When Pierre-Auguste Renoir painted Madame Henriot in Costume in 1876, he was at the heart of the first Impressionist exhibitions, working with a circle of friends who would change the course of art. The sitter, Jeanne Samary—known on stage as Madame Henriot—was a rising star at the Comédie-Française, and Renoir painted her several times. Their collaboration was so frequent that critics of the day remarked on her presence in his work, with one writing in 1877 that "Renoir has found in Mlle Samary a muse for modern Paris." The painting stands as a record of the close ties between Impressionist painters and the Parisian theater world, where the boundaries between art and life blurred. Here, Samary appears in theatrical costume, her gaze direct, her lips parted as if about to speak.

Renoir captures her mid-transformation, neither wholly herself nor entirely the character she is to play. The costume’s bright colors and the play of light across satin and lace are rendered in quick, broken brushstrokes, a hallmark of the Impressionist style. The backdrop is indistinct, drawing the eye to her animated face and the delicate gesture of her gloved hand.

Unlike the more formal portraits of actresses by Édouard Manet, Renoir’s approach is intimate and lively, emphasizing personality over role. The painting’s early history is not fully documented, but it likely remained with the artist or the sitter before entering private collections. Works like Madame Henriot in Costume helped establish Renoir’s reputation as a portraitist of modern Paris, and his depictions of Samary were well received at the Impressionist exhibitions. Today, the painting is recognized as a vibrant example of Renoir’s engagement with contemporary life and his fascination with the theater.

Its current location is not widely published, reflecting the fate of many Impressionist portraits that circulate between private hands and public view.