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), Effeny ( 1991=R44) and Magrusku.de (=R59). Moffett mostly refers to the Catalogue Raisonné of the Oils, pastels, watercolors and drawings of Breeskin (1970=CR) and to his overview of her graphic work (1948=B48). For other references / sources see at the bottom of the main page on Mary Cassatt.

 

The fourth ‘impressionist’ exposition 1879:

  • catalogue numbers 46-56+hc
  • one work was exhibited outside the catalogue (=hors catalogue=hc)
  • in total  Cassatt exhibited between 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.
1879 catalogue: (R2,p267; iR1)

1879-46          Portrait de M. C…
Moffett suggests with a perhaps CR79 now in the Philadelphia MA. It must render an earlier portrait of her father (R2,p256). To compare I render: 1880ca, Portrait of Alexander J. Cassatt, xx, Detroit IA (iR7;iR10;iR50).

1879-47          Portrait de petite fille
Moffett suggests with a perhaps CR85 or CR56 in the NGA Washington. The last one probably is: 1878, Portrait of a Little Girl (in a blue armchair), 89×129, NGA Washington (iR2;iR59;R44,p53;R3,p592). This work probably was rejected at the Salon of 1877. In a note (R2,p264) Pickvance suggests a pastel CR85 and writes it’s unlikely CR53.

1879-48          Étude de femme avec éventail
Moffett suggests CR80, NGA Washington. Maybe now: 1878-9, Miss Mary Ellison, 85×65, NGA Washington (iR92;iR2;iR3;iR59). Note: this work doesn’t look like a study. In the notebook of Degas it is probably called ‘la femme désolée (R2,p264).

1879-49          Femme dans une loge
Moffett suggests 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). This work was most often written about by the critics (R2,p256).

1879-50          Tête de jeune fille ; appartient à M. R…
Moffett doesn’t give a suggestion. A very uncertain suggestion of mine is: 1876, Head of a Young Girl, 32×23, MFA Boston, (iR92;iR2). M. R… is Henri Rouart (R2,p256). This work probably wasn’t part anymore of his collection in 1912 (R45).

1879-51          Portrait de Mlle P…
Moffett doesn’t give a suggestion. 

1879-52          Femme lisant
Moffett suggests CR51, JAM Omaha (R2,p264+267+277). Now: 1878-79, CR51, woman reading, 82×60, JAM Omaha, (iR2;R2,p277). There is a quite similar work, now: 1878, Woman Reading (Lydia Cassatt), xx, NSM Pasadena (iR2;iR92).

1879-53          Portrait de M. D… (pastel)
Moffett suggests CR66, MPP Paris (R2,p264+267). Pickvance makes clear this was a pastel of Moyse Dreyfus (R2,p256). Effeny suggests: 1879, Moïse Dreyfus, pastel, 80×63, MPP Paris, (iR2;R44,p61). Which must be the same.

1879-54          Au théâtre  (pastel)
1879-55          Au théâtre  (pastel)
Moffett suggests with a perhaps CR61, Philadelphia MA or CR72. Magrasku suggests: 1879, Young woman in a loge, pastel, 65×81, Philadelphia MA (iR59;R84,p307),which was part of Degas his collection and: 1879, At the theatre, gouache pastel, 65×54, private (iR59). I follow her suggestions. Pickvance writes ‘jeune femme au théâtre probably was CR72 and unlikely CR63, which was exhibited in 1880 (R2,p264).

1879-56          Dans un jardin (couleur à la détrempe)
Moffett doesn’t give a suggestion. Martelli describes it as a group of women in the open in a garden (R2,p264). To compare I render: 1880-6, Woman in Black and Green Bonnet, (in the garden sewing), 61×50, AI Chicago (iR92). The painting looks as if it is worked with tempera, but seems to be of a later date and renders only one woman and not a group of women.

1879-56+hc   Coin de loge
According to Moffett Cassatt exhibited outside the catalogue (=hors catalogue = hc) Coin de loge, now probably: 1879, A Corner of the Loge (In the Box), xx, private, (iR2;R2,p256). 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).

 

 

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)
1880 catalogue: (R2,p310/1; iR1)

1880-17          Portrait de Mme J.
Moffett suggests CR129, Peabody Institute Baltimore (R2,p310+321). Now: 1880-3ca, CR129, Mrs. Gardner Cassatt in Black, 81×65, Baltimore MA, (iR2;iR59;R2,p321;R44,p77). Effeny doesn’t affirm Moffett his suggestion and dates this picture 1883 when the family was in mourn after the death of Lydia 1882/11/07. 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, A Visitor in Hat and Coat Holding a Maltese Dog, 35×27, private (iR92;iR2).

