MARY CASSATT 1844-1926

NATIONAL GALLERY OF ART • WASHINGTON • 1970

MARY CASSATT
1844-1926
E X H I B I T I O N DATES:
National Gallery of Art
September 27, 1970 through November 8, 1970

Cover: No. 53, The Boating Party (detail)

Frontispiece: Photograph of Mary Cassatt, 1913 (Durand-Ruel)

Library of Congress Catalog Card Number 71-133323

All rights reserved. No part of this book may be
reproduced without the written permission of the
National Gallery of Art, Washington, D.C. 20565
Designed by Klaus Gemming, New Haven, Conn.
Composition by Finn Typographic Service, Stamford, Conn.
Printed in the United States of America
by The Meriden Gravure Company, Meriden, Conn.
 Contents

FOREWORD 7

LENDERS 9

INTRODUCTION II

CATALOGUE 19

ILLUSTRATIONS 37

B I O G R A P H I C A L NOTES 117

SELECTED B I B L I O G R A P H Y 119
 Foreword

TLnis EXHIBITION of works by Mary Cassatt pictures to leave their walls. I extend my deepest
is the sixth in a continuing series organized by appreciation to all the lenders for their coop-
the National Gallery of Art to honor important eration, and particularly to the many members
American artists. Past exhibitions have been of the artist's family who have contributed so
devoted to George Bellows, Winslow Homer, splendidly to the exhibition.
Thomas Eakins, John Singleton Copley, and, This exhibition would not have been possible
most recently, Gilbert Stuart. without the assistance of Adelyn D. Breeskin,
Mary Cassatt differs from these five painters who helped us select the paintings and wrote
in two significant ways. First, obviously, she the introduction and catalogue notes. For over
was a woman, in fact, America's greatest female twenty years Mrs. Breeskin, while pursuing a
artist. Second, she was one of a group of Ameri- most distinguished museum career, has devoted
can artists, including Whistler and Sargent, herself to revealing the greatness of Mary
who lived and worked abroad. Like them, she Cassatt. Her research has resulted in numerous
benefited from the extraordinary artistic devel- exhibition catalogues, articles, and the two
opments occurring in Paris during the last quar- essential books on the artist: The Graphic Work
ter of the nineteenth century, particularly since of Mary Cassatt, a catalogue raisonné and
Edgar Degas was her mentor. Yet she was able Mary Cassatt: A Catalogue Raisonné of the
to absorb these influences and combine them Oils, Pastels, Water colors, and Drawings. The
with an inherent native quality which marks her latter has just been published by the Smithsonian
work as distinctively American. As she herself Institution Press and we are pleased that our
insisted, "I am American... clearly and frankly exhibition coincides with the appearance of this
American;' definitive work.
An exhibition of this scope would not be pos- I would like also to mention the helpful assis-
sible without the generous support of numer- tance of E. John Bullard, who has been the
ous museums and private collectors who were Gallery staff member specifically charged with
willing to lend us their pictures. This is particu- the coordination of this show from its inception,
larly true of the private collectors, from which and all those other members of the National
nearly two-thirds of the exhibition comes, who Gallery staff whose labors have made this exhi-
have made personal sacrifices in allowing their bition a reality.
J. CARTER BROWN
Director

7
 Lend ers

GORDON K. ALLISON, NEW YORK, NEW YORK

ANONYMOUS LENDERS
MRS. LESTER AVNET, NEW YORK, NEW YORK
MRS. DONALD B. BARROWS, BRYN MAWR, PENNSYLVANIA
MR. AND MRS. B. E. BENSINGER, CHICAGO, ILLINOIS
A. P. BERSOHN, NEW YORK, NEW YORK
PROF. DOROTHY BROWN, MALIBU, CALIFORNIA
ALEXANDER J. CASSATT, CECILTON, MARYLAND
MRS. GARDNER CASSATT, BRYN MAWR, PENNSYLVANIA
H. WENDELL CHERRY, LOUISVILLE, KENTUCKY
MR. AND MRS. DALE H. DORN, SAN ANTONIO, TEXAS
COLLECTION DURAND-RUEL, PARIS
MELVIN GELMAN COLLECTION, WASHINGTON
MRS. FLORENCE GOULD, CANNES
MR. AND MRS. WILLIAM H. GREEN, RIVER FOREST, ILLINOIS
DR. ARMAND HAMMER, LOS ANGELES, CALIFORNIA
CHARLES W. HARE, CAMBRIDGE, MASSACHUSETTS
HUNTINGTON HARTFORD COLLECTION, NEW YORK, NEW YORK
STEPHEN HIGGONS, PARIS
THE JOSEPH HIRSHHORN COLLECTION, NEW YORK, NEW YORK
MRS. J. LEE JOHNSON, III, FORT WORTH, TEXAS
MRS. SAMUEL E. JOHNSON, CHICAGO, ILLINOIS
DR. AND MRS. JOHN J. MCDONOUGH, YOUNGSTOWN, OHIO
MRS. PERCY C. MADEIRA, JR., BERWYN, PENNSYLVANIA
MR. AND MRS. PAUL MELLON, UPPERVILLE, VIRGINIA
W. MYRON OWEN, NEW BEDFORD, MASSACHUSETTS
MR. AND MRS. OGDEN PHIPPS, ROSLYN, NEW YORK

9
MRS. RICHMAN PROSKAUER, NEW YORK, NEW YORK

MRS. EVERETT D. REESE, COLUMBUS, OHIO

MR. AND MRS. LEO M. ROGERS, NEW YORK, NEW YORK
MR. AND MRS. EDGAR SCOTT, VILLANOVA, PENNSYLVANIA
MR. AND MRS. BENJAMIN SONNENBERG, NEW YORK, NEW YORK
MR. AND MRS. A. VARICK STOUT, GREENWICH, CONNECTICUT
LANSING W. THOMS, ST. LOUIS, MISSOURI
MRS. GERTRUDE WHITTEMORE UPSON, MIDDLEBURY, CONNECTICUT
MRS. WILLIAM COXE WRIGHT, ST. DAVIDS, PENNSYLVANIA
ADDISON GALLERY OF AMERICAN ART, PHILLIPS ACADEMY, ANDOVER, MASSACHUSETTS
THE BALTIMORE MUSEUM OF ART, BALTIMORE, MARYLAND
THE PEABODY INSTITUTE, BALTIMORE, MARYLAND
MUSEUM OF FINE ARTS, BOSTON, MASSACHUSETTS
THE ART INSTITUTE OF CHICAGO, CHICAGO, ILLINOIS
CINCINNATI ART MUSEUM, CINCINNATI, OHIO
FLINT INSTITUTE OF ARTS, FLINT, MICHIGAN
GLASGOW ART GALLERY AND MUSEUM, GLASGOW
JOSLYN ART MUSEUM, OMAHA, NEBRASKA
LOS ANGELES COUNTY MUSEUM OF ART, LOS ANGELES, CALIFORNIA
NEW BRITAIN MUSEUM OF AMERICAN ART, NEW BRITAIN, CONNECTICUT
THE NEW YORK PUBLIC LIBRARY, NEW YORK, NEW YORK
THE METROPOLITAN MUSEUM OF ART, NEW YORK, NEW YORK
PHILADELPHIA MUSEUM OF ART, PHILADELPHIA, PENNSYLVANIA
MUSEUM OF ART, RHODE ISLAND SCHOOL OF DESIGN, PROVIDENCE, RHODE ISLAND
MUSEUM OF ART, CARNEGIE INSTITUTE, PITTSBURGH, PENNSYLVANIA
THE CHRYSLER ART MUSEUM, PROVINCETOWN, MASSACHUSETTS
CITY ART MUSEUM OF ST. LOUIS, MISSOURI
THE CORCORAN GALLERY OF ART, WASHINGTON
WORCESTER ART MUSEUM, WORCESTER, MASSACHUSETTS

