committed in the Holocaust. The book is really not about Renoir, though he is featured predominately, but rather the trials and tribulations of this family, its extended relatives and connections in high society. As always, the uber wealthy are living in diametrically different proportions to the rest of the population, fueling the fire of hatred and bigotry that flares up throughout the country. The twist comes at the end when sister betrays sister - while their beauty and innocence, captured by Renoir, remains alive in his work.
August 17, 2026
Ostensively this is the story of the two Jewish girls painted by Renoir at the end of the nineteenth century. The premise sounds very interesting, but this book is unreadable. The author clearly has researched the topic of life in Paris at the end of the nineteenth and early twentieth centuries and is familiar with almost every aspect of high society life of this period. But simply every detail of every party that occurred that somehow tangentially touched on the background of the girls in the picture is mind numbing. There must be thousands of names in this book.
Frankly, I gave up about 1/3 of the way through and looked at aspects of the rest of the book. Although, an aspect of this story is the role of the Jewish upper class, it touches on the Dreyfus affair but also touches on the Boer War in far off South Africa, so this does not mean very much. In truth there was so much intermarriage, it is hard to consider this a Jewish story.
Hard to endorse, two stars for the amount of research the author has done, even though the final product is poor.
Frankly, I gave up about 1/3 of the way through and looked at aspects of the rest of the book. Although, an aspect of this story is the role of the Jewish upper class, it touches on the Dreyfus affair but also touches on the Boer War in far off South Africa, so this does not mean very much. In truth there was so much intermarriage, it is hard to consider this a Jewish story.
Hard to endorse, two stars for the amount of research the author has done, even though the final product is poor.
August 28, 2026
Compelling history of Jewish immigration and assimilation in Western Europe, particularly France and England, and rising antisemitism, resulting in the horrors of the Holocaust.
This nonfiction effort is bookended by three Jewish daughters of great privilege who were painted by Renoir as children (not just Pink and Blue on book cover) and whose lives unfold, often tragically, during this period (1880-late 1940s). The focus is not them or the art their set embraced. It is on context, the evolving social structure and political changes in which they were enveloped.
While the well researched narrative is chronologically presented, it is a dense, lengthy read. The names (including newly adapted surnames and shifting titles of honor) and family relationships are complex, even with extensive family trees and author’s notes provided, and conversions and divorces are not rare. Accounts of the Dreyfus affaire and both world wars are included in this coverage. The final chapter rewards readers with a concise summary after this complex journey and possibly a surprise.
This nonfiction effort is bookended by three Jewish daughters of great privilege who were painted by Renoir as children (not just Pink and Blue on book cover) and whose lives unfold, often tragically, during this period (1880-late 1940s). The focus is not them or the art their set embraced. It is on context, the evolving social structure and political changes in which they were enveloped.
While the well researched narrative is chronologically presented, it is a dense, lengthy read. The names (including newly adapted surnames and shifting titles of honor) and family relationships are complex, even with extensive family trees and author’s notes provided, and conversions and divorces are not rare. Accounts of the Dreyfus affaire and both world wars are included in this coverage. The final chapter rewards readers with a concise summary after this complex journey and possibly a surprise.
August 11, 2026
PG
This book was meticulously researched. The presentation was well organized into parts that mark the history of families, cities, and Europe. The curiosity that led Ostler to trace the history of the subject of the Renoir painting (as well as his own history) is singular. I had no idea what life was like for Jews in France during this era. It was interesting to see how famous contemporaries such as Sarah Bernhardt and M. Proust interacted with the family. The end of the family dynasty (as seen through the marriage of dollar princesses, generational wealth, and marriage alliances) is tragic. It seemed as though few people were truly happy - even when they lived lives of luxury and privilege. Now, when I look at the dreamy painting of bygone times, I will remember their tragic ends. I think I will avoid learning more about other portraits and let the images just inspire my imagination and the beauty of the art stir my soul.
This book was meticulously researched. The presentation was well organized into parts that mark the history of families, cities, and Europe. The curiosity that led Ostler to trace the history of the subject of the Renoir painting (as well as his own history) is singular. I had no idea what life was like for Jews in France during this era. It was interesting to see how famous contemporaries such as Sarah Bernhardt and M. Proust interacted with the family. The end of the family dynasty (as seen through the marriage of dollar princesses, generational wealth, and marriage alliances) is tragic. It seemed as though few people were truly happy - even when they lived lives of luxury and privilege. Now, when I look at the dreamy painting of bygone times, I will remember their tragic ends. I think I will avoid learning more about other portraits and let the images just inspire my imagination and the beauty of the art stir my soul.
September 2, 2026
It was an internal debate between rating this three or four stars. The book is definitely interesting as it deals with the life of a very, very rich Jewish family in France in the time between the Franco-Prussian War and World War II. On the plus side it reveals a lot of the social maneuverings of rich, very rich Jewish families to fit into French society, including personal sacrifices. On the other hand it reads like a drawn out article in a high society magazine (about 2 thirds of the book) and then deals with the repercussions of social and personal anti-antisemitism in the final third.
