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• • Cassatt,
, - Degas a Pissarro: \ A STATE OF REYOLLTIO:\, •
Ii I ! \ ST.JOHN'S MUSEU\! OF ART \\lL\Il:"GTO:". ;-';ORTII C\ROLlX.-\ •
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Anne G . Brennan, Curator Donald Furst, Contributing-Essav.ist St. j chn's Museum ofArt Wilmington, i\'orth Carolina, 1992
This project tras supported I')': T he Randleigh Foundati on Trust T he North Carolina Arts Council and the National Endowment for the Arts in Washington, D.C., a federal agency INSTITUTIONS LENDING TO THE EXHIBITION
The Art Institute ofChicago Sterling and Fra ncine Clark Art-Institute - Library ofCongress The ,\Ietropolitan ,\Iuseum of Art .\Iuseum of Fine Arts, Boston The ,\Iuseum of,\Iodem Art National Gall en ' ofArt • The 1':ew York Public Librarv, EXHIBmON SCHEDULE
St.John's Museum ofArt \Vilmingt on, North Carolina February 7 through April 11 , 1991
Gibbes Museum ofArt C harleston, South Caroli na April 16 through .I une 28, 1991
Pennsylvania Academy ofthe Fine Arts Philadelphia, Pennsylvania July 10 through September 27, 1992
, Cover Illustration: M ary Cassatt, The Letter (detail), 1891, Cbecklist S o. 4.
Copyright © 1992 Sr. John's ,\ luseum ofArt. .~I rights reserved. ';\0 portion ofthis book ma~ · be reproduced without written permission of Sr. John's .vluseum (IfArt. 11 4 Oramre Street. \ Yi lmington, Xorrh Carolina 28401 . • • IN MEMORY OF SAMUEL HUDSON HUGHES 1908-1992
• In 1965, Samuel Hudson Hughes retired from a successfu l decorating business in N ew York and moved to \Vilmington, North Carolina. H e quickly devoted his lifetime of creative knowledge and love ofthe arts toward the recently founded St.John's M useum of Art. Sam, as he was known to all, served on the Museum's Board of Directors from 1970- I984. Largely due to his leadership and the fi nancial support of his friends in \Vilmington and N ew York, St. John's Museum fl ourished during this period, quadrupling' its space by acquiring two additional buildings and renovating the entire fa cility. The Museum's tempo rary and major exhibi tion space is named the Hughes G allery in his honor. ) In 1984,St. John's Museum of Art received the prestigious collection oftbirteen color prints by M arv Cassatt on view in this exhibition Cassatt, Degas and Pissarro:AState ofRevointion. The Wilmington community takes great pride in this important bequest given by Therese Thome M cl. ane in honor of Samuel Hudson Hughes. The exhibition Cassatt, Degas and Pi"I'II1''I'o:A State ofRevolution is a fitting tribute to an individual who devoted much of his life to the arts and to St. john's Museum. ACKNOWLEDGE.MENTS
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I would like to tha nk the staff of St. john's this project. I would also like to thank Thomas S. Museum of Art who helped with a variety of aspects Kenan 1II for his interest in the project and his help in of thi s project: Anne Brennan, Curato r of Coll ections, securing funding. for her able job in organizing the exhibition, securing Lastly, I would like to thank th e many museums the loans and dea ling wi th a myriad ofcura to rial issues who lent works by Cassatt, Degas, and Pissarro to this in relation to the exhibition; T iffany Lee, Curator of exhibition, all ofwhich were essential to the success of Education, for organizing the educational programs th e project. St.john's .\ luseum ofArt is also indebted augmenting the exhibition; and Pamelaj obin, Assistant to to the following individuals who helped the ,\ luseum the Director, for her editorial assistance. In addition I secure these loans: Suzanne Folds ,\ IcC ullag"h and would like to thank Donald Furst, Associate Professor , Darrell Green ofThe Art Institu te of Chicago: David in the Department of Fine Arts, University ofNorth S. Brooke and ,\ lartha Asher ofSterling" and Francine C arolina at \ Vilmington, for consulting with St. j ohn's , staff throughout the project and the contribution ofhis Clark Art Institute;C arol Pulin and Kathleen Tobin essay on ,\ lacy Cassatt in this cualogue.joan Pomnirz, ofthe Librarv. ofCongre, ss; Colra Feller Ives and who assisted with research; and Dennis W alsak of " la rceline M cKee ofThe ,\Ietropolitan ,\ Iuseum of M odular G ra phics for designing the catalogue and Art; Barbara Stem Shapiro and Kim Pashko of the all graphic materials accompanying th e exhibition. Museum of Fine Arts, Boston; Wendy W eitman and I would also like to th ank the N orth Carolina Arts Blanche Kahn of The Museum of M odern Art; Roger Mandle and Lisa M ariam of th e N ational Callen ' of C ouncil; the National E ndowment for the Arts in • W ashington, D.C., a federal agency; and the Art; and Roberta \Vaddell and Barbara W oytowicz of Randleigh Foundation T rust for generously funding th e New York Public Librarv. •
C. Rem olds BrO\\TI • Director, St. john's Aluseum ofArt • INTRODUCTION
• The year 1891 marked an important artistic Ten," the Museum has organized an exhibition of breakthrough. Mary Cassatt (1844-1926) completed prints by Edgar Degas and Camille Pissarro relating • and exhibited a portfolio ofcolor prints entitled "The them to the thirteen Cassatt prints in SI. John's Ten" which stand alone for both their artistic merit collection. All three were members ofthe "indepen and her use ofcolor and innovative printing tech dents" (later to be termed the French Impressionists) and niques. St. John's Museum ofArt holds a complete were greatly influenced by theJapanese wood-block prints set of these priceless works ofart as well as three of the ukivo-e period. Their mutual reactions to the additional color prints by Cassatt. This world explosion ofprint production in France in the latter renowned collection was the hequest ofTherese half of the 19th century triggered a joint interest in Thorne Mcl.ane to St. John's Museum of Art in their production of highly experimental prints. The honor of Samuel Hudson Hughes and Zelina exhibition Cassatt, Degas alit! Pissarro: A State of Reuolution illustrates the revolutionarv work done Comegys Brunschwig. • To celebrate the hundredth anniversarv of"The by the three artists in the area ofprintmaking. • ,
