Cassatt, account

under construction

Mary Cassatt (1845-1926)

Account

 

Introduction:

Her below you’ll find an account of the works Mary Cassatt has exhibited with the Impressionists in 1879 + 80 + 81 + 86 and at the Salon. My main sources are Moffett (1986=R2), Berson (1996=R90I=reviews + II=exhibited works), Effeny ( 1991=R44) and Magrusku.de (=iR59). Moffett and Berson mostly refer to the Catalogue Raisonné of the Oils, pastels, watercolors and drawings of Breeskin (1970=CR187) and to his overview of her graphic work (1948=R188). For other references / sources see at the bottom of the main page on Mary Cassatt.
In the rendering of reviews I will concentrate on the works exhibited, when it is not (fully) clear what work it was. Often I will render several options.

 

The fourth ‘impressionist’ exposition 1879:

  • catalogue numbers 46-56+hc
  • one work was exhibited outside the catalogue (=hors catalogue=hc)
  • in total  Cassatt exhibited probably 11+1hc=12 works;  probably 8x oil paintings, 3x pastel, 1x détrempe (=tempera; soaked wet; no.56). Still Havard writes Cassatt exhibited 11 works, which would mean she substituted the hc for another work (R2,p264).
    • 0x indication of place
    • 0x indication of time, season or weather
    • 1x a study
    • 1x loans (appartient à…)
  • See for the suggestions of Moffett (ed.) (R2,p267). Pickvance refers notebook pages of Degas, who helped Cassatt to select 11 works (R2,p256). I also will refer to his writings and his notes on p264. See for the sugggestions of Berson (R90II,p108/9+126/7).
1879 catalogue: (R2,p267; iR1)

4IE-1879-46          Portrait de M. C…
Moffett suggests with a perhaps CR79 now in the Philadelphia MA (R2,p256), now: 1880, CR79, Portrait of Alexander J. Cassatt, 101×81, private (iR92;iR10;iR7;R187;R90II). Berson suggests CR49, Portrait of Mr. Robert Simpson Cassatt,  67×56, private (R90II,p108+126). In the notes of Degas was written “R.S.C.”

4IE-1879-47          Portrait de petite fille
Moffett suggests with a perhaps CR85 or CR56 in the NGA Washington. Berson affirms this last suggestion, now: 1878, CR56, Portrait of a Little Girl (in a blue armchair), 89×129, NGA Washington (iR2;iR59;R90II,p108+126). R44,p53;R3,p592). This work probably was rejected at the Salon of 1877. In a note (R2,p264) Pickvance suggests a pastel CR85, Portrait of little Marthe Laurent and writes it’s unlikely CR53 (maybe he ment CR56), now: 1880 (or 1879), CR85, Portrait of a girl, 63×41, MBA Bordeaux (iR6;iR92;iR50;R187).

4IE-1879-48          Étude de femme avec éventail
Moffett and Berson suggest CR80, now: 1878-9, CR80, Miss Mary Ellison, 85×65, NGA Washington (iR92;iR2;iR3;iR59;R90II,p108+126). Note: It is the only work exhibited in 1879 that Cassatt called a study, but it doesn’t look like a study. In the notebook of Degas it is probably called ‘la femme désolée’ (Eng.: The desolate woman; R2,p264), this corresponds with the look of the model in CR80. Le Soir (1879/04/12) mentions the framework was red and called it a ‘pendant’ of no.49, but there is no concrete description (R90I,p241). Besson (1879/04/11) just mentions the work (R90I,p213).

4IE-1879-49          Femme dans une loge
Moffett and Berson suggest CR64, Philadelphia MA (R2,p264+267+276). Now: 1879, CR64, Woman (with a Pearl Necklace) in a Loge, 80×58, Philadelphia MA, (iR92;iR2;iR3;iR5;iR8;R90II,p108+127). This work was most often written about by the critics (R2,p256). See also her drawing in ‘La Vie Moderne’ (1879, 283; R90I,p254). Le Soir (1879/04/12) mentions the framework was green (R90I,p241).