10
 Introduction

I AM very much disappointed that my com- ing borne the name Cossart. They left France
patriots have so little liking for any of my work," in 1662 and after a short time in Holland crossed
Mary Cassatt wrote an American friend regard- the ocean and settled in the colony of New
ing a New York exhibition of her paintings in Amsterdam. Her mother's forefathers came
1895.1 The attendance was poor and sales very from Scotland to America about 1700. She was
few. Two years earlier a similar exhibition had born in 1844 in Allegheny City, which later
been held at Durand-Ruel's in Paris. It was became a part of Pittsburgh. When she was
her first comprehensive exhibition and she had seven, her parents took her, along with her sister
waited until she was almost fifty years old and brothers, to Europe where they remained
before making arrangements to hold it. She had for seven years. The children went to school in
worked tirelessly ever since coming to live in France and Germany and learned both lan-
Paris in 1874, concentrating on the perfecting guages. Her biographer, Achille , men-
of her talents, unhurried in any desire to have tions, however, that Mary Cassatt spoke French
her work shown, confident that time would give with an imperceptible American accent which
her her rightful place in the hierarchy of her gave a definite inflection to certain phrases even
fellow artists. As a result of this Paris exhibition after she had lived in France for over forty-six
she won the respect of her Impressionist friends years with only three short trips back to her
as well as receiving favorable reviews from the homeland.
majority of the Paris critics and she was satisfied Her correspondence with the many members
that she had made her mark. In France, she of her family who often came to visit her was
asked for no more than this recognition. an important link with her native country. She
From her own country, however, she expect- always kept her legal residence in Philadelphia,
ed more. She considered herself an American— even though her parents and sister Lydia joined
although a transplanted one—and hoped that her in Paris permanently in 1877.
her countrymen would appreciate her work for In the early years of her life abroad, she con-
its native quality. She was emphatic in telling scientiously sent her paintings for exhibition
the only biographer who wrote a book about to New York and Philadelphia. After her suc-
her during her lifetime, "I am American . . . cess in her first Impressionist Exhibition (the
clearly and frankly American.''2 She added that Fourth) in Paris in 1879, in which she showed
her father's family were of French origin, hav- Lydia in a Loge, Wearing a Pearl Necklace (no.
15), she sent this painting and another portrait
1In a letter sent to the author by Miss Mathilda
Brownell, a New York artist friend of Miss Cassatt. to the third exhibition of the Society of Ameri-
2
Achille Ségard, Mary Cassatt, Paris, 1913, p. 2. can Artists in New York. A few critics praised
11
her work there but most of them tempered their to Europe, keeping her in touch with her native
comments with some adverse criticism. These land and bringing her news of other friends
were probably the first Impressionist paintings and family. These strong ties bound her to
to be shown in America and they were not America and it is therefore with admirable acu-
understood. They were usually either skied or men that André Mellerio, the French critic,
placed in a dark corner. After a time she ceased wrote of her, "She remains exclusively of her
to send entries even though as early as 1878 she people Hers is a direct and significant expres-
had written to J. Alden Weir in answer to an sion of the American character."5 In trying to
invitation to exhibit with the Society, "Your sum up just what this American character is
exhibition interests me very much. I wish I could one may say that there is a certain freshness and
have sent something, I am afraid it is too late a directness which is free of affectation. Also
now. We expect to have our annual [Impres- there is a dignified reserve in contrast to the
sionist] exhibition here and there are so few of usual French "abandon"—a reserve which to
us that we are each required to contribute all the more demonstrative French appears as
we have. You know how hard it is to inaugu- aloofness. Then, too, there is much vigor and
rate anything like independent action among youthful vitality in her work. She fused all these
French artists, and we are carrying on a despair- attributes with a deep sympathy for the great,
ing fight and need all our forces, as every year classic painting tradition of France.
there are new deserters. I always have a hope How fortunate she was to have arrived in
that at some future time I shall see New York Paris in 1874 to begin her career just as the tre-
the artist's ground. I think you will create an mendous artistic innovations of Impressionism
American school."3 were being formulated. She became a part of
She welcomed many American artists and the struggle to liberate art from the hidebound
students to her Paris studio and was always kind academic establishment and to gain acceptance
and generous to them with her time and interest. for a new way of seeing and thinking. As a
She exchanged paintings with Alfred Collins self-taught, disciplined, determined young per-
who, together with Walter Gay, came to see son, indomitable in her pursuit of art, she
her while studying with Bonnat during the yo's. accepted this challenge as her own. Her ambi-
Later Adolphe Borie came, also Carroll Tyson tion had forced her to go to Europe, since in the
and George Biddle from Philadelphia. Forbes 186o's there were no art schools in America
Watson, the critic, wrote, "One couldn't listen where she could get the training she wanted.
to her pouring out her ardor and her under- After studying intensively and copying master
standing, without feeling his conviction in the works in the galleries of Italy, Spain, and the
importance of art to civilization intensified.''4 Netherlands, she developed her own style to
Many Americans came to visit her on their trips such a degree that she was able to send paintings
3
Frederick A. Sweet, Miss Mary Cassatt: Impres- to the Paris Salons and have a number of them
sionist from Pennsylvania, Norman, Oklahoma, 1966, accepted.
p. 48.
4
Forbes Watson, Mary Cassatt, New York, 1932, 5
André Mellerio, "Mary Cassatt" U Art et les
p. 12. Artistes, vol. XII (Nov. 1910), p. 72.

12
 After settling in Paris, she was persuaded by important painting, Little Girl in a Blue Arm-
her family to submit to the usual studio routine chair (no. n), which demonstrated these pre-
under Charles Chaplin, a typical academician. cepts, we know that in advising her, Degas
But she was miserable there. Her ideals were actually went so far as to paint one area of the
already well established and she refused to be background himself.
subdued by his imitative formulas. This episode, Both painters were cooly rational persons,
therefore, was as brief as possible and she having a sense of detachment as a basic charac-
returned to work in her own studio, where teristic. Degas once admitted that they had
Degas came in 1877 to invite her to join a group identical intellectual dispositions. However, in
who were then called, at his insistence, the temperament they were very different. He was
"Independents!' She accepted his invitation with a true cynic with the disenchantment produced
alacrity. She later told her biographer, "At last by European civilization, whereas she inherited
I could work with absolute independence with- the optimism of a vigorous young country.
out considering the opinion of a jury. I had His biting sarcasm contrasted sharply with her
already recognized who were my true masters. good nature. They both had highly cultivated
I admired Manet, Courbet, and Degas. I hated minds and manners and were aristocratic in
conventional art—I began to live!'6 bearing. His irony and detached attitude toward
At once Degas took her under his wing. For humanity were far removed from her sympa-
the 1879 Impressionist Exhibition he sent in the thetic approach. They were nevertheless close
list of her works together with his own and friends, mutually helpful to each other.
he proceeded to guide her, not as a pupil, but as One questions to what extent they were true
a respected ally. He taught her a love of form Impressionist painters. Degas always said that
and an abhorrence of useless detail. They soon he was not an Impressionist. He disliked the
found that they shared a reverence for drawing. term and continued to repudiate it even after it
He encouraged her to pursue drawing on came into general use. After he finished painting
copper which excluded all inexactitude and his racecourse pictures and some beach scenes
demanded great discipline. With his encourage- of about 1869 he seldom painted outdoors.
ment she continued to make prints throughout Mary Cassatt, however, continued plein-air
most of her career. He once complained that painting throughout her career. They both used
he could not do likewise because he had to earn bright, prismatic color but unlike the true
his living. Actually one thing they had in com- Impressionists and the Neo-Impressionists, Cas-
mon was the fact that they had sufficient private satt used black in her palette. The artists' friend
means not to have to depend entirely on the Duranty, who often met with the Impressionist
sale of their art for a living. They were both group at the Café Guerbois, has written that
urban painters, concerned with people rather Chevreul was then establishing his color wheel.
than landscapes. Degas suggested that she do Also the work of Rood on the theory of color
portraits of people, giving their faces the same was published in France in 1881. The Impres-
expression as that given to their bodies. In an sionists, and more surely the Neo-Impressionists,
6
Achille Ségard, op. cit., p. 8. adopted these theories and arranged their

13
palettes according to the chromatic tables fur- could not find a chink in my armor, and there
nished by the physicists. Following the theory would be months when we just could not see
that light, broken up in a prism, gives off seven each other, and then something I painted would
colors, they adopted these seven colors on their bring us together again. . . . But, [he was]
palettes. Having established their "keyboard" magnificent! And however dreadful he was,
they used it, not according to the colors nature he always lived up to his ideals.''8 And to Cassatt
showed them, but according to the law of com- he was a generous teacher and counsellor.
plements—a true law, but applied too strictly Cassatt's and Degas' use of black may very
by them. Up to this point Duranty agreed with well have been further stimulated by their study
them but eventually he accused the Impres- of Japanese prints. It was their friend Felix
sionists of not knowing how to produce any- Bracquemond who first brought these prints to
thing in depth. "This comes" he said, "from their attention. The Japanese used black as a
their denial of black, from the absence of this dominant feature in many of their wood-block
color in their palettes and" he added, "light and prints and line was of primary importance.
shadow are produced by white and black. Asymmetry, foreshortening, and the cutting
Then come the colors with their songo to set off off of figures by the borders proved fascinating
the ensemble''7 He felt that in rejecting this to both of them. Use of the arabesque, flatten-
basic principle, the Impressionists were thereby ing of the composition, colorful patterns, and
handicapped. the elimination of all superfluous detail were
Degas and Cassatt both agreed with Duranty other attributes they admired. Just as Cassatt
and never avoided the use of black. Cassatt's had learned the art of painting by analyzing
use of lacquer-like black is found in the 1889 works of the masters, she analyzed the Japanese
portrait of her mother (no. 42 ). In this painting, wood-block prints to learn these new lessons
as well as A Woman in Black at the Opera (no. of composition.
18), the influence of Manet is strong. It was In 1890 she and Degas together visited the
Manet who influenced the Impressionists to great exhibition held at the s Beaux-
think of light as the principal factor in painting. Arts in which over seven hundred Japanese
He urged them to paint outdoors, although he prints were shown. Miss Cassatt bought a num-
did not often practice what he preached. Degas, ber of them and enjoyed them as decorations
on the contrary, was always true to his con- in her homes throughout the rest of her life.
victions. Being aware of how difficult he was— Most of those she bought were handsome figure
flying off into rages without warning and being prints by Utamaro. She proceeded to translate
bitingly sarcastic—Cassatt's close friend, Mrs. what she found useful in the Japanese style, not
H. O. Havemeyer, once asked her, "How could only into her painting but also into her pre-
you get on with him?" "Oh" she answered, ferred graphic medium—a combination of dry
"I am independent! I can live alone and I love point, soft-ground etching and aquatint. In the
to work. Sometimes it made him furious that he summer of 1890 she completed a series of ten
Lairs Emile Edmond Duranty, La Nouvelle
7
Louisine W. Havemeyer, Sixteen to Sixty,
8