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M ary Cassatt, The Coiffure, 1891. Checklist ,Vo. /0. EXPERIMENTATION AND DISCOVERY AT 50, RUE LEPIC A nne G. Brennan
In the studio of Edgar Degas, fall of 1879, .\lary mysterious, and fresh ... a miracle of simplicity and ,,, Cassatt was introduced to the alchemical romance of eI egance. - printmaking. \Vith a vat of acid in the kitchen The artist's belief in the critical accolades, how (probably to housekeeper Sabine's horror) and a ready ever, did not last long,- ifat all, for onlv. four months press in his Paris studio apartment, Cassatt and Degas later, after a summer of travel with her family through inked and pulled proofs oftheir work in the medium parts of England, Italy, and Switzerland, a disgnmtled of intaglio. Camille Pissarro, without a printing press Cassatt writes to sister impressionist Bertbe M orisot, and living in the countryside of Pontoise, participated "T his summer I didn't get anything done, we traveled with them in the explorations by sending his for nearly four weeks...! saw many things to admire, experimentally-etched plates to Degas for printing, beautiful frescoes, reallv I don't see that the modems • and, by letter, his ideas and questions on prinunaking have discovered anything about color. It seems to me processes. T ogether the three artists, as cbildren at that we haven't learned anything more about color pial', enjoyed the freedom and adventure of forcing or drawing."? the medium, and consequently their work, into new Her disparaging remarks about her OW11 artistic 7 directions. In acknowledging certain circumstances progress and that of"the modems" reveal three leading Cassatt to Degas' studio that rear, and study fundamental dues about Cassatt: her fierce work ethic ing prints to which she was exposed, it is clear that underlies her agitation in being away from her studio here she began to gather the arsenal ofknowledge for a summer; she places foremost trust in study ofthe leading to the production of her remarkable suite of masters for artistic inspiration and answers; and finally, color prints. til rough that study she recognizes and takes very M ary Cassatt's first exhibition with the group seriously her responsibility to contribute as an artist popularly knO\\11 as the "Impressionists," which "of her time" in a modem reinterpretation ofboth line opened April 10, 1879, was a tremendous personal and color. Cassatt's obvious confession of self-doubt, success for the artist. H er proud father describes the the intimation that it was time to '\'0 back to the drawing critical praise Cassatt received in a letter to his son, board," helps explain her involvem-ent in a fresh new - Alex: "...evervbodv now savs that in future it dont [sic) •• • project awaiting her return home in September. matter what the papers say about her - She is now Before the close of the verv successful 1879 • knO\\11 to the Art world as well as to the general public exhibition, Degas conceived the idea o f publishing a in such a war as not to be forgonen again so long as journal offine-art prints created by his painter and she continues to paint'!" And the critics expound: printmaker friends. Degas named the journal LeJOllr "There isn't a painting nor a pastel by Mlle. Cassatt et la Nuit, referring to day and night, light and that is not an exquisite symphony of color. Allie. shadow, black ink on white paper, and to the M arl' Cassatt is fond ofpure colors and possesses the contrasting aspects of the necessary trivia o f life, secret of blending them in a composition that is bold, favored subject matter of D egas and his friends. It was an opportunity for the artists to both experiment with The prints intended for the first issue of LeJOIlI' et the intaglio medium and promote their work to a la Nuit were each extrapolated from pre-existing larger audience.Besides the marketplace good sense of paintings and pastels by the three artists. Cassatt's the venture, Cassatt conceivablv viewed this also as a work entitled tbe Opera Box (No.2), was taken from • III chance to freshen her eye. By making herself vulner- the painting most praised by the critics attending the able to the new medium, she not only learned new 1879 exhihition entitled WOlllall ill tbe Loge. Evident is technical skills, but also stood to gain knowledge about the language ofcolor through the rigor ofwork in black and white. Both Cassatt and Camille Pissarro committed their enerb'Y to the project. It is no wonder, for few could escape Degas' fa naticism on the subject of printmaking. His printmaker fri end, Deshoutin writes,
