Renoir seems to have had the enviable ability to see anything as potentially of interest. More than any of the Impressionists, he found beauty and charm in the modern sights of Paris. He does not go deep into the substance of what he sees but seizes upon its appearance, grasping its generalities, which then enables the spectator to respond with immediate pleasure. "Pleasure" may be decried by the puritanical instinct within us all, but it is surely the necessary enhancer that life needs. It also signifies a change from Realism: the Impressionists' paintings have none of the labored toll of Millet's peasants, for example. Instead they depict delightful, intimate scenes of the French middle class at leisure in the country or at cafes and concerts in Paris. Renoir always took a simple pleasure in whatever met his good-humored attention, but he refused to let what he saw dominate what he wanted to paint. Again he deliberately sets out to give the impression, the sensation of something, its generalities, its glancing life. Maybe, ideally, everything is worthy of attentive scrutiny, but in practice there is no time. We remember only what takes our immediate notice as we move along.

In The Boating Party Lunch, a group of Renoir's friends are enjoying that supreme delight of the working man and woman, a day out. Renoir shows us interrelationships: notice the young man intent upon the girl at the right chatting, while the girl at the left is occupied with her puppy. But notice too the loneliness, however relaxed, that can be part of anyone's experience at a lunch party. The man behind the girl and her dog is lost in a world of his own, yet we cannot but believe that his reverie is a happy one. The delightful debris of the meal, the charm of the young people, the hazy brightness of the world outside the awning - all communicates an earthly vision of paradise.