Peinture, Paris, 1946, p. 17. Memoirs of a Collector, New York, 1961, pp. 244-5.
1
4
color prints which are among her most original ing at the 1893 World's Columbian Exposition
works. When they were exhibited the following in Chicago. She asked Miss Cassatt to paint a
year both Degas and Pissarro were charmed large mural to fill the south tympanum in the
by them. Her draftsmanship is masterly, the main hall of the building. Mrs. Palmer had to
viewpoint is from a high level in most of them defend her choice of this artist who, she said,
and form is indicated entirely by line, without "... is unknown among us.'' In doing so she
shading. About the same time, she painted The stressed the fact that Miss Cassatt had built a vast
Bath (no. 49), which is clearly related to the studio and had the ground excavated with a
color prints, sharing many of the same style sunken trench so that the canvas could be low-
characteristics. The boldly striped gown, the ered into it while she worked on the upper
large flat patterned rug and the well drawn section.9 The subject given her was "Modern
pitcher are to be found in both the painting and Woman.'' In describing it one critic wrote, "The
the finest of the color prints, Woman Bathing. central portion of Miss Cassatt's panel shows
The first evidence of the artist's interest in us a group of young women gathering apples
the Japanese had occurred much earlier than in a pleasant orchard. On the right is a band of
1890. In 1883 Mrs. Robert Moore Riddle and ladies variously engaged. One is playing upon
her daughter visited the Cassatts and brought as a stringed instrument, while another poses in
a present a handsome Canton tea set. In appre- one of the attitudes of the modern skirt-dance.
ciation the artist asked to paint Mrs. Riddle's On the left we have Fame, a flying figure,
portrait (no. 34) with the tea set. She was then pursued by a flock of ducks and women.
reminded of the Japanese prints which had The border of the tympanum is very charming;
been coming in to Paris for some years. She had the children quite beautifully painted.''10
studied them whenever she had the oppor- While working at this ambitious project the
tunity. In consequence, as she painted Mrs. artist wrote to Mrs. Palmer, "I have been half
Riddle's portrait she gradually introduced some a dozen times on the point of asking Degas to
of what she had learned from those prints. The come and see my work, but if he happens to be
figure became almost a flattened silhouette and in the mood he would demolish me so com-
its outlines counted as the dominant element pletely that I could not pick myself up in time
in the design. The face was also treated more to finish for the exhibition. Still, he is the only
two-dimensionally with the blue eyes as accents man I know whose judgment would be a help to
which reflected the intense blue of the china me''11 She strove to make the general effect
prominently placed in the foreground. The bright and gay. She said that she reserved all the
entire effect was quite different from her earlier seriousness for the execution, for the drawing
work. 9
Aline Saarinen, The Proud Possessors, New York,
From the triumph of this enlargement of her 1958, p. 21.

style under the Japanese influence, she pro- 10

Maude Howe Elliott, Art and Handicraft in the
Woman's Building of the World's Columbian Expo-
gressed to further explorations. One of her good
sition, Chicago, 1893, pp. 31-32.
friends, Mrs. Potter Palmer, was placed in 11
Julia M. H. Carson, Mary Cassatt, New York,
charge of arrangements for the Woman's Build- 1916, p. 98.

15
and painting. It was a serious work and a very they seemed as large as life. Much the same is
able one, but at the close of the Exposition it true of The Boating Party. The influence of her
was removed from the hall and is now lost or study of Japanese prints is very apparent in this
was destroyed. bold composition. The relationship to Manet's
Degas evidently knew of her work on the In the Boat of 1879 is also to be noted. We know
mural and spoke to Pissarro about it who, in turn, that she admired this painting by Manet and
wrote to his son Lucien, "Speaking about Miss persuaded her friend, Mrs. H. O. Havemeyer,
Cassatt's decoration, I wish you could have to buy it. But her treatment of the subject is
heard the conversation I had with Degas on different. The powerful, dark figure of the
what is known as 'decoration! I am wholly of his boatman is offset by the handsome curves of
opinion; for him it [a decorative mural] is an the boat and sail. Thrusting across these is the
ornament that should be made with a view to strong diagonal formed by the oar and the arm
its place in an ensemble, it requires the collabo- of the man, leading the eye to the figures of the
ration of architect and painter. The decorative mother and child. The delicate patterns found
picture is an absurdity; a picture complete in within their silhouettes, including the shadow
itself is not a decoration!'12 over the child's face, contrast admirably with
Of course, Degas was right. Handsome as the larger compositional lines. This painting,
Cassatt's mural probably was, it was placed together with The Bath (no. 49) and the series
about forty feet above the floor of the hall so of color prints, epitomizes Mary Cassatt's
that one had to crane one's neck to see it. We do absorption of Japanese methods and her ability
not know the exact measurements of it, only to translate them into her own mature style.
that at the center it was 12 1 / 2 feet high. Durand- From the following year comes another
Ruel saw the central section before it left Paris boating picture, Summertime (no. 55), which is
and was so impressed by it that he offered to interesting to compare with The Boating Party.
buy it at once. The fact that it was done when One can imagine the artist thinking that after
she had reached her full potential as an artist all she was part of the Impressionist group and
makes its present loss particularly unfortunate. should not wholly forget its precepts. This
After sending the completed mural to Chi- picture follows much more closely what the
cago, Cassatt went to Antibes for the winter Impressionists were envisioning even to the
months and while there painted The Boating broken color, sparkling brushwork, and sunny
Party (no. 53). It is the largest of her canvases atmosphere. There is nevertheless evidence of
other than the mural, which may be accounted the artist's advancing style in the overall pat-
for by the fact that it followed soon after and tern, the long line of the boat stopped by the
she had grown accustomed to a larger format. strong spotting of the ducks on the water and
She mentioned in regard to the mural that her the elimination of non-essentials in the painting
figures were slightly under life-size, although of the figures and ducks.
12
In her study of old masters, Mary Cassatt had
John D. Kysela, S. J., "Mary Cassatt's Mystery
Mural and the World's Fair of 1893" Art Quarterly,
developed a reverence for the work of Holbein.
vol. 29, no. 2 (1966), p. 137. In the 189o's his influence evidently came to
16
the fore as she concentrated more on three- Interior with a French Screen (no. 25) is one
dimensional form in rendering heads and bodies, such sketch, still in a more Impressionist
allowing her backgrounds to flatten, sometimes manner, in which the study of light is most
tapering off in an arabesque. In the pastel In important. Picking Flowers in a Field (no. 5),
the Garden (no. 52), the heads are treated as also from the earlier period, is as close to a
strongly rounded forms whereas flat patterns landscape as can be found in her work. Another
not only fill the background but also appear on quick sketch, In the Meadow (no. 2 2 ) , shows
the costumes of the mother and child. This a group of figures seated outdoors on the grass.
focus of interest on three-dimensional form is They are described with broad brush strokes
even more apparent in Breakfast in Bed (no. that appear to be entirely spontaneous. The
58), one of the artist's most intricate composi- effect is altogether refreshing. Long Gloves,
tions. The-well rounded arms are rendered The Bonnet, and Woman Arranging Her Veil
by means of short strokes that follow the (nos. 40,41,43) are closely connected with her
form closely, brilliantly portraying solid, well- series of twelve drypoints exhibited in her 1891
stacked flesh. The varied whites of the pillow Paris exhibition, together with the ten color
and gowns are also notable, enclosed by three prints. In each of these three pastels Cassatt
flat areas of green. This is one of the most developed the head and arms and let the rest
captivating of Cassatt's many mother and child taper off in an arabesque form. The sketch for
subjects which have placed her in a unique the Chicago mural (no. 51 ) is even more freely
position as the most distinguished painter of this drawn. It possesses a lack of restraint that is
subject. Because she has few peers in this field delightful. The Head of Reine Lefebvre (no.
she is primarily associated with it. Actually she 67) from as late as 1902, is equally spirited and
portrayed just as many older children alone brisk. In this exhibition, an effort has been
and even more young women. She painted the made to include many of these sketches and
world that she knew, and limited her subjects unfinished pictures in order to emphasize the
accordingly. In the i Sco's when she was in spontaneous and free quality of much of her
her prime she devoted a large measure of her work.
interest toward mothers and their babies. Those In 1898 complete concentration on her work
babies could not be expected to hold a pose was interrupted by her sojourn in America.
and were therefore a special challenge to her She remained there for almost six months,
draftsmanship, visual memory, and calm visiting her brothers in Philadelphia as well
perseverance. as such friends as the Hammonds and Mrs.
In contrast to the more finished paintings and Montgomery Sears in Boston, the Whittemores
pastels, throughout Cassatt's career we find (no. 60) and A. A. Popes in Connecticut, and
delightful, spontaneous sketches, some of which the Havemeyers and Stillmans in New York. She
relate to her graphic work. In her sketches, as found that she was able to arouse the interest of
in many of her paintings, she would concentrate quite a number of these friends in the acquisition
on just the head or figure, leaving the sur- of paintings. She spent many months traveling
rounding areas lightly and tastefully suggested. with the Havemeyers to help them form their

'7
great art collection, now mostly at The Metro- curve in the composition is interrupted by the
politan Museum of Art. "She was the most small circle of the hand mirror, echoed in that
devoted friend, the wisest counsellor, the most of the larger mirror. The warm and cool colors
faithful ally anyone ever had!' Mrs. Havemeyer are also handsomely balanced.
wrote of these excursions, "Without her aid, In 1911, Mary Cassatt joined her brother
I should never have been able to make the Gardner and his family on a trip to Egypt which
collection!'13 When she returned to Europe she ended tragically with her brother's sudden
determined to help not only the Havemeyers illness and death. As a result, she had a complete
but other friends as well in their art purchases. breakdown and did no work for almost two
She took her own art more for granted and years. Also her incipient blindness was pro-
failed to give it the same complete attention. It gressing rapidly. ^1913, she tried courageously
suffered in consequence, especially after 1905. to work again, using the medium of pastels
Immediately after her return it was not obvious. entirely, as Degas did when his eyesight was
The portrait of Mme. Aude and Her Daughters failing. The Crochet Lesson (no. 76) dates from
(no. 62) is as strong as any she ever produced that year—almost her last year of work for
and through the years until 1910 flashes of her she stopped entirely in 1914. As her eyesight
full talents asserted themselves, but in almost dimmed during those last years, her colors
every case she had to labor to achieve the results. became brighter and sometimes are quite
For Mother and Child in a Boat (no. 73) of strident. However, she thought these works
1908 there are innumerable studies and sketches. her finest and was delighted to have Mrs.
The same is true of Françoise In Green, Sewing Havemeyer acquire three for her collection.
(no. 74), the watercolor in this exhibition (no. She lived on through World War I in France,
79) being one example. Another example of surviving her friend Degas who died in 1917.
numerous trials for a satisfactory composition She stayed mostly in the south at Grasse, since
(some better than others) is Antoinette at Her her château at Mesnil-Theribus was in the battle
Dressing Table (no. 75). The subject, with its zone. In the ensuing generations many women
typical gesture of the model to smoothe her hair painters have come to the fore, especially in
as she looks into a hand mirror, is one entirely America, but so far none has surpassed Mary
within the experience of the artist. It has the Cassatt.
calm reserve about it that is evident throughout ADELYN D. BREESKIN
Cassatt's work—a certain detachment and lack Curator of Contemporary Art
of any impulsive action. The prominent "s" National Collection of Fine Arts
13
Louisine W. Havemeyer, op. cit., p. 373. Smithsonian Institution