.. Degas. . .is 110 longer afiend, a man, all artist! He is a zinc or coppeTplate blackened tiitb printer' s ink; alld plate and man are f lattened together by bis p,illfillg pTess txbose mecbanism bas strallotred bim completely ' The 1111/11 '.\" crazes are out ofthis tiorld. '\1 Degas, with infectious enthusiasm and generosity, 8 opened his studio to the two painters and taught Camille Pissarro, IVcoded l andscapelit Pontoise, 1879. Cb((Hist Xo. n them techniques ofsoft-ground etching and aquatint. During these fervent investigations, Cassatt learned as her new found pleasure in trying out the technique of much about what she did not, as what she did want to soft-ground etching. Applied in the manner ofshad say in the medium. They experimented with using ing, it zig-zags across the picture plane, sculpts the liquid aquatint, sugar-lift, direct application ofacid to hack ofthe chair, denotes areas ofshadow, and is most the plate, selective ink-wiping, and venturing beyond unruly in the body ofthe fan. She is direct in her use strict use of traditional intaglio tools, reached for o f the stop-out varnish, with economic, dramatic, unconventional implements to abrade the plate splashes oflight, and raw scumbly marks in the fan. surface. Cassatt scholar Nancy, '\!owll Mathews describes her The variety of mark-making possihle in approach, "...she was willing to draw, paint, dust, heat, printmaking held the interest of the painters, and bite and scrape the plate...From the fi rst, her prints rather than distracting them from the concerns of the illustrate what is hidden in her paintings and pas language ofpaint, supplemented and strengthened tels-the struggle, perseverance, and plain hard work their vocabularv. T hese artists were contri butors to a • that were part of her creative process,"; movement where the primacy of the subject matter, Likewise, Pissarro, turned to his advantage the the "what sha ll I paint" was heing slowly superseded physical challenges of printm aking and, literally by the concern for "how shall I express it." Resonant in attacking the plate, created the writhing textural image the prints created by these thsee painter-printmakers, is JVooded Landscape nt Pontoise for his contribution to the the shift from the artist's mark as merely descriptive, collaborative journal. He places a small figure in the to the mark's intrinsic value in and ofitself. foreground- inviting-the reader to crunch through- the wooded copse over the burred and bitten forest floor complex panern of ambient and reflected light, hums into a clearing of warm gray aquatint.Pissarro loved through the veiled overlay of aquatint. Directly over intaglio and tried every possible technical mutation to the figure ofCassatt is the decided impression of pull a new texture or tone from the plate. Currently Degas' fingerprint. The candor in leaving his "ery residing in the British ,\ [useum is a testament to the personal mark points up his conviction to express the artist's ferocity, "a group o f bowed and battered reali ty ofthe creative process as well as the reality of • -
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Edgar Degas, The Washbasin, 1879-83. C,,,klinS,. 23. Edg-ar- D egas,- Cassatt lit tbe Lourre: the interactive subject matter, Tbe.Antiques Gallery. 1879-80. Cbtcklin S o. so. In no medium does Degas more beautifully Pissarro plates reveal heavily corroded bevels and disclose the honest workings ofhis mind and hand • patches ofvarnish and gouge marks vi sible on the than in mono~l'e. In The Washbasin, he pulls a solitary reverse sides."6 \ Vi th Degas' help, Pissarro produced bather in a brothel chamber directlv. out ofthe -wease over 200 impressions in 1879, making him the most wi th his hare hands, a stiff brush, and nearby rags. The prolific ofall the Impressionist printmakers.' immediate image, charged with the conviction of fe w For the journal, Degas created .\101)' Cassatt ill the marks, simultaneously imparts a graceful freedom and Lourre: The Antiques GIIl/eI)'. W orking from a color a psychological heavi ness, When studying Cassatt's pastel drawi ng of Cassatt and her sister Lydia in the work entitled I Vallll1ll Bat hing; it is evident she was paintings gallery of the LOU\Te, he cleverly reverses moved by The IV IIShbIlSill , particularly the quiet the placement of the figures and situates them before classical form rendered with exquisite economy an Etruscan sarcophugus. The room, fill ed with a of line. G . K. H arnerton, in his book Etchillg and a vi olet frame." Art historian Antonia Lanr explains the Etchers of 1876, typ ifies the humility to which Degas system the artist adopted in order to differentiate and approached his work, "\Vh at we most need. .. is an underscore the originality of each impression, unreserved surrender to our impression, a simple fai th "Pissarro was probably the earliest print-maker to sign, that what has moved us is worth recording, however number and annotate his prints. \ Vith the exception poor and uninteresting it Illay seem."'-' ofhis work for the journal, Pissarro's practice (was) directed towards preservi ng the rarity, high quality and individual character of his prints."? T his very responsible attitude toward the print as an original an object was fastidiousl y employed by C assatt in her portfolio of 1891. It is the very unique way that Cassatt, Degas, and Pissarro chose to create singular works of an using a medium which, bv its very existence, is intended for • • the creation ofmultiple images, that becomes one of the ironic obstacles in their anempt to publish the popular journal. LeJ Ollr et fa Nuit never made it to press. The time, money and energy expended prepar ing work, however, was not lost. For Cassatt, the pro-ject marked the beginning ofa distinctive relation- 10 ship with the intaglio medium which continued fo r the next thirtv vcars, As the nineteenth cenrurv was • • • coming to a close, carryi ng wi th it the increasing responsibilities of growth in mass-production, Cassatt's choice of intaglio, a medium with a voice of both duplication and originality, provided a contem - porary , expressive edge to her 1891 suite ofcolor prints, arguably, her most poetic contribution to the world of"color and drawing." Footnotes