4IE-1879-50          Tête de jeune fille ; appartient à M. R…
Moffett doesn’t give a suggestion, nor does Berson. M. R… is Henri Rouart (R2,p256). This work probably wasn’t part anymore of his collection in 1912 (R45). Compare 6IE-1881-5+6, pastels with the same title. Armand Silvestre (1879/04/24) reviews calls it ‘Tête d’étude’ and adds ‘is of a strong, beautiful, delicate and fine tone. ‘ (R90I,p240).  I like to suggest: 1875ca, CR40, young woman with red hair before a woods, 60×48, xx (R187), a work that was part of the Henri Rouart collection. Sadly I only have a black and white picture. Still this work doesn’t look like a study, because it seems that details are rendered.

4IE-1879-51          Portrait de Mlle P…
Moffett doesn’t give a suggestion. Berson omits this work, which also means there were no references to this work in the reviews. As un uncertain option I render: 1879ca, A visitor in hat and coat holding a Maltese dog, 35×27, private (iR92;iR2).  

4IE-1879-52          Femme lisant
Moffett and Berson suggest CR51, JAM Omaha (R2,p264+267+277). Now: 1878-79, CR51, woman reading, 82×60, JAM Omaha, (iR2;R2,p277;R90II,p108). There is a quite similar work, now: 1878, CR52, Woman Reading (Lydia Cassatt), 81×65, NSM Pasadena (iR2;iR92;R187,p45). Berson mentions another source also suggests CR52, but a drawing of Cassat send to Les Beaux-Arts illustrés in 1879 affirms the CR51 suggestion (R90II,p109). Berson renders this drawing (R90I,p254). The leaving out the background pleads for CR51. But when I look closely the head and the hair look more like the CR52 painting. There were several reviews, I haven’t analysed them yet.

4IE-1879-53          Portrait de M. D… (pastel)
Moffett and Berson suggest CR66, MPP Paris (R2,p264+267). Pickvance makes clear this was a pastel of Moyse Dreyfus (R2,p256). Now: 1879, CR66, Moïse Dreyfus, pastel, 80×63, MPP Paris (iR2;R90II,p109+127;R44,p61). Note: this is another person than the officer Alfred Dreyfus, around whom the Dreyfus affair developed at the end of the 19th century in France.

4IE-1879-54          Au théâtre  (pastel)
4IE-1879-55          Au théâtre  (pastel)
Moffett suggests with a perhaps CR61, Philadelphia MA or CR72. Berson (and Magrasku) suggest ‘arbitrarily’ for no.54: 1879, CR61, Young woman in a loge, pastel, 65×81, Philadelphia MA (iR59;R90II,p1009+127;R84,p307), which was part of Degas his collection and for no.55: 1879, CR72, At the theatre, gouache pastel, 65×54, private (iR59;R90II,p109+127). I follow their suggestions. Pickvance writes ‘jeune femme au théâtre’ probably was CR72 and unlikely CR63, which was exhibited in 1880 (R2,p264) as no.22 (R90II,p109). Only Silvestre (1879/04/24) shortly refers to no. 54 calling it figure d’avant-scène and reviewing ‘the effect of which is full of sincerity’ (R90I,p240).

4IE-1879-56          Dans un jardin (couleur à la détrempe)
Moffett doesn’t give a suggestion, Berson calls the work not identified. Martelli (1879/07/05) describes it as a group of women in the open in a garden (R2,p264;R90II,p231). J. de Tarade (1879/05/04) reviews ‘A new watercolour by Miss Mary Cassatt deserves attention for its fine tones and the boldness of the touch.’ (R90I,p245). Berson writes that one source suggests CR92, In the meadow (no.1). (R90II,p109), now: 1880, CR92, 1880ca, In the meadow (no.1), oil + gouache, 61×82, xx (R187); I only have a black and white picture. To compare I also render: 1880, CR93, On the meadow (no.2), 54×65, private (iR208;iR10;R187).

4IE-1879-56+hc   Coin de loge
According to Moffett and Berson Cassatt exhibited outside the catalogue (=hors catalogue = hc) Coin de loge, now: 1879, CR62, A Corner of the Loge (In the Box), 43×61, private (iR2;R2,p256;R90II,p109+127). She later published a drawing after this work, which was published in La Vie Moderne (1879/05/01): 1879, Corner of a theater box, dr, xx, xx  (R2,p267+257;R90I,p254). Note the subscription: ‘Exposition des Indepenants No. 1’. For Cassatt it was the first time she joined the expositions, but it was already the fourth exposition.