iS
 Catalogue

NOTES TO THE CATALOGUE In 1872 and 187 3, convinced that the best way
to learn to paint was to study and copy in the
BrCR followed by a number in the catalogue museums of Europe, Mary Cassatt journeyed
entry refers to the picture's listing in Adelyn through Italy, Spain, and the Netherlands. This
Ere e skin" s Mary Cassatt: A Catalogue Raisonné painting reflects her studies of the Italian and
of the Oils, Pastels, Watercolors, and Drawings Spanish masters.
(Smithsonian Institution Press, Washington, D.C.,
1970). The reader may refer to this publication for
the complete provenance and exhibition history
of each work in this exhibition. 3
Dimensions are given in inches, height COPY AFTER FRANS HALS
preceding width. c.i8 7 3
Oil on canvas, 18 % x 28 1 / 2 in.
I Unsigned
PORTRAIT OF MRS. CURREY; Lent by Mrs. Percy C. Madeira, Jr., Berwyn,
SKETCH OF MR. CASSATT Pennsylvania
BrCR 25
c. 1871
Oil on canvas, 3 2 x 2 7 ^ . This is a copy of Frans Hals' painting in
Unsigned Haarlem entitled Meeting of the Officers of the
Lent by W Aiyron Owen, New Bedford, Cluveniers-Doelen, 1633. In later years Mary
Massachusetts Cassatt was proud of this copy and would show it
BrCR 11 to young art students, assuring them that such an
exercise was essential to their development.
In her youth, Mrs. Currey had worked for the
Cassatt family. When Mary came home after
studying painting in Paris, she asked Mrs. Currey
to pose for her and then gave her the sketch. This 4
canvas also includes a sketch of the artist's father. YOUNG WOMAN IN A HAT SEATED
ON THE GROUND UNDER TREES
2 c. 1869
TOREADOR Oil on canvas, 13 x 9 1 / 2 in.
Inscribed at lower right: Mary Cassatt
1873
Lent anonymously
Oil on canvas, 32 % x 25 Î4 in.
BrCR 7
Inscribed at lower left: M.S.C./ Seville /1873
Lent by The Art Institute of Chicago, Bequest This is the type of small painting which the
of Mrs. Sterling Morton artist sent home to be sold by Teubner, the local
BrCR 2 3 gilder, framer, and art salesman.

'9
5 8
PICKING FLOWERS IN A FIELD PORTRAIT OF LYDIA CASSATT,
c.i8 75 THE ARTIST'S SISTER
Oil on wood, i ol/2 x 13% in. 1878
Inscribed at lower right: Mary Cassait Oil on canvas, 30 1 / 2 x 2 2 % in.
Lent by Mrs. William Coxe Wright, St. Davids, Inscribed at lower left: Mary Cassatt
Pennsylvania Lent by the Joslyn Art Museum, Omaha, Nebraska
BrCR 42 BrCR 51
This sketch is as close to a landscape as Mary This is one of a number of instances in which
Cassatt ever came. She was much more interested the artist executed more than one painting of
in painting people. However, she posed most of essentially the same composition. Here the
her models outdoors. background is simple; in another version it is
elaborated by a view through a window.
Also called, in the Cassatt catalogue raisonné,
Lydia Reading the Morning Paper (No. i).
6
MRS. DUFFEE SEATED ON A
STRIPED SOFA, READING
1876 9
Oil on wood, 13% x iol/2 in. PORTRAIT OF MADAME X
Inscribed at upper left: M. S. Cassatt/Paris/1876 DRESSED FOR THE MATINEE
Lent by the Museum of Fine Arts, Boston, 1878
Massachusetts, Bequest of John T Spaulding Oil on canvas, 39 1 / 2 x 31 % in.
BrCR 47 Inscribed at lower left: Mary Cassatt
This is one of nearly a dozen of Cassatt's early Lent anonymously
paintings on wood. BrCR 54
Also called Young Woman Reading.
"Une Américaine, belle soeur d'un frère de
M.C." wrote one French authority concerning
this painting which must be of either Harriet
7 Buchanan, or Miss Carter, both sisters of Miss
THE READER Cassatt's sisters-in-law.

1877
Oil on canvas, 3 2 x 2 5 ^ in.
Inscribed at both lower left and lower right:
M.S. Cassatt/¡877 io
Lent anonymously PORTRAIT OF THE ARTIST
BrCR 50 1878
Throughout her career Miss Cassatt limited Gouache on paper, 2 3 l / 2 x 17 1 / 2 in.
her subjects to what she knew and understood Inscribed at lower left: Mary Cassatt
thoroughly. There are many studies such as this, Lent by Mrs. Richman Proskauer, New York,
of a young woman reading. New York
Also called Femme assise, habillée en blanc. BrCR 55
20
 The informality of this pose reflects Degas' 13
teaching. See no. 77.
IN THE BOX
c. 1879
11 Oil on canvas, 17 x 24 in.
Unsigned
LITTLE GIRL IN A BLUE ARMCHAIR
Lent by Mr. and Mrs. Edgar Scott, Villanova,
1878 Pennsylvania
Oil on canvas, 3 5 x 5 1 ^ . BrCR 62
Inscribed at lower left: Mary Cassait
Lent from the Collection of Mr. and Mrs. Paul Mrs. Cassatt wrote to her son, Alexander, in
Mellon, Upperville, Virginia November 1883, "Annie [Mrs. Thomas A. Scott],
BrCR 56 went to Durand-Ruel's the other day and bought a
picture by Mary, perhaps you remember it—two
In a letter to the dealer, Ambroise Vollard, the young girls at the theatre" (E A. Sweet, Miss Mary
artist wrote around 1900, "Sir, I wanted to return Cassatt, Impressionist from Philadelphia, 1966,
to your place yesterday to talk to you about the p. 86).
portrait of the little girl in the blue armchair. I did Also called Au balcon.
it in '78 or '79. It was the portrait of a child of a
friend of Mr. Degas. I had done the child in the
armchair and he found it good and advised me on H
the background and he even worked on it. I sent it LYDIA LEANING ON HER ARMS,
to the American section of the big exposition '79 SEATED IN A LOGE
[actually 1878]. They refused it. As Mr. Degas
had found it to be good, I was furious, all the more c. 1879
so since he had worked on it. At that time this Pastel on paper, 21 % x 17 % in.
appeared new and the jury consisted of three Inscribed at lower left: Mary Cassatt
people of which one was a pharmacist! " (Ambroise Lent anonymously
Vollard, Recollections of a Picture Dealer, Boston, BrCR 63
1936). The pose resembles that of Degas' portrait of
Also called Enfant dans le salon bleu and, in Mary Cassatt (Collection André Meyer, New
the Cassatt catalogue raisonné, The Elue Room. York, New York) executed at about the same time.

12 15
THE NURSE LYDIA IN A LOGE, WEARING
A PEARL NECKLACE
1878
Oil on canvas, 2 8 % x 3 6 % in. 1879
Inscribed at lower left: Mary Cassatt Oil on canvas, 31% x 23 in.
Lent by Mr. and Mrs. A. Varick Stout, Greenwich, Inscribed at lower left: Mary Cassatt
Connecticut Lent by Mrs. William Coxe Wright, St. Davids,
BrCR 57 Pennsylvania
BrCR 64
This sketch shows the artist's early interest in
such a domestic scene as a nurse in the park with This is one of the artist's most important paint-
her small charges. ings and was shown in the Fourth Impressionist
21
Exhibition of 1879. Inscribed at lower left: Mary Cassatt
Also called The Sister of the Artist in a Loge; Lent by the Museum of Fine Arts, Boston,
La loge de théâtre; Jeune femme dans une loge; Massachusetts, Charles Henry Hayden Fund
Au théâtre; Dans la loge; and Lady in a Loge at the BrCR 7 3
Opera.
The Museum of Fine Arts astutely bought this
fine painting as early as 1910 and another, equally
16 fine, Five Cf Clock Tea, a few years later.
WOMAN AND CHILD DRIVING Also called La loge à ropera; Dans la loge; and
At the Opera.
1879
Oil on canvas, 35 % x 51 1 / 2 in.
Inscribed at lower right: Mary Cassait
Lent by The Commissioners of Fairmount Park, 1
W E Wilstach Collection, Courtesy of the 9
FIVE O'CLOCK TEA
Philadelphia Museum of Art
BrCR 69 1880
Oil on canvas, 25 1 / 2 x 3 6^2 in.
This painting shows the strong influence of
Inscribed at lower left: Mary Cassait
Degas, especially in the bold cropping of the pony
Lent by the Museum of Fine Arts, Boston,
and cart and the asymmetry of the composition.
Massachusetts, Maria Hopkins Fund
The groom on the jump-seat serves as a splendid
BrCR 78
foil to the delicately featured child and also lends a
humorous note to this vigorous work. The tea service, which is still in the Cassatt
The little girl is Odile Fèvre, a niece of Degas. family, was made for Miss Cassatt's grandmother
The woman is the artist's sister, Lydia. Mary Stevenson, after whom the artist was named.
Lydia Cassatt appears at the left. The painting was
included in both the Fifth and Sixth Impressionist
I? Exhibitions of 1880 and 1881.
PORTRAIT OF AN ITALIAN LADY Also called Le thé; Five O'clock; and La tasse
c. 1879 de thé.
Oil on canvas, 31 % x 24 % in.
Inscribed at lower left: M. S. Cassatt
Lent anonymously
20
BrCR938
WOMAN BY A WINDOW
This may represent Mme. Marie Del Sarte, who FEEDING HER DOG
ran a fashionable boarding school for young ladies
in Paris. Louisine Waldron Elder, later Mrs. H. O. c. 1880
Havemeyer, and Mary Ellison of Philadelphia, Oil, gouache, and pastel on canvas, 2 4 x 1 6 in.
both friends of the artist, attended the school. Inscribed at lower right: Mary Cassatt
Lent anonymously
BrCR 84
18
The combination of media is unusual for
A WOMAN IN BLACK AT THE OPERA Cassatt, a technique she learned from Degas.
1880 Also called Femme assise jouant avec un chien
Oil on canvass, 3 2 x 26 in. devant une fenêtre.
22
21 Paris, 1881.
Also called £72 brodant and Ly dm Knitting in
MOTHER ABOUT TO WASH HER
the Garden at Marly.
SLEEPY CHILD
1880
Oil on canvas, 39^2 x 25 % in. 24
Inscribed at lower left: Mary Cassait/1880 LYDIA SEATED ON A PORCH,
Lent by the Los Angeles County Museum of Art, CROCHETING
Bequest of Mrs. Fred Hathaway Bixby
1881
BrCR 90
Gouache on canvas, 1 5 x 2 4 in.
This is often considered Mary Cassatt's first Inscribed at lower left: Mary Cassait
painting of the mother and child theme. It was Lent by Mr. Lansing W Thorns, St. Louis,
shown at the Fifth Impressionist Exhibition, Paris, Missouri
1880. BrCR 102
Also called The Bath and La toilette de Vendant. Also called Woman on Park Bench and La Serre.