I Rob ert Cassatt to Alexander C.as-.atl•.\l.i\":! I. 1879, in .\ lathe" s. C IJ1W1t dlld If" Circk : S~ltttrd lrners, ( 1984), p. 144. . : .\tuhew'i, p. !-is. •\ lary Cassatt. JVomnn Batbiug, 1891. CbuHiSf S Q. I.i. .\ lary Cassatt to Berthe .\ lnri'iHl. FaIlIS';"Q. in .\ I a t h cw~. p. H'I. • Reed and Shapiro. Edgar Drglls: Thr Pllm," liS Prinrmaeer, (19t;·H. p. xxix . Pissarro mercilesslv surrenders himself to the Vlarhcwv and Shapiro • .\lm )' CliSillt: Tbc Color Prints, (191'\9), po :! i . • changing impressions ofthe landscape. Feeling that • Lmr, ~ I'urpcl'ie and Practice in French Avant-Garde P rint-nu king- 0' the IHH(j.,. ~ (l'Jt; .\ ), p. 21. one impression ofan image was not necessarily more L Ull . p.:!l. va lid than another of the same subject, he began • I Iamcr«.n, hcbillg lI l1d F.t'-/"'1)". ( I Hi6), p. foi. '/ ,\ loffcrt, Charles S.• et al., The X''
It seems that ,\Iary Cassatt came slowly, perhaps bath, the copper plate's exposed lines would etch. T be even reluctantly, to printmaking as a vehicle for her resulting etching migbt stand on its 0\\11 as a finished artistic ideas. Despite her fri endship with printmakers image, or the artist could use the etched lines on the during her student days,C assatt at that time evidenced plate as a guide for additional etching with techniques no desire to undertake prinonaking herself. In fact, such as aquatint. during the first two decades ofher career (1860- 1879), Aquatint is a method for producing various she devoted her energies entirely to drawing, pastel shades oflight and dark in the print. Acid-resistant painting, and oil painti ng. rosin powder is distributed over the plate, then melted \ Vhy, then, did Cassatt change her mind and start to form a pattern ofglassy beads. The acid eats away to make prints in 1879? Perhaps the etching revival of the open spaces of metal between these melted par the late nineteenth century influenced her. The craze ticles. The longer the acid is allowed to etch, the • for etching and its niceties ofselective ink-wiping for deeper the pits and the darker the resulting granular special effects focused attention on intaglio prinmuking in tones. Printmaking historians have waged a debate the I880s. T he other reason, and perhaps the more over whether Cassatt's color shapes in "The T en" II compelling one, was that artists in Cassatt's own circle were etched on the copper plate with soft-ground or had taken an enthusiastic experimental interest in with aquatint. In printing done with delicate, transpar printmaking processes. Degas and Pissarro loved to ent inks, the two methods can produce virtually explore the potentials of etching, monotype, and identical results. Examination of Cassatt's prints under lithography in their studios. W e know from survivi ng magnification seems to support the prevalence of letters that they corresponded with each other, sharing aquati nt, however. excitement over their discoveries and offering techni Cassatt's first decade of printmaking ~i elded cal advice to one another. dozens ofsmall fi gure studies, often ofseated women. T he vear 1879 was crucial in Cassatt's career. You would never predict from these modest soft • It marked not only her first participation in an Impres- ground etchings of the 1880s that Cassatt's set of ten sionist exhibition (the group's fourth major show), but color prints would represent a quanolln leap in also the beginning of her serious printmaking work. printmaking. So many of these little prints appear T be technique she used most freq uently was soft murk" , tentative, and insubstantial. Unlike the assured, ground etching, " process that covers the plate with a buoyant pastels and oils from this same period in waxv, greas\' coarinz sensitive to pressure. Cassatt's Cassatt's work, they seem to be experiments rather • ~. L soft-ground procedure for many ofber prints involved than ends in themselves. Interestingly, this primacy of drawing on a piece of paper resting on top of this process over product has been a key precept ofnumer coated plate. Wherever she applied pencil pressure, ous artists working in the second halfof the the h'TeasV coating- was lifted off the plate to expose the twenti eth centurv. , . , • metal in the desired image. \ Vhen placed in an acid In the mid-1 880s, Cassatt shifted her printmaking focus from soft-ground to drypoint prints. H er first T here are no grandiose mythological dramas, religious drypoint, in fact, came only after some three dozen narratives, or historical epics presented. previous prints in line etching and soft-ground. Second, the highly praised j apanese emphasis on Cassatt consciously chose drypoint as a means of li near b'Tace appealed to her and her Impressionist strengthening her drawing skills. Years later she colleagues. In Cassatt's drypoints ofthe 1880s she had emphasized that the self-discipline ofdrawing directly shown increasing interest in the b'Taceful elegance of on the metal plate was the best way to achieve drawing contour line-s-rather than modeling with light and without imprecision. In dry-point, the artist scratches shadow-as the primary' means for defining the the lines ofthe image into a copper plate with a sharp fullness offorms in space. needle, which creates lines with particularly rough, Third, the uki )'o-e prints