1880-18          Portrait de Mlle G.
Moffett doesn’t give a suggestion. As an uncertain suggestion I render: 1880, Lady with a Fan (Portrait of Anne Charlotte Gaillard) , 82×65, private (iR92;iR2;iR10). 

1880-19          Portrait de Mlle H.
Moffett doesn’t give a suggestion.

1880-20          Sur un balcon
Moffett suggests with a perhaps CR94, AI Chicago. Maybe this is: 1878-80, Woman reading in a garden (on a balcony), 89×65, AI Chicago (iR92;iR2;iR6;iR59;aR1). But the picture seems more to render a woman reading in a garden, than a woman sitting on a balcony. Compare: 1886-7.

1880-21          Le thé
Moffett suggests CR78, MFA Boston (R2,p310+305). Now: 1880ca, 5 o’clock Tea, 65×93, MFA Boston (iR3;R2,p305;R44,p17).

1880-22          Au théâtre
Moffett suggests CR63, NAMA (R2,p310+304). Now: 1879ca, CR63, Lydia Leaning on Her Arms, Seated in Loge (at the theatre), pastel, 55×46, NAMA Kansas (iR3;R2,p304;R44,p59). Note: the catalogue doesn’t indicate this work was a pastel.

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. As a very uncertain suggestion I render: 1880, Lydia Cassatt in a Green Bonnet and a Coat, 50×60, private (iR92;iR10). Note: Lydia was not married, what makes her a Mademoiselle (Mlle.) instead of a Madame (Mme).

1880-24          Jeune femme
Moffett doesn’t give a suggestion. As a very uncertain suggestion I render: 1878, Portrait of an Italian Lady, 80×59, GM Tulsa (aR1;iR92). To compare I also render: 1881-82ca, Susan in a Toque Trimmed with Two Roses (la jeune femme), 53×46, private (iR92;iR10). 

1880-25          Femme au théâtre; eau-forte,
1880-25-1       premier état,
1880-25-2      dernier état   
Moffett suggests Breeskin, 1948, no.22 =B48-22. I render: 1879-80, In the Opera Box (no.3), etch 2nd, 21×19, private (R84,p238;iR59), 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), which is probably close to the last state. My suggestion is inspired by magrasku. Effeny affirms this work is now called ‘At the opera’ (no.3) and suggests she showed (several) trial proofs (R44,p22).

1880-26          Femme lisant; eau-forte
Moffett suggests Breeskin, 1948, no.63 =B48-63. Now: 1881ca, B48-63, Lydia reading, turned toward right, etch, 18×11, A2007/10/30 (iR11;R2,p310)

1880-27          Portrait d’enfant; eau-forte,
1880-27-1       premier
1880-27-2      second état
Moffett suggests with a perhaps Breeskin, 1948, no.49 =B48-49. As an uncertain alternative I render: 1880, B48-37, Katharine Cassatt, dry, 14×10, A20071030 (iR11) and:

1880-28          Enfant en chapeau; eau-forte
Moffett suggests Breeskin, 1948, no.48 =B48-48. As a very uncertain suggestion I render: 18xx, xx (child with hat), print, xx, xx (iR10).

1880-29          Au coin du feu; eau-forte
Moffett suggests with a perhaps Breeskin, 1948, no.64 or 65 =B48-64/5. Maybe: 1882ca, before the fireplace, etch, 16×21, A2014/09/23 (iR11).

1880-30          Homme lisant; eau-forte
Moffett suggests Breeskin, 1948, no.74 =B48-74. To compare I render: 1880ca, B48-27, George Moore, 23×14, A20131031 (iR11) and: 1883, B48-77, Mr. Gardner Cassatt reading the paper, etch ps, 28×17, NYPL (iR6;iR10).

1880-31          Le soir; eau-forte
Moffett suggests with a perhaps Breeskin, 1948, no.71 =B48-71. Compare: 1882ca, B48-72, Reading the newspaper,etch, 14×22, A2007/10/30 (iR11). Le Soir probably refers to the newspaper ‘le Soir’. Compare Mrs. Cassatt reading Le Figaro (R44,p55).

1880-32          Portrait de femme; eau-forte
Moffett suggests with a perhaps Breeskin, 1948, no.5 =B48-5. Compare B48-6: 1879ca, B48-6, Sunlight and shadow, etch, 11×11, A2007/10/30 (iR11;cpR2,p310).

 

 

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)
1881 catalogue: (R2,p353; iR1)

1881-1           La lecture, peinture
Moffett suggests CR77, private collection New York (R2,p353+349). Now: 1880, CR77, Mrs Cassatt Reading to Her Grandchildren, 56×100, private, (iR2;iR59;R44,p71;R2,p349). Effeny affirms this suggestion. The grandchildren are the children of her brother Alexander and his wife Lois: Katherine, Rob and Elsie (R2,p348-352).