 

 

The fifth ‘impressionist’ exposition 1880:

  • catalogue numbers 17-32.
  • Number 25+27 contained both of 2 engravings.
    Note: the ‘idem’ of number 28 (and all the following works) probably meant ‘Eau forte’, but it also could mean ‘Eau forte. Premier et second état’, which would also mean that the numbers 28-32 contained two works.
  • So in total Cassatt exhibited 18 works, including 10 engravings. Still Silvester (1880/04/24) mentions in his review Cassatt showed 15 images (R2,p302).
    • 0x indication of place
    • 0x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…)
  • See for the suggestions of Moffett (R2,p310/1) and Berson (R90II,p146/7+161/2).
  • Note: many of the etches can be found in the New York Public Library (=NYPL)
1880 catalogue: (R2,p310/1; iR1)

5IE-1880-17          Portrait de Mme J.
Moffett and Berson suggest CR129, Peabody Institute Baltimore (R2,p310+321). Now: 1880-3ca, CR129, Mrs. Gardner Cassatt in Black, 80×64, Baltimore MA (iR2;iR59;R2,p321;R90II,p146+161;R44,p77). Breeskin doesn’t confirm this suggestion and dates the work 1883 (R187,p76). Effeny adds the picture was made in 1883 when the family was in mourn after the death of Lydia 1882/11/07. She writes her first name is Jennie, which could affirm the ‘J’. But ‘Mme J’ mostly refers to a last name beginning with a ‘J’ instead of a first name. Berson adds that the fan held was the one Degas exhibited as 4IE-1879-80-81.  Armand Silvester calls the work ‘a piquant little piece’ (1880/04/24;R2,p321), but this doesn’t seem to correspond with the quite normal measures of ’81x65cm’. So I render as an uncertain alternative: 1879ca, CR71, A Visitor in Hat and Coat Holding a Maltese Dog, 35×27, private (iR92;iR2;R187). Aug. Dalligny (1880/04/16) reviews ‘Mlle Marie Cassatt abuses yellow in some cases.’ And he continues ‘There is of her an excellent portrait of a sitting lady in black…’ (R90I,p274) The only other painting in which Cassatt uses many yellows is no.22 (=CR63). So it’s likely Dalligny also referred to no.17 and than it confirms my alternative suggestion. Elie de Mont (1880/04/20) calls this work ‘insane’ (R90I,p302). Burty (1880/04/10) reviews that ‘the background is lacking very much’ (R90I,p269). These remarks plead more for my alternative suggestion. Armand Silvestre (1880/04/24) reviews ‘Her Portrait de Mme J… in a black dress, sitting on flowered cushions, is a piece full of taste.’ (R90I,p306). This flowered cushion is more visibel on CR129. Still I have a little preference for my alternative suggestion. I will both render them.

5IE-1880-18          Portrait de Mlle G.
Moffett doesn’t give a suggestion. Berson omits this work. There is not a review of this work. As an uncertain suggestion I render: 1880, CR-, Lady with a Fan (Portrait of Anne Charlotte Gaillard) , 82×65, private (iR92;iR2;iR10). 

5IE-1880-19          Portrait de Mlle H.
Moffett doesn’t give a suggestion. Berson omits this work. There is not a review of this work. As a very uncertain suggestion I render: 1878, CR-, Portrait of an Italian Lady, 80×59, GM Tulsa (aR1;iR92).

5IE-1880-20          Sur un balcon
Eng.: On a balcony. Moffett suggests with a perhaps CR94, AI Chicago, Berson affirms this suggestion, now: 1878-80, CR94,  Woman (Lydia) reading in a garden (on a balcony), 90×65, AI Chicago (iR92;iR2;iR6;iR59;aR1;R90II,p146+161). But the picture seems more to render a woman reading in a garden, than a woman sitting on a balcony. Compare: 8IE-1886-7. Armand Silvestre (1880/04/24) reviews ‘I like also very much the woman reading on a balcony, in which bushes frame her blond head with peonies.’ (R90I,p306). This review supports CR94. I can’t find another work that could be an alternative.