reveled in pattern, burred edges. The ink caught under the burrs pro minimized me illusion of depth in the picture space, duces the warm, fuzzy line quality characteristic of this and ignored linear perspective. In most of Cassatt's method. work the focus is on figures close to the viewer placed In 1890 Cassatt exhibited a set of twelve drypoints in a shallow space. She rarely evidenced interest in as pan of her display in the large Society of Painters landscape for its m\11 sake or for the illusion of a deep Engravers, show in Paris. Her incisive figure, studies space. are at once realistic in the treatment of the heads, yet Fourth, the j apanese prints were prized as one-of abstract in the suggestion ofthe bodies by a few telling a-kind an objects rather than relentlessly identical, strokes of the needle. The econornv, clarirv, and machine-like duplicates. The development of high • • power of these drypoints would serve Cassatt well in volume, commercial photographic printmaking 12 preparing for her crowning printmaking achievement, processes like heliogravure in the latter part of the the landmark set of color prints known simply as "The nineteenth century seemed to provoke renewed Ten." Significantly, before this historic suite of prints interest in hand-printed art objects. T he inking of carne into being, Cassatt had al ready executed 149 j apanese blocks with a watercolor brush inevi tably pnnts. created un ique impressi ons rather than mechanical It is well knO\\11 that the creative jolt leading to consistency. T his variability in printing would be a Cassatt's attempt of the color print series came from SOliking Cfeature 0 f Cassart ,s co Ior (lI1ntmg.. 0 f"The 'I'en." the famous exhibit in Paris ofj apanese woodcuts. The But the in fl uences on Cassatt were not merelv the massive IH90 show at the Ecole des Beaux Arts in above general characteristics of the j apanese prints. cluded 725 prints. These japanese ukiyo-e prints She borrowed much more specifically, particularly captivated Cassatt, who viewed the exhibit repeatedly from the work of U tamaro. Her color palette, compo with artistic colleagues like Degas and Berthe ,\Iorisot. sitions ofmother and child, depictions of the combing Cassatt purchased for her 0\\11 an collection twelve of hair, and frequent presence of mirrors all have prints by the master Utamaro. direct parallels to specific works of Uramaro.' \ Vhat features of these works so impressed her: \ Vhere did the idea for a suite of prints similar in First, the imagery' itself fit well with the Impressionist size and related in imag, en.' come from: Cassatt's desire to present momentary' scenes ofdaily life. The contemporaries were also interested in the idea ofa set term uki)'o-e translates loosely as "an of the fleeting ofrelated pieces. Paul Gauguin and Emile Bernard, to world," i.e., images ofthe transient pleasures and name just two, employed the japanese format of sensations ofdailv life. The images do not convev loft" binding related prints into a portfolio. It is likely that . ~ . . themes catering to aristocratic or ecclesiastical tastes. Cassatt was influenced bv Utamaro's series oftwelve , • prints entitled "The Twelve Hours in the Pleasure the first print.' The usc ofmultiple patterns and the Quarters ofthe Yoshiwara." Her own set of ten can be introduction ofgreater color complexity in the subse seen as ten different dailv moments in the life ofan quent prints must have seemed to her a movement • upper class Parisian woman. away from the woodcut look. Even so, all of "The Cassatt created her set ofcolor intaglio prints Ten" still appear to belong firmly within a j apanese
duringc the winter of 1890-91 and first exhibited it in a pnnt context. • solo show ofher prints, pastels, and oils at Durand- Rue! Gallery in Paris in April 1891 . The gallery offered the ten pieces to the public for purchase in • unbroke, n sets of ten, rather than as images to be bougbt separately. T he series begins rather modestly with Tbe Batb (also called Tbe Tub), which was her fi rst anempt at color printing with more than one plate. It is clear that Cassatt was less assured in her technical approach in this piece than in later efforts. It took seventeen distinct stages of development-called "states" in prinnnaking parlance-e-on the plates to complete this image. This was by far the most states ofany of"The Ten," In this print Cassatt used color ,'ery simply: a single blue for the tub shape, a unifonn yellow for all 1.\ ofthe dress, and an unchanging pale brown for the background. Aside from the dress and tub, most ofthe print appears in black or neutral color. Cassatt's focus in the previous few years on drypoint reveals itself in the strong linear treatment of Mary Cassatt, The Batb, 1891. Cbecetist XQ. I . the mother and child. The lack of modeling with light and dark is striking in the treatment of the fleshy baby. Although we can't be sure o f the order of The sense ofroundness, ofcreased plumpness in the execution of the remaining nine prints, it is likely baby's legs, comes entirely from gracefully curving that M other's Kiss came next. This, like each of contour lines. It is here and in the flat color shapes that "The Ten," appears in the oban format, the vertical • the treatment is most characteristically japanese. In proportion of roughly 15" x 10" favored by the comparison to most of the other prints, there is a japanese for their ukiyo-e prints. Along with Tbe Barb, tentative feeling about the design. The only pattern Motber's Kiss employs just two plates to print the • occurs on the mother's