1881-2           Le jardin, peinture
Moffett suggests CR98, Metropolitan (R2,p353+358). Now: 1880, CR98, Lydia croceting in the garden at Marly, 66×94, Metropolitan, (iR2;iR59;R2,p358).

1881-3           L’automne, peinture
Moffett suggests CR96, MPP Paris (R2,p353). Probably: 1880, Autumn (Profile of Lydia Cassatt), 93×65, PP, Paris (iR2;iR59). This suggestion is affirmed by magrasku (iR59).

1881-4           Le thé, peinture
Moffett suggests CR65, Metropolitan (R2,p353+358). Effeny affirms this suggestion. Now: 1879-81ca, CR65, The Cup of Tea, 92×65, Metropolitan, (iR2;iR59;R2,p359;R44,p66).

1881-5           Tête de jeune fille, pastel
Moffett suggests for no.5,6,7,9: CR86 and 106 in AI Chicago and: CR132. Maybe this is one of the suggestions of Moffett: 1880, Portrait of a Young Girl, pastel, 60×50, AI Chicago (iR92). But it is more a portrait than a head of a young girl.

1881-6           Tête de jeune fille, pastel
Moffett suggests for no.5,6,7,9: CR86 and 106 in AI Chicago and: CR132. 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.

1881-7           Tête d’enfant, pastel
Moffett suggests for no.5,6,7,9: CR86 and 106 in AI Chicago and: CR132. As a very uncertain suggestion I render: 1880-81, Madame Bérard’s Baby in a Striped Armchair, pastel, 63×67, Philadelphia MA (iR92). Note: this is more a portrait than a head of a child.

1881-8           Mère et enfant, pastel
Moffett suggests CR88 (R2,p353+348). Now: 1880, Mother and Child, pastel, 42×61, private, (iR2;iR59;R2,p348).

1881-9           Portrait d’enfant, pastel
Moffett suggests for no.5,6,7,9: CR86 and 106 in AI Chicago and: CR132. As a very uncertain suggestion I render: 1880ca, Elsie Cassatt Holding a Big Dog, pastel, 64×50, private (iR92;iR2). 

1881-10         Portrait d’une jeune violiste, pastel
Moffett doesn’t give a suggestion. I couldn’t find any work that comes close.

1881-11          Tête d’enfant, pastel
Moffett doesn’t give a suggestion. As first very uncertain suggestion I render: 1880, Elsie in a Blue Chair, pastel, 88×63, private (iR92;iR2), which is more a portrait. As second very uncertain suggestion I render: 1881, Child on a Blue Cushion, pastel, 44×43, ML Baden (iR92;iR2), which is more only a head of a child, and also more a sketch.

 

 

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)
1886 catalogue: (R2,p443/4; iR1)

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

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

1886-9                  Étude
Moffett suggests CR146 (R2,p443+450). Now: 1886, CR146, Girl Arranging Her Hair, 76×62, NGA Washington, (iR2;iR59;R2,p450;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).

1886-10                Portrait
Moffett doesn’t give a suggestion. As a very uncertain suggestion I render: 1880-83ca, Portrait of Alexander J. Cassatt, 81×74, private (iR92;iR2;iR7;iR10).

1886-11                Enfants sur la plage
Moffett suggests CR131 (R2,p443+451). Now: 1884, CR131, (two) children on the Beach, 98×74, NGA Washington, (iR2;iR3;iR59;R2,p451;R44,p79;R3,p601).

1886-12                Enfants au jardin; appartient à M. H.
Moffett suggests with a perhaps CR57. Maybe: 1878, Children in a Garden, 73×92, private (iR2;iR59).

1886-13                Mère et enfant (pastel) ; appartient à M. Nunès
Moffett doesn’t give a suggestion. As a very uncertain suggestion I render: 1880, CR88, Mother and Child (a goodnight hug), pastel, 42×61, A20180514, (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, The Mandolin Player, 92×74, private (iR2;iR92;R44,p7); 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, Two Women Seated (by a Woodland Stream), xx, private (iR2;iR92).

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, Portrait of a Woman, xx, Dayton AI (aR1;iR6;iR10). 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, (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, 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’.

S1875-367 Portrait de Mlle E. C…
To compare I render: 1873, Mrs. Robert Simpson Cassatt, xx, private (iR2;iR92). 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, Young Woman on a Striped Sofa with Her Dog, 33×41, FAM Cambridge (iR92).

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, 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, 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, The Reader, 81×65, CBAM Bentonville (iR3;iR2;iR92).