5IE-1880-21          Le thé
Moffett suggests CR78, MFA Boston (R2,p310+305), Berson affirms this suggestion. It was reviewed several times. Now: 1880ca, CR78, 5 o’clock Tea, 65×93, MFA Boston (iR3;R2,p305;R90II,p146+161;R44,p17).

5IE-1880-22          Au théâtre
Moffett suggests CR63, NAMA (R2,p310+304), Berson affirms this suggestion. It was reviewed several times. Now: 1879ca, CR63, Lydia Leaning on Her Arms, Seated in Loge (at the theatre), pastel, 55×46, NAMA Kansas (iR3;R2,p304;R90II,p147+161;R44,p59). Note: the catalogue doesn’t indicate this work was a pastel. Armand Silvestre (1880/04/24) reviews ‘The woman in the yellow dress on a red velvet armchair, from afar, creates the illusion of being a Degas; but, by studying it more closely, you can see everything the student lacks to achieve the secure execution and the intensity of the master’s impression.’ (R90I,p306). This reviews clearly supports CR63 as suggestion.

5IE-1880-23          Portrait de Mme C.
Moffett mentions this was previously thought to be CR90 Los Angeles County MA, but he doesn’t give another suggestion. Berson omits this work. There is not a review of this work. As a very uncertain suggestion I render: 1880, CR97, Lydia Cassatt in a Green Bonnet and a Coat, 50×60, private (iR92;iR10;R187,p62). Note: Lydia was not married, what makes her a Mademoiselle (Mlle.) instead of a Madame (Mme).

5IE-1880-24          Jeune femme
Moffett doesn’t give a suggestion. Berson omits this work. There is not a review of this work. To compare I render a later work: 1881-82ca, CR105, Susan in a Toque Trimmed with Two Roses (la jeune femme), 53×46, private (iR92;iR10). 

5IE-1880-25          Femme au théâtre; eau-forte,
5IE-1880-25-1       premier état,
5IE-1880-25-2      dernier état   
Moffett suggests Breeskin, 1948, no.22. I render: 1879-80, In the Opera Box (no.3), etch 2nd, 21×19, private (R84,p238;iR59;R188,no22), which is probably close to the first state and: 1879-80, In the Opera Box (no.3), etch 4th, 21×19, Metropolitan (R84,p238;iR59;R188,no22). Note: according to Berson the fourth state is the last state, which would make my suggestion the one Cassatt exhibited, but it is more detailed than the picture Berson renders, of which she also says it is the fourth and final state (R90II,p147+161). I can’t explain the differances. My suggestion is also inspired by Magrasku. Effeny affirms this work is now called ‘At the opera’ (no.3) and suggests she showed (several) trial proofs (R44,p22). Breeskin (1948) no.20+21 seem to be those trials (R188,no20+21).

5IE-1880-26          Femme lisant; eau-forte
Moffett suggests Breeskin, 1948, no.63, Berson affirms. Now: 1881ca, Lydia reading, turned toward right, etch, 18×11, A2007/10/30 + Metropolitan (iR11;R2,p310;R188,no63;R90II,p147+161)

5IE-1880-27          Portrait d’enfant; eau-forte,
5IE-1880-27-1       premier
5IE-1880-27-2      second état
Moffett suggests with a perhaps Breeskin, 1948, no.49, Berson affirms. Now: 1883, Mlle Luguet seated on a couch, etch, 22×14, NYPL (R90II,p147+162;R188,no49). I render just one state and I don’t know which state it is.

5IE-1880-28          Enfant en chapeau; eau-forte
Moffett suggests Breeskin, 1948, no.48, Berson affirms. Now: 1883, Mll Luguet in coat and hat, etch, 22×19, NYPL (R90II,p147+162;R188,no48).

5IE-1880-29          Au coin du feu; eau-forte
Moffett suggests with a perhaps Breeskin, 1948, no.64 or 65. Berson also renders both options. Now: 1882ca, before the fireplace (no.1), etch, 16×21, A2014/09/23 (iR11;R90II,p147+162;R188,no64) and: 1883, before the fireplace (no.2), etch, 16×21, NYPL (R90II,p147+162;R188,no65). Note: both works are dated later.