dress, and large expanses ofthe entire image, whereas the other eight prints in the picture are virtually empty. The rich use of multiple series come from three plates. Like Tbe Batb, the patterns seen in most ofthe other prints is absent here, figures are fi rmly delineated in drypoint contour Perhaps because it strongly resembles j apanese strokes with no hatching or tonal variation to show woodcuts, C assatt actually titled this piece "an anempt modeling. T he fecling o f round ness in the figures to imitate the j ap..mese manner." In a letter to a patron depends entirely on the sensitive linear outlines, years later, she explained that she abandoned this idea after Particularly graceful is the curving line between the babv's an n and the mother's hand. images. You can sense Cassatt's growing confidence as • Cassatt attem pted a more demanding color she took on these more difficult technical challenges. technique in this print by inking each fl oral shape on Part of the significance of"The Ten" lies in Cassatt's- ~ the dress pattern in both red and green. T his method innovative juggling of color shapes on different plates. ofseparately inking adjacent areas on the same plate It took considerable inventiveness and concentration with different hues is called a10 poupee. Translated as to etch and ink different textures and color zones from three separate plates so that a coherent image ulti mately emerged in the printing. To print In the Omnibus, Cassatt employed three plates rather than two.\ Vithout precedent in Cassatt's paintings and drawings, the public coach as subject matter brings to mind Daumier's Tile Third Class Carriage. The- hat ofthe woman holding the baby presents a near-rainbow ofcolor in an otherwise I subdued color scheme. Soft browns and muted blues .. ~ prevail wi thin fairly large, simple shapes. In light of the remaining prints in the series, the absence of pattern striped, fl oral, or any other type-c-is striking. The suggestion ofa deep space in the landscape back 1 ground is also unusual for Cassatt. H Tile Lamp presents a beautifu l play of curves against straight lines. The arms and back of the large chair, the woman's neck and ann, the fa n, the hair, and the lampshade contrast with the straight line of the mirror frame and the table. The high-key colors and ,i fa poupee shift from blue to green on the lamp base suggest the fl uid delicacy ofwatercolor, but the strong darks of the hair and mirror provide tonal contrast in .\ lary Cassatt, Tbe FItting, 1891. G r,-Hist .Yo. 5 the print. \\ 'ith the mirror frame, chair back, and lampshade, Cassatt provides more pattem than in the "wi th the dolly," the term refers to the small doll-like first two prints. In this piece, as in all of"The Ten," pads of fabric employed to tap the color ink onto the the fi gure does not directly gaze at us. TheJ apanese desired loc-ations. The ,i 10 poupee inking method allows printrn akers loved showing the fe male figure from the the artist to print numerous colors from just one or back to emphasize the beauty ofthe neck. and Cassatt two plates. Throughout "T he T en" you can see this chose this same viewpoint. method in the drypoint li nes as well; for example, the In addition to Tile Lamp, three more of"The hair might be inked in black and the rest ofthe figure ~ - Ten" dealt with mirrors. In Tile Fittiug, IVoman in a soft brown. Bathing, and The Coiffure, the mirror reflection repeats The remaining eight prints exhibit increased the central figure. It is clear that both Cassatt and complexity in their mixture of techniques, array of ~ Urarnaro delighted in the pictorial multiplication pattern, and number ofcolors. By comparison, the possible wi th images containing mirrors. color treatment seems almost timid in the first two The dramatic O riental space and steep diagonal to the Impressionists' visible, unblended strokes in oil of the mirror molding in Tbe Fitting are heightened by pamong. the backward tilt of the standing figure's reflection. Tbe Coiffure, another composition fea turing a Pattern for its own sake exuberantly asserts itself. warm pal ette and a reflected fi gure, presents joyous Instead of the relatively fla t backgrounds ofTbe Batb, gestural patterns within a matrix of gentle color and JWotber's Kiss, or In Tbc Omnibus, no fewer than four figurative understatement. Again we see theJapanese patterns greet the viewer. T here are soft red and green vi ewpoint that celebrates the beauty of the neck. T he floral shapes on the rug, broad stripes on the robe of large fl oral sha pes on the wall and the rug contrast the standing figure, bands ofstripes on the attendant's effectively with the straight lines ofthe mirror framing. In robe, and a marvelous expanse ofsquiggles on the wall. the curved stripes of the upholstery we can once again You can almost see the hand of the artist as she see the hand ofthe artist applying stop-out varnish to brushes the varnish onto the aquatint plate coverage to preserve the clean white stripes. Cassatt rarely employed crea te light squiggles. T hese strokes of va rnish kee p nudity in her art, and she presented the torso here the brushed marks intact in the finished print by with modesty and understatement. You can sense preventing the acid from biting a tooth into the metal the upper class reserve of the artist's temperament. wherever the strokes cover. Such fluid calligraphic Oddly, the lushness of the wallpaper pattern seems abstraction brings to mind the Abstract Expressionist more sensual than the fi gure treatment itself. gestural sensibility of the I940s