22 25
IN THE MEADOW (No. 2) INTERIOR WITH A FRENCH SCREEN
1880 c. 1881
Oil on canvas, 21% x 25 % in. Oil on canvas, 17 x 22 1 / 2 in.
Inscribed at lower right: Mary Cassait Inscribed at lower right: Mary Cassatt
Lent by Mr. and Mrs. B. E. Bensinger, Chicago, Lent by Mrs. Percy C. Madeira, Jr., Berwyn,
Illinois Pennsylvania
BrCR 93 BrCR 114
Also called Dans la prairie.
26
LYDIA WORKING AT A
23
TAPESTRY FRAME
LYDIA CROCHETING IN THE
GARDEN AT MARLY c. 1881
1880 Oil on canvas, 25 % x 36% in.
Inscribed at lower right: Mary Cassatt
Oil on canvas, 26 x 37 in.
Lent by the Flint Institute of Arts, Flint, Michigan
Inscribed at lower left: Mary Cassait
BrCR 115
Lent by Mrs. Gardner Cassatt, Villanova,
Pennsylvania This was the last picture for which Lydia
BrCR 98 Cassatt posed. She died November 7,1882.
Degas wrote to his friend, Henri Rouart, "The
Cassatts have come back from Marly What she 2
7
did in the country looks very well in studio light.
MASTER ROBERT KELSO CASSATT
It is much stronger and nobler than what she had
last year" (Degas Letters, Oxford, 1948, p. 63). It c. 1882
was included in the Sixth Impressionist Exhibition, Oil on canvas, 19 x 22 % in.

23
Unsigned housekeeper-maid. This painting was purchased
Lent by Alexander J. Cassatt, Cecilton, Maryland from the artist in 1909 by The Corcoran Gallery.
BrCR 119 Also called Woman ivith a Dog and La femme
au chien.
Young Robert, second son of Alexander J.
Cassatt, was the artist's favorite nephew. She hoped
for a time that he would become an artist and
sometimes would take him along on sketching 3°
trips. PORTRAIT OF
ALEXANDER J. CASSATT
1883
28 Oil on canvas, 25 % x 35 % in.
THE LOGE Unsigned
Lent by Alexander J. Cassatt, Cecilton, Maryland
1882 BrCR 126
Oil on canvas, 31 1 / 2 x 25 % in.
Inscribed at lower right: Mary Cassatt Alexander, known to the family as Aleck, was
National Gallery of Art, Chester Dale Collection Miss Cassatt's older brother. He later became
BrCRizi president of the Pennsylvania Railroad.

The blonde young lady has been said to be

Geneviève Mallarmé, the daughter of Miss
Cassatt's friend, Stéphane Mallarmé, the poet. 31
The brunette is Miss Mary Ellison, a Philadelphia READING "LE FIGARO"
friend of the artist. 1883
Also called The Opera Box and, in the Cassatt Oil on canvas, 41 x 33 in.
catalogue raisonné, Two Young Ladies in a Loge. Inscribed at lower right: Mary Cassatt
Lent anonymously
BrCR 128
2 It is interesting to compare this portrait of the
9
SUSAN ON A BALCONY artist's mother with a later one done in 1889.
HOLDING A DOG See no. 42.

1883
Oil on canvas, 39% x 25 1 / 2 in.
32
Inscribed at lower right: Mary Cassatt
YOUNG WOMAN IN BLACK
Lent by The Corcoran Gallery of Art,
Washington, D.C. 1883
BrCRi25 Oil on canvas, 31 J/z x 25 % in.
Inscribed at lower right: Mary Cassatt
Miss Cassatt always had pet dogs, mostly toy
Lent by The Peabody Institute, Baltimore, Mary-
griffons. The one seen here was named "Battie!'
land, courtesy of The Baltimore Museum of Art
In 1898 when she returned to Philadelphia for a
BrCR 129
visit, the local newspapers wrote only that she had
been studying painting in France and owned the The figure shows the influence of Manet,
smallest Pekingese dog in the world. whereas the treatment of the upholstered armchair
Susan was a cousin of Mathilde Vallet, Cassatt's and the background reflects that of Degas.
24
33 35
TWO CHILDREN AT THE SEASHORE THE LITTLE SISTERS
1884 c. 1885
Oil on canvas, 38% x 29% in. Oil on canvas, 18 % x 21 % in.
Inscribed at lower right: Mary Cassatt Inscribed at lower right: Mary Cassatt
National Gallery of Art, Ailsa Mellon Bruce Lent by the Glasgow Art Gallery and Museum,
Collection Glasgow
BrCR 131 BrCR 142
In January 1884 Mrs. Cassatt was ill and Mary
took her to Spain for her health. It is possible that
36
this painting was executed while they were there.
CHILD IN A STRAW HAT
Also called Enfants jouant sur la plage; Enfants
au bord de la mer; Marine; and Children Playing c. 1886
on the Beach. Oil on canvas, 25% x 19^ in.
Inscribed at lower right: Mary Cassatt
Lent from the Collection of Mr. and Mrs. Paul
34 Mellon, Upperville, Virginia
LADY AT THE TEA TABLE BrCR 143
1883-1885 Also called, in the Breeskin catalogue raisonné,
Oil on canvas, 29 x 24 in. Little Girl in a Big Straw Hat and a Pinafore.
Inscribed at lower left: Mary Cassatt/188$
Lent by The Metropolitan Museum of Art,
New York, Gift of the artist, 1923 37
BrCR 139 THE FAMILY
This is a portrait of Mrs. Robert Moore Riddle c. 1886
(Mary Johnston Dickinson), a first cousin of Mrs. Oil on canvas, 32 % x 26^ in.
Robert S. Cassatt, the artist's mother. It was begun Inscribed at lower right: Mary Cassatt
in 1883 and finished two years later. Mrs. Cassatt Lent by The Chrysler Art Museum,
wrote to her son Aleck in 1883, "As they are not Provincetown, Massachusetts
very artistic in their likes and dislikes of pictures BrCR 145
and as a likeness is a hard thing to make to please
There is a definite relation between the woman
the nearest friends, I don't know what the results
and the little girl in this painting and two of the
will be. Annie [Mrs. Riddle's daughter, Mrs.
main figures in the Chicago mural of six years later.
Thomas A. Scott] ought to like it in one respect
Also called La Famille; Family Group; and
for both Degas and Raffaëlli said it was 'La distinc-
Maternité.
tion même' and Annie goes in for that kind of
See nos. 48, 51,82.
thing" (E A. Sweet, Miss Mary Cassatt, Impres-
sionist from Pennsylvania, 1966, p. 86).
The Riddle family was not pleased with the
portrait, which disappointed Mary Cassatt terribly.
38
G I R L A R R A N G I N G HER HAIR
She put it away in a closet until Mrs. Havemeyer
found it years later and insisted on its being 1886
exhibited, in 1914, at Durand-Ruel's, Paris. Oil on canvas, 29% x 24% in.