5IE-1880-30          Homme lisant; eau-forte
Moffett and Berson suggest Breeskin, 1948, no.74. Now: 18xx, Mr. Cassatt reading, etch, 17×13, private (R90II,p147+162;R188,no74).

5IE-1880-31          Le soir; eau-forte
Moffett suggests with a perhaps Breeskin, 1948, no.71, Berson affirms this suggestion. Now: 18xx, Under the lamp, etch, 20×22, NYPL (R90II,p147+162;R188,no71). As another uncertain suggestion I render: 1882ca, Reading the newspaper, etch, 14×22, A2007/10/30 (iR11;R188,no72). ‘Le Soir’ can also refer to the newspaper ‘le Soir’. Compare Mrs. Cassatt reading Le Figaro (R44,p55).

5IE-1880-32          Portrait de femme; eau-forte
Moffett suggests with a perhaps Breeskin, 1948, no.5. Berson repeats this suggestion, but leaves the work not identified. Now: 18xx, The umbrella, etch, 28×19, Philadelphia MA (R90II,p147;R188,no5).

 

 

The sixth ‘impressionist’ exposition 1881:

  • catalogue numbers 1-11
  • in total  Cassatt exhibited 11 works: 4 oil paintings; 7 pastels
    • 0x indication of place
    • 0x indication of time, season or weather
    • 0x a study;
    • 0x loans (appartient à…)
  • See for the suggestions of Moffett (R2,p353) and Berson (R90II,p179/180+189)
1881 catalogue: (R2,p353; iR1)

6IE-1881-1           La lecture, peinture
Moffett suggests CR77, private collection New York (R2,p353+349). Berson affirms this suggestion. Now: 1880, CR77, Mrs Cassatt Reading to Her Grandchildren, 58×100, private, (iR2;iR59;R44,p71;R2,p349;R90II,p179+189). Effeny affirms this suggestion. The grandchildren are the children of her brother Alexander and his wife Lois: Katherine, Rob and Elsie (R2,p348-352). It has been reviewed many times.

6IE-1881-2           Le jardin, peinture
Moffett suggests CR98, Metropolitan (R2,p353+358), Berson affirms this suggestion. Now: 1880, CR98, Lydia croceting in the garden at Marly, 66×94, Metropolitan (iR2;iR59;R2,p358;R90II,p179+189). It has been reviewed many times.

6IE-1881-3           L’automne, peinture
Moffett suggests CR96, MPP Paris (R2,p353). Now: 1880, CR96, Autumn (Profile of Lydia Cassatt), 93×65, MPP Paris (iR2;iR59;R90II,p179+189). This suggestion is affirmed by Magrasku and Berson. It has been reviewed several times.

6IE-1881-4           Le thé, peinture
Moffett suggests CR65, Metropolitan (R2,p353+358). Berson and Effeny affirm this suggestion. Now: 1879-81ca, CR65, The Cup of Tea, 92×65, Metropolitan (iR2;iR59;R2,p359;R44,p66;R90II,p179+189). Ernest Hoschedé (1881/04) reviews ‘this young woman dressed in pink, gloved in white, nonchalantly taking her cup of tea; ‘ (R90I,p348). Nina de Villars (1881/04/23) reviewed ‘A beautiful and elegant lady drinking a cup of tea, nonchalantly stretched out in a garden armchair, modeled in fine grey tones, happily stands out against the powerful green stains of the background.’ (R90I,p371). Breeskin suggests CR78, which was also exhibited as 5IE-1880-21, but Berson states that the reviews contradict this suggestion. (the work has been reviewed many times.) Berson also mentions that CR65 presumably was exhibited outside the catalogue (=hc) in 1879 (R90I,p179), but she didn’t suggested this earlier (p.109).

6IE-1881-5           Tête de jeune fille, pastel
Moffett suggests for no.5,6,7,9: CR86 and 106 in AI Chicago and: CR132. Berson affirms CR106 for no.5 or 6, now: 1880, CR106, Portrait of a Young Girl, pastel, 62×51, AI Chicago (iR92;R90II,p179+189). But it is more a portrait than a head of a young girl. Henry Trianon (1881/04/24; referring maybe to no.5 or 6) reviewed ‘Another portrait of an young English girl, ugly, but with a very ethnic character should be similarly pointed out.’ (R90I,p367).