and [950s. In rV 01JUI1I Batbing, the fourth image of"The What a contrast to the tightly controlled Ten" to include a mirror, we see an extraordinarily printmaking presented in the officially-sanctioned succinct and graceful treatment ofyet another set of Salon art exhibits of the time! O nly black and white shoulders and neck seen from behind.Degas, in a • prints were accepted, and the typical image was a fa mous anecdote, is reputed to have asked, "You fa ithful copy of a painting in eithe r engraving o r modeled the back? I ,,;11 not admit that a woman can mezzotint. Burin engraving, a highly formalized draw so well." The entire figure silhouette forms a printmaking method, employed precisely carved graceful curving shape on the page. T he back is dots and hatching in a prescribed style. Mezzotint defined with the barest minimum of lines, and vet • was a curious, very time-consuming method of convinces the viewer of its volume and anatomical achieving convincing tonal and textural replication of accuracy. T he mood is one of modesty, even reticence. previously created paintings. Techniques such as The figure is seen from behind, the rendition is under aquatint, etching lines with a needle in hard-ground, stated, and not even the reflection reveals the face. or soft-ground etching were unacceptably free and A, in other prints, the stripes and floral patterns painterly. play against each other and the simplicity of the wall. It is amusi ng to see Cassatt's very different attitude The fl atness of the wall color and the weakening of toward the sa nctity of the process. On nearly every linear perspective by the contradictory receding lines one of "T he T en"-usually visible in the lower right of the cabinet front and the baseboard molding help print corner-you can see the etched fingerprint of impart a sense of]apanese space. Cassatt where she handled the plate while the varnish Similar to Tbe Fitting and Tbe COiffitre in its warm or ground was not completely hard.In fact, all four palette, Maternal Caress likewise contrasts straight lines corners ofIn tbe Omnibus melt away into fingerprints with bold floral patterns. Particula rly effective, also, is and smudges of one kind or another. These visible the alternation of ornately patterned zones with • marks in Cassatt's prinonaking are perhaps equivalent extremely simple color shapes. Cassatt carries off the combination of robust drypoint burr with painterly needled with a bold, aggressive drypoint burr, but pattern most effectively. To glance quickly at this print pattern is barely hinted at in background areas such as with eyes halfclosed is to see the most abstract design the lace curtains. Cassatt felt free to band-color parts of "T he Ten." The alternating bands ofdark and of this print by painting gold bands on the tea cups. light, ofsimple and patterned zones, make this a The areas of blue inking dance on a meandering rhythmically satisfyi ng image. The Oriental character diagonal from the visitor's hat, through her bow, and through the tea service itself. W ith none of the shape ...... ";"• • J ...~ '.f ""( -r,. \ simplicity seen in Maternal Caress, the design ofthis _ . ~ .. ,~ ;~ ~ picture chops the space into numerous small shapes of ... ': \ highly contrasting light and dark. - ,. to- ,. i ~ r·-Y... In this print there is an odd treatment of space. I {...:. ~ ~ The screen frame in the background moves on a :....,. -.., diagonal opposite the usual left-to-right upward slope I \ .if • • ofjapanese prints. The tea tray tips down to imply "'" )0* oL an elevated viewpoint, although the other objects do fl· not convey this position. The location in space of the I various pictorial elements is as ambiguous as any Italian Mannerisr painting ofthe sixteenth century. The oddly narrow, stretched shape of the visi tor's head suggests proportions distorted in a fun-house 16 mirror, or perhaps the sort ofmirror El Greco might have had. The overall effect is curiouslv but subtlv • • disorienting. Probably the best known and loved of"The T en," Tbe Letter is rightly considered the masterpiece ofthe series. Maybe the last one completed, it evolved to completion through only four states, despite its complexity ofcolor and pattern. By contrast, the first image in the series, Tbe Batb, required seventeen states. An assertive image without a trace of tentative statement or technical groping, Tbe Letter seems more visually aggressive than the other prints in its effusive ness ofpattern and sharp light/dark contrasts. Different patterns leap out ofthe image: the floral design in the wallpaper, the dress blossoms, the stripes Mary Cassatt, The Letter, 1891 . Ch ecklist N Q. 4. and "x" shapes of the blouse, and the curls ofhair on of the baby's features enhance theJapanese flavor of the forehead. Cassatt orchestrated opposites master this print. fully. In some areas an ornamental profusion prevails, Afternoon Tea Party is another image ofupper while elsewhere, extreme simplicity balances the class, genteel daily life as known to a woman of visually rich areas. The long vertical rectangle on the Cassatt's social class. The visitor's dress contains lines right side acts as a "stabilizer bar" for the active parterns elsewhere. This heavy dark shape would be printmaking innovator: After all, theJ apanese prints too blatant were it not fo r the transitional softening served as Inore than just general artistic inspiration . In effect ofyellow-green molding bridging the monolith the la nguage ofcurrent art criticism, Cassatt "appro over to the wallpaper pattern. The pattern of the priated"J