25
Unsigned Lent anonymously
National Gallery of Art, Chester Dale Collection BrCR 160
BrCR 146
Related to the drypoint of the same title. Also
This painting was executed by Cassatt in order called Woman's Head and Woman Wearing a
to prove to Degas that she knew the meaning of Bonnet.
style. Shown at the Eighth Impressionist Exhibi-
tion in 1886, Degas was sufficiently impressed with
the painting to acquire it for his personal collec- 42
tion, where it remained until his death. PORTRAIT OF
Also called Fillette se coiffant; La fille à sa MRS. ROBERT S. CASSATT
toilette; The Morning Toilet; and La toilette.
c. 1889
Oil on canvas, 38 x 27 in.
Unsigned
39 Lent by Mrs. Gardner Cassatt, Villano va,
BABY IN DARK BLUE SUIT, LOOKING Pennsylvania
OVER HIS MOTHER'S SHOULDER BrCR 162
1889 This last portrait of the artist's mother is a most
Oil on canvas, 29 x 23 1 / 2 in. incisive statement of the dignity of old age.
Inscribed at lower right: Mary Cassatt See no. 31.
Lent by the Cincinnati Art Museum, Cincinnati,
Ohio
BrCR 153 43
Also called Enfant en costume bleu et jeune WOMAN A R R A N G I N G HER VEIL
femme; Bébé en costume bleu, dans les bras d'une c. 1890
}eune femme; and Mother and Child. Pastel on paper, 25/2 x 21 1 / 2 in.
Inscribed at lower right: Mary Cassatt
Lent by the Philadelphia Museum of Art
40 BrCR 174
THE LONG GLOVES Also called The Black Hat.
1889
Pastel on paper, 25 l / 2 x 21 in.
Inscribed at lower right: Mary Cassatt 44
Lent by Mrs. Percy C. Madeira, Jr., Berwyn, MADAME H. DE FLEURY
Pennsylvania AND HER CHILD
BrCR 157 1890
Oil on canvas, 29 x 23 1 / 2 in.
Inscribed at lower right: Mary Cassatt
41 Lent by Mr. and Mrs. Ogden Phipps, Roslyn,
THE BONNET New York
BrCR 175
c. 1889
Oil on canvas, 16% x 9 % in. Mme. de Fleury was a friend of the artist and
Unsigned of Degas.
26
45 Inscribed at lower right: Mary Cassatt
THE BLACK HAT Lent by the Museum of Art, Carnegie Institute,
Pittsburgh, Pennsylvania
c. 1890 BrCR 197
Pastel on paper, 2 4 x 1 8 in.
Unsigned Cassatt was always keenly interested in clothes,
Lent from the Collection of Mr. and Mrs. Paul an interest she shared with Degas. She often bought
Mellon, Upperville, Virginia gowns from Worth and other fashionable
BrCR 177 couturiers to be worn by her models. This canvas
was painted at Bachivillers.
Also called Buste de jeune fille, chapeau noir See nos. 37,51.
and, in thé Cassatt catalogue raisonné, Portrait of a
Young Girl in a Black, Plumed Hat.
49
THE BATH
46
1892
MATERNITY, WITH BABY
Oil on canvas, 39/2 x 26 in.
OBSERVING SPECTATOR Inscribed at lower left: Mary Cassatt
c. 1890 Lent by The Art Institute of Chicago, Robert A.
Pastel on paper, 23 % x 18 in. Waller Fund
Inscribed at upper left: Mary Cassatt BrCR 205
Lent by H. Wendell Cherry, Louisville, Kentucky The unusual perspective and the partial depic-
BrCR 180
tion of objects reflect the influence of Japanese
The artist's complete understanding of infant prints and of photography.
psychology is evident in this splendid study of a Also called La toilette and La toilette de Vendant.
baby looking at the world from the protection of
its mother's or nurse's arms.
5°
THE SAILOR BOY:
47 GARDNER CASSATT
BABY'S FIRST CARESS
1892
1891 Pastel on paper, 2 8 x 2 3 ^ .
Pastel on paper, 3 0 x 2 4 in. Inscribed at lower left: Mary Cassatt/Paris 1892
Inscribed at upper left: Mary Cassatt Lent by Mrs. Gardner Cassatt, Villanova,
Lent by the New Britain Museum of American Pennsylvania
Art, New Britain, Connecticut, Harriet Russell BrCR 208
Stanley Fund
The boy was the son of the artist's younger
BrCR 189
brother, Gardner
Also called La caresse.

48 SKETCH OF YOUNG WOMAN

YOUNG WOMEN P I C K I N G FRUIT P I C K I N G FRUIT
1891 1892
Oil on canvas, 52 x 36 in. Oil on canvas, 2 3 y2 x 28 % in.
21
Unsigned Inscribed at lower right: Mary Cassatt
Lent by Stephen Higgons, Paris Lent anonymously
BrCR2i2 BrCR239
This is a sketch for the full-length figure in the Although Miss Cassatt is best known for her
central section of the mural, entitled "Modern portrayal of mother and child, here the young
Woman" that Miss Cassatt did for the Woman's woman is definitely a nurse.
Building of the World's Columbian Exposition
held at Chicago in 1893.
The oil painting Young Women Picking Fruit is 55
also related to this mural. At the end of the Exposi- SUMMERTIME
tion, the mural was removed and since was either
1894
lost or destroyed.
Oil on canvas, 29 x 38 in.
See nos. 37,48.
Inscribed at lower right: Mary Cassatt
Lent by the Huntington Hartford Collection,
52 New York
IN THE GARDEN BrCR 240
1893 This painting is related to the color print,
Pastel on paper, 28 % x 23 % in. Feeding the Ducks.
Inscribed at lower right: Mary Cassatt
Lent by The Baltimore Museum of Art, Cone
Collection 56
BrCR22i MADAME AND HER MAID
c. 1894
53 Pastel on paper, 20 x 29 in.
THE BOATING PARTY
Inscribed at lower right: Mary Cassatt
1893 Lent by Mrs. Florence Gould, Cannes, France
Oil on canvas, 35 1/2 x 46 l/B in.
BrCR 241
Unsigned
National Gallery of Art, Chester Dale Collection The fact that Miss Cassatt's companion-maid,
BrCR239 Mathilde Vallet, filled such an important place in
her life probably influenced her in painting this
In 1914 Cassatt wrote to Durand-Ruel from contrasting character study of two other women.
Grasse: "About the painting, La Barque, I do not
want to sell it; I have already promised it to my
family. It was done at Antibes 20 years ago— the
57
year my niece came into the world!' ELLEN MARY CASSATT
Also called La partie en bateau; La barque; IN A WHITE COAT
Les canotiers; and En canot.
c. 1896
Oil on canvas, 3 2 x 2 3 % in.
54
Inscribed at lower left: Mary Cassatt
IN THE PARK
Lent by Charles W Hare, Cambridge,
c. 1 894 Massachusetts
Oil on canvas, 29% x 37 1/2 in. BrCR 258
28
 Ellen Mary was the daughter of Gardner 61
Cassatt, the artist's younger brother. GARDNER AND ELLEN MARY
Also called The Little Infanta. CASSATT
1899
Pastel on paper, 25 x 18 % in.
58
Inscribed at lower right: Mary Cassatt
BREAKFAST IN BED
Lent by Mrs. Gardner Cassatt, Villanova,
1897 Pennsylvania
Oil on canvas, 25 % x 29 in. BrCR 302
Inscribed at lower left: Mary Cassatt
This portrait of the artist's nephew and niece
Lent by Dr. and Mrs. John J. McDonough,
was done during her visit to America in 1898-1899.
Youngstown, Ohio
BrCR 275

62
59 PORTRAIT OF MME. A. F. AUDE
STUDY OF AND HER TWO DAUGHTERS
MRS. CLEMENT B. NEWBOLD
1899
1898 Pastel on paper, 21% x 31 %
Oil on canvas, 2 4 x 2 1 in. Lent by Collection Durand-Ruel, Paris
Unsigned BrCR 307
Lent by Mrs. Donald B. Barrows, Bryn Mawr,
Pennsylvania Mme. Aude was the daughter of Paul Durand-
BrCR 288 Ruel, Cassatt's and Degas' dealer. Mme. Aude's
older daughter, Madeleine on the left, became the
The first portrait of Mrs. Newbold did not Comtesse de Brecey; the younger, Thérèse, the
please her parents and they asked Miss Cassatt to Vicomtesse de Montfort.
try again. This is the carefully planned sketch for
the second portrait.

03
60 BABY GETTING UP FROM HIS NAP
PORTRAIT OF A GRAND LADY (MRS.
1901
J O H N HOWARD WHITTEMORE) Oil on canvas, 36% x 29 in.
1898 Inscribed at lower left of tray: Mary Cassatt
Pastel on paper, 28 x 23 in. Lent by The Metropolitan Museum of Art, New
Inscribed at lower left: Mary Cassatt York, George A. Hearn Fund, 1909
Lent by Mrs. Gertrude Whittemore Upson, BrCR 342
Middlebury, Connecticut Cassatt rarely painted still-life, but she some-
BrCR 297 times incorporated it as an important element of
The portrait was painted during Mary Cassatt's her figure paintings.
first visit to her native country in a quarter of a Also called Le lever de bébé; Morning Bath; and
century. She returned to Paris after six months. Baby Arises.
29
64 Inscribed at lower right: M.C.
FAMILY GROUP READING Lent anonymously
BrCR 395
1901
Oil on canvas, 22 x 44 in. This very free sketch of a model's head was
Inscribed at lower left: Mary Cassait done in preparation for the painting of Reine
Lent by the Philadelphia Museum of Art Lefebvre Holding a Nude Baby.
BrCR 343
Also called Le livre d'images; II libro illustrato; 68
and, in the Cassatt catalogue raisonné, The Garden REINE LEFEBVRE HOLDING
Lecture. A NUDE BABY
1902
65 Oil on canvas, 2 6 % x 2 2 % in.
MOTHER AND DAUGHTER, BOTH Inscribed at lower right: Mary Cassatt
WEARING LARGE HATS Lent by the Worcester Art Museum, Worcester,
1901 Massachusetts
Oil on canvas, 31 % x 25 % in. BrCR 406
Inscribed at lower right: Mary Cassatt Mary Cassatt preferred using as models for her
Lent by Mrs. J. Lee Johnson, III, Fort Worth, Texas mothers the young country women who lived near
BrCR 345 her château at Mesnil-Theribus, Oise. She found
This is another example of the artist's keen that they knew much better how to hold a baby
interest in women's fashions. than a professional model; the woman here was
Also called Fillette au grand chapeau. only about seventeen years old.
See no. 48.
69
66 YOUNG MOTHER SEWING
TWO WOMEN READING
1902
1901 Oil on canvas, 36 % x 29 in.
Oil on canvas, 15 x 19% in. Inscribed at lower right: Mary Cassatt
Inscribed at lower left: Mary Cassatt Lent by The Metropolitan Museum of Art, New
Lent by Mr. and Mrs. William H. Green, River York, Bequest of Mrs. H. O. Havemeyer, 1929.
Forest, Illinois The H. O. Havemeyer Collection.
BrCR 346 BrCR 415
As with most of the artist's figure studies, this
one was painted outdoors. 70
Also called La lecture and Reading. REINE LEFEBVRE AND MARGOT