6IE-1881-6           Tête de jeune fille, pastel
Moffett suggests for no.5,6,7,9: CR86 and 106 in AI Chicago and: CR132. Berson affirms CR106 for no.5 or 6, see at no.5. As a very uncertain suggestion I render: 1880-86ca, Young Girl with Brown Hair, pastel, 52×49, private (iR92;iR2). This is clearly more a head than a portrait of a young girl, but also more a sketch.

6IE-1881-7           Tête d’enfant, pastel
Note the same title as no.11. Moffett suggests for no.5,6,7,9: CR86 and 106 in AI Chicago and: CR132. Berson leaves the work unidentified. Geoffrey (1881/04/19; referring to no.7 or 11) reviewed ‘The artist has also fixed on the canvas, with great happiness, the mouth and nostrils rosy, the skin delicate and shiny, the eyes pure, filled with clarity, a child’s face.’ (R90I,p343). Elie de Mont. (1881/04/21; possibly referring to no.7, 9 and/or 11) reviewed ‘Unhappily, beside these qualities, what a remarkable combination of colour sometimes! Is it prejudiced? Is it an aberration of taste?’ (R90I,p361).
As a very uncertain suggestion I render: 1878-81ca, CR53, Madame Bérard’s Baby in a Striped Armchair, pastel, 63×67, Philadelphia MA (iR92;R187,p45). Note: this is more a portrait than a head of a child.

6IE-1881-8           Mère et enfant, pastel
Moffett suggests CR88 (R2,p353+348), Berson affirms. Now: 1880, CR88, Mother and Child, pastel, 42×61, A1984/06/01 (iR2;iR59;iR15;R2,p348;R90II,p179+189). There were many reviews.

6IE-1881-9           Portrait d’enfant, pastel
Moffett suggests for no.5,6,7,9: CR86 and 106 in AI Chicago and: CR132. Berson leaves the work unidentified. Ernest Hoschedé (1881/04; maybe referring to no.9) reviewed ‘this other baby, astride in a willow chair, in attitudes that promise a Mirabeau or a Beryer. ‘ (R90I,p348). Elie de Mont. (1881/04/21; possibly referring to no.7, 9 and/or 11) reviewed ‘Unhappily, beside these qualities, what a remarkable combination of colour sometimes! Is it prejudiced? Is it an aberration of taste?’ (R90I,p361).
As a very uncertain suggestion I render: 1880ca, CR58, Elsie Cassatt Holding a Big Dog, pastel, 64×50, private (iR92;iR2;R187,p58). 

6IE-1881-10         Portrait d’une jeune violiste, pastel
Moffett doesn’t give a suggestion, nor does Berson. Henry Trianon (1881/04/24) reviewed ‘Mlle Cassatt has exhibited a good <full-length portrait of a young violinist>. An open piano obscures the background of the painting.’ (R90I,p367). Antony Valabrègue (1881/04/15) reviewed ‘la jeune violiste is of a perfect grace’ (R90I,p369). I couldn’t find any work that comes close.

6IE-1881-11          Tête d’enfant, pastel
Moffett doesn’t give a suggestion, nor does Berson. Geoffrey (1881/04/19; referring to no.7 or 11) reviewed ‘The artist has also fixed on the canvas, with great happiness, the mouth and nostrils rosy, the skin delicate and shiny, the eyes pure, filled with clarity, a child’s face.’ (R90I,p343). Gustave Goetschy (1881/04/05) reviewed ‘and the one that carried the number 11: it’s a babies head wonderfully modeled’ (R90I,p344) Elie de Mont. (1881/04/21; possibly referring to no.7, 9 and/or 11) reviewed ‘Unhappily, beside these qualities, what a remarkable combination of colour sometimes! Is it prejudiced? Is it an aberration of taste?’ (R90I,p361). 
As first very uncertain suggestion I render: 1880, CR86, Elsie in a Blue Chair, pastel, 88×63, private (iR92;iR2;R187,p59), which is more a portrait. As second very uncertain suggestion I render: 1881-4ca, CR132, Child on a Blue Cushion, pastel, 44×43, ML Baden (iR92;iR2;R187,p77), which is more only a head of a child, and also more a sketch. But Berson dates this work 1884ca. It was part of the Viau collection.