I was to some degree fascinated in the amount of historical characters mentioned in the book, in all the efforts to become part of the main, in the economic upheaval when the more practical Jewish bankers replaced the traditional landed aristocracy that could no longer rely on rents or indentured labor. Oddly, I think it has a lot of parallels to what is happening in the USA today.
I was to some degree fascinated in the amount of historical characters mentioned in the book, in all the efforts to become part of the main, in the economic upheaval when the more practical Jewish bankers replaced the traditional landed aristocracy that could no longer rely on rents or indentured labor. Oddly, I think it has a lot of parallels to what is happening in the USA today.
September 13, 2026
My timing of getting & reading the book is surreal as yet another art heist/theft of Renoir's paintings happened a few days ago. Two heists in 2026 alone - September and before that, March. Which is why I think I stuck it out when I would have DNF the book...
This isn't a biography of Renoir but of a Jewish family, the Cahen d’Anvers, who Renoir painted a great deal of. The title & the book cover are clickbait!! This book is a recounting of that family through paintings rather than photographs of their highs and lows. Being killed in Auschwitz concentration camp is pretty low.
This book goes deep deep into the weeds with diary and news excerpts, which normally I like but a lot of it was the typical high-society crap of who ate what or who wore what or who was seen visiting who...and it added a lot of slog reading. You could literally skip 65% of the book and still understand the ending... which had an interesting discovery.
By the end of the book, I appreciated the research but I felt it was a bit slanted.
This isn't a biography of Renoir but of a Jewish family, the Cahen d’Anvers, who Renoir painted a great deal of. The title & the book cover are clickbait!! This book is a recounting of that family through paintings rather than photographs of their highs and lows. Being killed in Auschwitz concentration camp is pretty low.
This book goes deep deep into the weeds with diary and news excerpts, which normally I like but a lot of it was the typical high-society crap of who ate what or who wore what or who was seen visiting who...and it added a lot of slog reading. You could literally skip 65% of the book and still understand the ending... which had an interesting discovery.
By the end of the book, I appreciated the research but I felt it was a bit slanted.
September 28, 2026
Part three of this book begins: 'The incessant fripperies and glamour of the Belle Époque life came to an abrupt end, one that requires the author to stop recording the concerts, houses, dresses, balls and marriages ...' and for this I say, 'thank goodness!'
The final section of the book is shocking and enthralling but the first two parts of the book are bogged down by turgid lists of people, trivial events, outfits and places. The author's key points about the dangerous growth of antisemitism in France from 1870 to the betrayals of WWII are almost lost under all this dull detail. The points could be made and the superficial dazzle if the Belle Époque could be allowed to shine if all these blow by blow descriptions of the key-players' social calendars were pared back. This glamorous lifestyle is, astonishingly, rendered unbearably dull and it was only because this book was a birthday present that I kept going.
The final section of the book is shocking and enthralling but the first two parts of the book are bogged down by turgid lists of people, trivial events, outfits and places. The author's key points about the dangerous growth of antisemitism in France from 1870 to the betrayals of WWII are almost lost under all this dull detail. The points could be made and the superficial dazzle if the Belle Époque could be allowed to shine if all these blow by blow descriptions of the key-players' social calendars were pared back. This glamorous lifestyle is, astonishingly, rendered unbearably dull and it was only because this book was a birthday present that I kept going.
July 26, 2026
This book was extremely well written. It has a good flow between the facts and suppositions made by the author. The books is full of the history of France and centers of one family the d'Anvers lineage. There is extensive detail as to their lineage and the Jewish history/genealogy of people in France from 1880 - 1945. Lots of cultural observations in including parties, clothes, relationships and politics.
What it did not have was a lot of references to Renoir and other artists at the time. I was disappointed by this. The whole premise was the painting of the two sisters and the two girls in the d'Anvers family.
If you are interested in French history and culture of this Belle Epoch era this is the book for you. I found it to be quite dense but also very well written and enlightening.
What it did not have was a lot of references to Renoir and other artists at the time. I was disappointed by this. The whole premise was the painting of the two sisters and the two girls in the d'Anvers family.
If you are interested in French history and culture of this Belle Epoch era this is the book for you. I found it to be quite dense but also very well written and enlightening.
Review of advance copy received from Goodreads Giveaways
I received this ARC as part of a Goodreads giveaway. I was excited to read it as Impressionism has always appealed to me. The author provided a wealth of information throughout the three parts of the book - Renoir and the paintings as well as the mood of France at the time (duels, divorce and debate). There was so much detail about people that it was hard to keep track and feel connected. The author does provide a list of characters at the end and it might be helpful to review that first. The ending pulls it together but I feel like there was more to their story and the betrayal. I will go back to review and reread some of the beginning for learning purposes. I think an art history enthusiast will find the book interesting.
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