67 c. 1902
Pastel on paper, 31% x 25 % in.
SKETCH OF HEAD OF
Inscribed at lower left: Mary Cassatt
REINE LEFEBVRE
Lent by Dr. Armand Hammer, Los Angeles,
c. 1902 California
Oil on canvas, 16 x 13 in. BrCR 430

30
71 Lent by the City Art Museum of St. Louis,
SIMONE IN A WHITE BONNET Missouri
SEATED WITH CLASPED HANDS BrCR 538
(No. 2)
Of this model there are over a dozen paintings,
c. 1903 pastels, and watercolors.
Pastel on paper, 25^ x i6l/2 in. Also called Young Girl Threading a Needle and
Inscribed at lower right: M.C. Jeune fille brodant.
Lent by Mr. and Mrs. Dale H. Dorn, San Antonio, See no. 79.
Texas
BrCR 440
75
This is one of many pastels of this blonde model, ANTOINETTE AT HER
whom the artist found in the neighborhood of her DRESSING TABLE
château in the Oise country.
1909
Oil on canvas, 36^ x 28 J^ in.
72 Inscribed at lower right: Mary Cassait
SIMONE TALKING TO HER MOTHER Lent by Mrs. Samuel E. Johnson, Chicago, Illinois
BrCR 543
c. 1904
Oil on canvas, 31% x 25 % Both Cassatt and Degas were fascinated by the
Inscribed at lower right: Mary Cassait mirror image. Throughout her career she used
Lent anonymously mirror reflections to extend space.
BrCR 451 Also called Femme à sa toilette; At the Dressing
Table; and Jeune jemme se mirant auprès de sa
table de toilette.
73
MOTHER AND CHILD IN A BOAT
76
1908
Oil on canvas, 45 1 / 2 x 31 % in.
THE CROCHET LESSON
Inscribed at lower right: Mary Cassait 1913
Lent by the Addison Gallery of American Art, Pastel on paper, 30% x 25 1 / 2 in.
Phillips Academy, Andover, Massachusetts Inscribed at lower left: Mary Cassatt
BrCR 5 24 Lent by the Melvin Gelman Collection,
Washington
Among Mary Cassatt's later paintings this one
BrCR 595
occupied much of her attention. There are numer-
ous preparatory sketches for it in oil, pastel, and As Mary Cassatt's eyesight failed the colors in
watercolor. her paintings became increasingly intense.
Also called Dans la barque. Also called Jeune fille en corsage bleu et fillette
en robe rouge.
74
FRANÇOISE IN GREEN, SEWING 77
SELF-PORTRAIT
1908
Oil on canvas, 32 x 25 l/2 in. c. 1880
Inscribed at lower right: Mary Cassait Watercolor on paper, 13 x 9% in.

3'
Inscribed at lower center: M.C. 80
Lent by Mr. A. E Bersohn, New York, New York LITTLE GIRL HOLDING A DOLL
BrCRoiS
c. 1876
This quick watercolor sketch appears to be a Black crayon on paper, 12 x 9 in.
better likeness of the artist than the more studied Inscribed at lower right: Mary Cassait
gouache done two years earlier. Lent by Prof. Dorothy Brown, Malibu, California
See no. 10. BrCR 705

78 81
SKETCH OF VERNON LEE STUDY FOR
WEARING PINCE-NEZ "INTERIOR: ON THE SOFA"
1895 c. 1883
Watercolor on paper, 9 1 / 2 x 6 % in. Pencil on paper, 5 % x 8 % in.
Inscribed at lower right: Mary Cassait Inscribed at upper right: M.C.
Lent by Mr. and Mrs. Benjamin Sonnenberg, Lent by Mrs. Samuel E. Johnson, Chicago, Illinois
New York BrCR 769
BrCR 625
The bold asymmetry of this drawing, the use of
The English writer, Violet Padgett, known as a large area of pattern, and the cropping of the
Vernon Lee, visited Mary Cassatt at Mesnil- composition all show the strong influence of Degas'
Theribus in July 1895 and then wrote to a friend, teaching.
"I liked immensely being at Mesnil Miss Cassatt This is a preparatory drawing for the print of
is very nice, simple, an odd mixture of a self- the same title.
recognizing artist, with passionate appreciation
in literature, and the almost childish garrulous
American provincial" (E A. Sweet, Miss Mary 82
Cassatty Impressionist from Pennsylvania, 1966,
BABY OF "THE FAMILY" LOOKING
pp.143-144).
DOWN TO LEFT
c. 1886
Pencil and crayon on paper, 14% x 12 % in.
79
Inscribed at upper right:
FRANÇOISE SEWING (No. i)
7?? Mr. Keppel/Mary Cassatt
1908 Lent by Gordon K. Allison, New York
Watercolor on paper, 15 % x 11 % in. BrCR 777
Inscribed at lower right: M.C.
Cassatt copied Holbein at the Louvre and was
Lent by The Joseph H. Hirshhorn Collection,
especially attracted to Hals, Velazquez and the
New York
Venetians, whose works she also copied. In this
BrCR 659
case, the drawing shows the influence of her study
This watercolor is a study for the oil, Françoise of Holbein.
in Green, Sewing. This is a preparatory study for the painting,
Also called La petite fille en bleu. The Family, now in the Chrysler collection.
See no. 74. See no. 37.
5^
83 86
MOTHER PULLING ON STUDY FOR "THE COIFFURE" (No. 3)
BABY'S STOCKING
c. 1891
c. 1890 Pencil on paper, 5 % x 4 % in.
Pencil on paper, iol/2 x 7 % in. Inscribed at lower left: M.C.
Inscribed at lower right: Mary Cassait National Gallery of Art, Rosenwald Collection
Lent by the Museum of Art, Rhode Island School BrCR 815
of Design, Gift of Mrs. Gustav Radeke
A preparatory drawing for the color print of
BrCR 790
the same title.
This Cassatt drawing is similar to a pastel of the
same subject as well as to one of her drypoint
prints. In a note on one impression of the drypoint, 8?
Miss Cassatt mentions that her parrot was on a STUDY FOR "GATHERING FRUIT"
perch nearby and the baby's attention was
attracted to it. 1893
Pastel and charcoal on paper, 11 î4 x 10 in.
Unsigned
Lent by Mrs. Lester Avnet, New York
84 BrCR 821
THE FIRST CARESS
A preparatory drawing for the color print of
1891 the same title (also called U Espalier). The theme
Crayon on paper, iol/2 xjY2 in.
of the print is here established, but the lower third
Inscribed at upper left: Mr. Avery with / the
of the composition is lacking.
compliments of/Mary Cassatt /]any, '91, Paris
Lent by The New York Public Library, Astor,
Lenox and Tilden Foundations, S. P Avery
88
Collection
BrCR 800 TWO LITTLE GIRLS

Mr. Samuel P Avery also owned a large collec- c. 1897

tion of Cassatt's drypoints and color prints, which Pencil on paper, jl/2 x6l/2 in.
he left to The New York Public Library. Inscribed at lower right: à Mlle Mayer/
compliments de/M. Cassatt
Lent by Prof. Dorothy Brown, Malibu, California
BrCR 834
85
STUDY FOR "IN THE OMNIBUS"
c. 1891 89
Crayon and pencil on paper, 14% x 10% in. PORTRAIT SKETCH OF
Inscribed at lower right: Mary Cassatt MADAME FONTVEILLE (No. 2)
National Gallery of Art, Rosenwald Collection
1902
BrCR 804 Pencil on paper, 16 x 11 % in.
This is the working drawing for the color print Inscribed at lower right: Mary Cassatt; and at
of the same title. The man's figure at the right was upper right: Mme Ley Fontveille/Ave. d'Eylau
not used in the print. 26

33
Lent by Mr. and Mrs. Leo M. Rogers, New York, cO
NewYork
PORTRAIT OF HERBERT JACOBY
BrCR 857
c. 1905
Madame Fontveille was a spiritualist to whom pendl and watercolor on rice paper, 8 x 10 in.
Mary Cassatt went in ! 902 with her friend, Inscribed at lower right: Mary Cassatt
Theodate Pope, for several se'ances. Lent by Mrs £verett D R^ ColumbuS) Ohio
BrCR 914