 

 

The eight ‘impressionist’ exposition 1886:

  • catalogue numbers 7-13.
  • in total  Cassatt exhibited 7 works, including 1 pastel (no.13). This is what Geffroy mentions: 6 paintings and 1 pastel (1886/05/26). Maus writes about six paintings in oils and pastels… It is unclear if he means 6 works, some oils and some pastels or 6 oil paintings and at least 2 pastels. (1886/06/27;R2,p450).
    • 0x indication of place
    • 0x indication of time, season or weather
    • 1x a study, no.9
    • 4x loans (appartient à…),
  • See for the suggestions of Moffett (R2,p443/4) and Berson (R90II,p239+257/8)
1886 catalogue: (R2,p443/4; iR1)

8IE-1886-7                  Jeune fille à la fenêtre ; appartient à M. Berend
Moffett suggests CR125 (R2,p443+449). Berson affirms this suggestion. Now: 1883, CR125, Susan on a balcony holding a dog, 100×65, CGA Washington, (iR2;iR59;R2,p449;R90II,p239+257;R44,p23). Note: the title of the catalogue ‘at the window’ doesn’t correspond the actual title ‘on a balcony holding a dog’.

8IE-1886-8                  Jeune fille au jardin; appartient à M. Personnaz
Moffett suggests CR144, Musée d’Orsay. Berson affirms this suggestion. Now: 1886ca, CR144, Young Woman Sewing in a Garden, 92×65, Orsay, (iR2;iR59;R90II,p239+257;R44,p89). A suggestion affirmed by Effeny.

8IE-1886-9                  Étude
Moffett suggests CR146 (R2,p443+450). Berson affirms this suggestion. Now: 1886, CR146, Girl Arranging Her Hair, 75×62, NGA Washington, (iR2;iR59;R2,p450;R90II,p239+257;R44,p91). This suggestion is not affirmed by Effeny. The description of Geffroy seems to confirm Moffett his choice: ‘The young girl in a nightdress who twists her hair… is still swollen with sleep… (1886/05/26;R2,p450).

8IE-1886-10                Portrait
Moffett doesn’t give a suggestion. Berson omits this work. There was no review on this work. As two uncertain suggestions I render: 1881-3, CR107, Susan seated in Garden, 65×50, A2017/05/15 (iR92;iR11;R187,p66) and: 1886ca, CR143, Child in Straw Hat, 64×49, NGA (Washington) (iR92;iR3;R187,p82).

8IE-1886-11                Enfants sur la plage
Moffett suggests CR131 (R2,p443+451). Berson affirms this suggestion. Now: 1884, CR131, (two) children playing on the Beach, 97×74, NGA Washington, (iR2;iR3;iR59;R2,p451;;R90II,p239+258;R44,p79;R3,p601).

8IE-1886-12                Enfants au jardin; appartient à M. H.
Moffett suggests with a perhaps CR57. Berson affirms this suggestion. Now: 1878, CR57, Children in a Garden, 73×92, private (iR2;iR59;R90II,p239+258).

8IE-1886-13                Mère et enfant (pastel) ; appartient à M. Nunès
Moffett doesn’t give a suggestion. Berson also leaves the work unidentified. Maybe CR138, . Octave Mirbeau (1886/05/21) reviews ‘the piece that I prefer is Mère et enfant, pastel of the master where I find all the eminent qualities of knowledge and feeling that make Miss Mary Cassatt one of the most interesting artists of this time. ‘ (R90I,p466). Maurice Hermel (1886/05/27) reviews ‘In her pastel Mère et enfant, there’s also a very touching nuance of feeling; the touch is greasy and tasty, the texture is a bit sparse perhaps; but you can’t resist the beauty of the maternal gesture, that sweet surrender of childhood, has this flower of skins.’ (R90I,p456). As a very uncertain suggestion I render: 1880, CR88, Mother and Child (a goodnight hug), pastel, 42×61, A2018/05/14 (iR2;iR59;iR13;iR92), the same work Cassatt exhibited as 1880-8.

 

 

Cassatt at the Salon:

Mary Cassatt is mostly called a pupil of Soyer and C. Bellay (iR1).

 

S1868-2335 La mandoline
Debut at the Salon as Mary Stevenson with A Mandolin player (R44,p140+7;R3). Probably now: 1868, CR17, The Mandolin Player, 92×74, private (iR2;iR92;R44,p7;R187,p34); this work is also dated 1872ca (iR10). As an alternative option I also render: 1869ca, young woman wearing a ruff, 81×63, A2017/04/07 (iR92;iR13). Cassatt exhibits as ‘Mary Stevenson’ and is called a pupil of MM. Chaplin and Soyer. Jennings wrongly writes Cassatt debuted in 1872 (R86,p36).

S1869-R ??
Her picture was rejected at the Salon (R44,p140). Just to give a suggestion I render: 1869, CR8, Two Women Seated (by a Woodland Stream), 24×33, private (iR2;iR92;R187,p31).

S1870-2675 Une Contadina di Fobello ; val Sesia (Piémont)
Cassatt exhibits ‘A peasant woman of Fobello’, a work that is now lost (R44,p8). To compare I render: 1872, CR16, Portrait of a Woman, 58×51, Dayton AI (aR1;iR6;iR10;R187,p33). Cassatt exhibited as Mlle Mary Stevenson. This is one of the few works of Cassatt with an indication of place (see map). 

S1872-1433 Pendant le carnaval 
At the Carnival is accepted at the Salon; probably now: 1872, CR-, (two women throwing flowers) during Carnival, 65×57, Philadelphia MA (iR2;iR92;R44,p10;R3;iR3). Cassatt exhibited under the name ‘Mlle Mary Stevenson’ (iR1).

S1873-1372 “Offrant le panal au torero”
Offering the Panel to the Toreador was accepted at the Salon of 1873 (R44,p44). Now: 1872-3, CR22, Offering the Panal to the Bullfighter, 101×85, CAI Williamstown (iR3;iR92;R44,p45;R3,p591). Cassatt exhibited under the name ‘Mlle Mary Stevenson-Cassatt’ (iR1). 

S1874-326 Ida
Probably now: 1874, CR-, Ida, 57×44, private (iR92;iR49). The painting attracts Degas’s praise, he reacts: there is someone who feels like me
(R86,p36;R44,p140;R3). Cassatt for the first time exhibits under the name ‘Mary Cassatt’. Maybe CR35.

S1875-367 Portrait de Mlle E. C…
To compare I render: 1873, CR27, Mrs. Robert Simpson Cassatt, 62×57, private (iR2;iR92;R187,p37). This picture renders Marry Cassatt’s mother, so it  doesn’t correspond with ‘mademoiselle’. Compare also S1876-353. 

S1875-R ??
There also was a work rejected for the Salon of 1875 (R44,p14;iR3). Just to give a suggestion I render: 1875, CR45, Young Woman on a Striped Sofa with Her Dog, 33×41, FAM Cambridge (iR92;R187,42).

S1876-352 Portrait de Mme W…
Maybe the mother or sister in law of Louisine Waldron Elder (later Havemeyer), whom she met in 1874 (R44,p13)? As a very uncertain suggestion I render: 1875, CR??, The Young Bride, 87×69, private (iR92;iR50;aR1).
For the Salon of 1876 Cassatt had darkened her palette to get accepted (R44,p14;iR3).

S1876-353 Portrait de Mlle C…
To compare I render: 1874, CR35, Portrait of Mme Cortier, 48×40, A20161020 (iR10;iR14;iR2;iR92). I assume this picture renders a married woman, what doesn’t correspond with ‘mademoiselle’. Compare also S1875-367.

S1877-R1 ??
Cassatt her two works were rejected for the Salon (iR3;R44,p14). Probably one of them was: 1878, CR56, Portrait of a Little Girl (in a blue armchair), 89×129, NGA Washington (R16,p92/3;R3,p602;R44,p53), later exhibited as 1879-47. Note: the painting is dated one year later than 1877.

S1877-R2 ??
As a very uncertain suggestion for the second work that was rejected I render: 1877, CR50, The Reader, 81×65, CBAM Bentonville (iR3;iR2;iR92;R187,p43).

 

Maybe Cassatt also exhibited at the SNBA in 1898.