34
I PORTRAIT OF MRS. CURREY; SKETCH OF MR. CASSATT
2 TOREADOR
3 COPY AFTER FRANS HALS
6 MRS. D U F F E E SEATED ON A S T R I P E D SOFA, R E A D I N G
4 YOUNG WOMAN IN A HAT
SEATED ON THE G R O U N D U N D E R TREES
5 P I C K I N G FLOWERS IN A FIELD
20 WOMAN BY A WINDOW FEEDING HER DOG
22 IN THE MEADOW (NO. 2)
7 THE READER
8 PORTRAIT OF LYDIA CASSATT, THE ARTISTES SISTER
9 PORTRAIT OF MADAME X DRESSED FOR THE MATINEE
IO PORTRAIT OF THE ARTIST
II LITTLE GIRL IN A BLUE ARMCHAIR
12 THE N U R S E
13 IIN THE BOX
14 LYDIA L E A N I N G ON HER ARMS, SEATED IN A LOGE
15 LYDIA IN A LOGE, WEARING A PEARL NECKLACE
10 WOMAN AND CHILD D R I V I N G
17 PORTRAIT OF AN ITALIAN LADY
l8 A WOMAN IN BLACK AT THE OPERA
i9 FIVE O'CLOCK TEA
21 MOTHER ABOUT TO WASH HER SLEEPY C H I L D
23 LYDIA C R O C H E T I N G IN THE GARDEN AT MARLY
24 LYDIA SEATED ON A PORCH, CROCHETING
25 I N T E R I O R WITH A F R E N C H SCREEN
LYDIA WORKING AT A TAPESTRY FRAME
27 MASTER ROBERT KELSO CASSATT
28 THE LOGE
29 SUSAN ON A BALCONY H O L D I N G A DOG
3O PORTRAIT OF ALEXANDER J. CASSATT
31 READING 'LE FIGARO'
32 YOUNG WOMAN IN BLACK
34 LADY AT THE TEA TABLE
35 THE LITTLE SISTERS
36 CHILD IN A STRAW HAT
39 BABY IN DARK BLUE SUIT, L O O K I N G OVER HIS M O T H E R S S H O U L D E R
33 TWO C H I L D R E N AT THE S E A S H O R E
37 THE FAMILY
40 THE LONG GLOVES
41 THE BONNET
42PORTRAIT OF MRS.ROBERTS.CASSATT
43 WOMAN A R R A N G I N G HER VEIL
44 MADAME H. DE FLEURY AND HER CHILD
45 THE BLACK HAT
46 MATERNITY, WITH BABY O B S E R V I N G SPECTATOR
47 BABY S FIRST CARESS
38 G I R L A R R A N G I N G HER HAIR
52 IN THE GARDEN
48 Y O U N G WOMEN P I C K I N G F R U I T
49 THE BATH
5O THE SAILOR BOY: G A R D N E R CASSATT
51 SKETCH OF Y O U N G WOMAN P I C K I N G F R U I T
53 THE BOATING PARTY
55 SUMMERTIME
56 MADAME AND HER MAID
57 ELLEN MARY CASSATT IN A WHITE COAT
59 STUDY OF MRS. C L E M E N T B. N E W B O L D
00 PORTRAIT OF A GRAND LADY (MRS. J O H N HOWARD W H I T T E M O R E )
6l GARDNER AND ELLEN MARY CASSATT
63 BABY G E T T I N G UP FROM HIS NAP
54 IN THE PARK
58 BREAKFAST IN BED
64 FAMILY G R O U P R E A D I N G
65 MOTHER AND DAUGHTER, BOTH WEARING LARGE HATS
66 TWO WOMEN READING
67 SKETCH OF HEAD OF R E I N E LEFEBVRE
68 REINE LEFEBVRE HOLDING A NUDE BABY
69 YOUNG MOTHER SEWING
7O R E I N E LEFEBVRE AND MARGOT
71
SIMONE IN A WHITE BONNET SEATED
WITH CLASPED HANDS (NO. 2)
02 PORTRAIT OF MME. A. F. AUDE AND HER TWO DAUGHTERS
JÓ THE CROCHET LESSON
72 S I M O N E TALKING TO HER MOTHER
73 MOTHER AND CHILD IN A BOAT
74 FRANÇOISE IN G R E E N , SEWING
75 ANTOINETTE AT HER D R E S S I N G TABLE
77 SELF-PORTRAIT
78 SKETCH OF V E R N O N LEE W E A R I N G P I N C E - N E Z
79 FRANÇOISE SEWING (NO. l )
80 LITTLE G I R L H O L D I N G A DOLL
81 STUDY FOR ''INTERIOR:ON THE SOFA'
82 BANY OF 'THE FAMILY'LOOKING DOWN TO LEFT
83 MOTHER PULLING ON BABY's STOCKING
84 THE FIRST CARESS
85 STUDY FOR "iN THE O M N I B U S '
86 STUDY FOR "THE COIFFURE" (NO. 3)
87 STUDY FOR "GATHERING FRUIT'
88 TWO LITTLE G I R L S
89 PORTRAIT SKETCH OF MADAME FONTVEILLE (NO. 2)
90 PORTRAIT OF HERBERT JACOBY
BIOGRAPHICAL NOTES / BIBLIOGRAPHY
 BIOGRAPHICAL NOTES

1844 Born, May 22, Allegheny City (now a part of Pittsburgh),

Pennsylvania—the third child of Mr. and Mrs. Robert S. Cassatt.
185 i-i 858 Lived in Europe with her family in Paris, Heidelberg, and Darmstadt.
1858-1867 Lived in Philadelphia with her family.
1861-1865 Studied at the Pennsylvania Academy of Fine Arts.
1866 Went to Paris with her mother.
1867 Went to France with another Academy student to sketch and paint.
1870-1871 Came home to Philadelphia, because of the Franco-Prussian War.
1872 Went to Parma, Italy. Sent her first painting to the Paris Salon,
On the Balcony.
1873 Went to Seville, from where she sent her second entry to the Salon, and
then on to Belgium and Holland and finally to Paris again.
1874 Sent her third painting to the Salon. Visited Rome—sent her first two
Salon entries to the National Academy of Design, New York.
1877 Her parents and her older sister, Lydia, came to Paris to live with her.
Degas invited her to join the Impressionists.
1879 Sent two Impressionist paintings to the Society of American Artists
(probably the first to be shown in America).
1879-1880 Worked very hard preparing prints to be published in Le Jour et La
Nuity a journal, never published, which Degas planned to launch.
1879, 1880,
1881, 1886 Exhibited paintings in the fourth, fifth, sixth, and eighth Impressionist
Exhibitions.
1880 Brother Alexander Cassatt brought his family for a visit and she
charmed his children into posing for her.
1882 Her sister Lydia died on November 7.
1887 The family moved to the apartment and studio at 10 rue Marignan,
Paris, which she kept for the rest of her life.
1890 She visited the great Japanese print exhibition in Paris with Degas.
1890-1891 For the summer and fall, rented Château Bachivillers on the Oise. Set
up her etching press there and worked on the set of 10 color prints with
the help of the printer Leroy who came out from Paris to help her run
them through the press.
z/7
1891 On June i o, her first one-man show opened at Durand-Ruel's, including
the set of 10 color prints as well as 2 oils and 2 pastels. Her father died
on December 9.
1892 Mrs. Potter Palmer commissioned her to do a large mural for the
Woman's Building of the World's Columbian Exposition at Chicago.
She completed it at Château Bachivillers.
1893 A larger one-man show at Durand-Ruel's, Paris, altogether 98 items.
She bought the Château Beaufresne, at Mesnil-Theribus, Oise, her
summer home for the rest of her life.
1895 A large one-man show similar to the 1893 one at Durand-Ruel's, Paris,
held at their New York branch. Her mother died on December 21.
1898-1899 Her first visit back to America since settling in Paris in 1874.
1901 Trip with the Havemeyers to Italy and Spain encouraging them to buy
El Grecos and other great paintings now in the Metropolitan Museum.
1904 Made a Chevalier of the Legion of Honor.
1905 Competed for a mural for the new capítol at Harrisburg, Pennsylvania
but withdrew upon hearing of graft.
1906 Death of her brother Alexander who had been President of the
Pennsylvania Railroad.
1908-1909 Last visit to America.
1910-1911 Stopped working on her dry points since the shine of the copper hurt
her eyes. Went to Egypt with her brother Gardner Cassatt and his
family.
1911-1912 Nervous breakdown and illness after brother Gardner's death.
1912 First operation for cataracts on both eyes.
1914 Awarded Gold Medal of Honor by Pennsylvania Academy. Stopped
painting due to blindness.
1914-1918 During First World War spent most of the time in Grasse, on the
Riviera.
1926 Died at Château Beaufresne on June 14.

118
 tELECTED BIBLIOGRAPHY

Beurdeley, Yveling Rambaud. "Mary Cassatt" U Art dans les Deux Mondes, no. i
(November 22, 1890), p. 7.
Riddle, George. "Some Memories of Mary Cassatt" The Arts, vol. X (August 1926),
pp. 107-11.
Breeskin, Adelyn D. The Graphic Work of Mary Cassait, a catalogue raisonné.
New York, 1948.
Breuning, Margaret. Mary Cassait. New York, 1944.
Carson, Julia M. H. Mary Cassait. New York, 1966.
Gary, Elisabeth Luther. "The Art of Mary Cassatt" The Scrip, vol. I, no. i
(October 1905), pp. 1-5.
Geffroy, Gustave. "Femmes artistes—un peintre de l'enfance: Mary Cassatt"
Les Modes, vol. 4 (February 1904), pp. 4-11.
Grafly, Dorothy. "In Retrospect—Mary Cassatt" American Magazine of Art,
vol. XVIII (June 1927), pp. 305-12.
Havemeyer, Louisine W "The Cassatt Exhibition" The Pennsylvania Museum
Bulletin, vol. XXII, no. 113 (May 1927), pp. 373-82.
Sixteen to Sixty, Memoirs of a Collector, New York, 1961.
Ivins, William M. Jr. "New Exhibition in the Print Galleries; Prints by Mary
Cassatt" Bulletin of the Metropolitan Museum of Art, vol. XXII, no. i
(January 1927), pp. 8-10.
Kysela, S. J., John D. "Mary Cassatt's Mystery Mural and the World's Fair of 1893"
Art Quarterly, vol. 29, no. 2 (1966), pp. 129-145.
McChesney, Clara. "Mary Cassatt and Her Work" Arts and Decoration, vol. Ill
(June 1913), pp. 265-67.
Mauclair, Camille. "Un peintre de l'enfance, Miss Mary Cassatt" U Art Décoratif,
vol. VII, no. 47, (August 1902), pp. 177-85.
Mellerio, André. "Mary Cassatt" U Art et les Artistes, vol. 12 (November 1910),
pp. 69-75.
Ségard, Achille. Mary Cassatt: un peintre des enfants et des mères, Paris, 1913.
Sweet, Frederick A. "A Château in the Country" The Art Quarterly, vol. XXI, no. 2
(Summer 1958), pp. 202-15.
Miss Mary Cassatt: Impressionist from Pennsylvania. Norman, Oklahoma,
1966.
Walton, William. "Miss Mary Cassatt" Scribner's Magazine, vol. XIX, no. 3
(March 1896), pp. 353-61.
Watson, Forbes. Mary Cassatt, New York, 1932.

ii9