apanese motifs, colors, and compositions. wallpaper surrounds the figure in an inverted "L" But what artist of a n ~' period created new images shape, and the dress pattern curls around the figure in or new methods without fi rst borrowinz,~ whether an upright "L." T hese two large zones of pattern wrap from contemporaries, from an established tradition, around each other to vi suallv interlock. A design or from the art of another culture : The genius of a . " teacher would thrill to the transpositions of dark Picasso lies not in where he started, not in what and light created by C assatt. The dark plant shapes unusually diverse places he found inspiration, not in azainst the liahr wall background g;\'e wav to the how much he borrowed, but rather in how he digested ~ - ~ . - . - light fl oral shapes against the dark dress background. and used all his source material to fashion a new art. Along with vi suallv a!!~essi \'e effects, there are ,\Iary Cassatt recast the J apanese fleering world ~ . -- - also passages ofextreme subtlety. \\ bite, near-white, into her own particular European world.In her and off-white resonate beautifullv tozether. The imaginative and complex transformation of the . envelope printed as pure white because- Cassatt J apanese wood-block into copper plate techniques, protected the plate from etching in that location. Cassatt took intaglio printmaking (what the French call "gravure") from small, o ne-method black and The letter printed as a cool near-white because she " burnished the desired shape in the midst ofa deeply white images into a new rea lm of multiple-technique, etched pas-sage printed blue. This letter shape functinns multiple-plate, and multiple-color images of a scale visually as an isla nd ofgeometry in a sea of restless and com plexity not previously attempted. A sea rch pattern. Finally, a soft off-white appears in the delicate of nineteenth century intaglio prinnnaking reveals 17 aquatint or soft-ground etching of background gray on no artist or group of art work as a direct predeces the wa ll. Another subtle touch li es in Cassatt's remark sor or influence on Cassatt's colo r prints. Interest able economy of line to suggest the model's hands, ingly, C assatt left no direct followers either, to particularly the right one. continue the approach to colo r printmaking that A number of devices contribute to theJ apanese she originated. fl avor of this print. The writing surface upon which the letter rests is shaped in an odd geometric form Footnotes I n~ s a~gues that further suggests the diagonals ofJ apanese prints. I Coles persuaviveh- for specific hu rruwing'i by the Impressionist and povr-Irnpressioni-r artists from Japanese Ilh)'Q- t corupo-inons. Tbe Grear H il:"t: T he elevated viewpoint even puts the fi gure into Tbe /lIjlumir OJ] olpdlltst If ·ooJ,...IlTJ QTI Frendr Prints. ~C " York.( I q;~ ) , diagonals: the shoulders, hands, and evebrows follow : .\lary Cassatt letter to Frank \ \ '~itcnbm p f, .\ lar IN, 1906 , :"e\Oo York Public - . Librarv. diagonal slopes. Even the woman's eyes seem slightly crossed, a device favored byJ apanese printmakers. In The Letter Cassatt truly fulfills the Impressionist ideal ofa fleeting moment in life captured in color. H ere Cassatt freezes a single moment in time as the woman licks the fla p of th-e envelope, One thinks also of Degas and his painting of a woman ironing, her mouth caught wi de open in mid-yawn. If Cassarr borrowed so heavi ly from theJ apanese ukivo-e prints, why praise her as an important SELECfED BIBLIOGRAPHY
B0 1!"l.,TS. Jean Sutherland. ct 01 1. Degas. Paris: .\ lini...tcre de 101 .Vlathews. Nancv .Vlowll. ed. Cassat! and JIeI' Circle: Selected Cul~r~ et de la Communication, Editions tic 101 Reunion des Letters. X ew York: Abbeville Press. 1984. .\ lusees X ationaux. 1988- and Shapiro. Barbara Stem . .\/m)' Cassatt: The Color Prints. Breeskin. .Adclvn D. Tbr Grnpbic, 117 Of-HilT)' Cassatt. \ Vashing ::-;-:''''0-''--:' York: H arry X . Abrams. Inc.• 1981}. tun. D.C.: .\ l u~e u m of Graphic Art and Smithsonian Institution ,\ lclm . ,\ !it'hel and Lev marie.jules. Tbe Gmpbic lJ "ort: of the Press. 1967. Exhibition catalogue. Impressionists. London: T hames and Hudson. 19 72. _ _"Tbe Cmphil' ' Vorl' a[J/m} Cassatt. A Ciltalogue Raisonnc.• Al offen. Charles S., dir., ct 01 1. The Nt"U' Paiming: Impressionism X ew York: II. Bi ttner and C o., 194H. Zd ed.. \ Va shington. D.C.: 1874-1 SS6. San Francisco: The Fine Arts ;\ luscums of San Smithsonian Institution Press, 1979. Francisco. 1986. Exhibition catalogue. Care, Phillip Dennis. "The 'Revolutionary Intrigu e' among lvih ,\ lomey. Gabriel. "Coloured Etchings in France". The Studio centurv Prinrmakers." .-l11 Xr':"J 77 (.\ larch 1978): 77-84. (February 1901): 3- 14. Delreil, Lovs . Le Peintre-Grareur Illustre, 31 vols. Paris. 1906 Peer, Phyllis. .-lmerican U'omen of the Etcbing R(j.:i;:al. Atlanta: 1926. \ '01X\ 11: Pissarro. Sis/C)'. Renoir. Iligh .\ luseum of Art. 1988- I" Fuller. Sue.".\Iarv C assatt's Usc of Soft-Ground Etching." Reed. Sue \\'c1sh. and Shapiro.Barbara Stem. Edg-ar J)egtlS: Tbe .Hag(I':.ine of .>111 -1) (February 19; 0): 54-57. Painter as Printmaker. Boston: ,\ Iuscum of Fine Arts. 1984. l Iamerton, Philip G. Etching and Etchers. London: .\ lac.\ liIbn Roger-A Iarx. C laude. GraphicLI11 ojtbe Nineteenth Century, Xew and C o., 1876. York, T oronto, London: .\ 1cG raw-lIill , 1961. Ivcs. Colts Feller. The Great 1J ~/ re : The /njluf'11 ff' of Japanese Shapiro. Barbara Stern. C amille Pissarro. Tbc Impressionist ff 'oodcnts on P,'f'11(h Prints. N ew York: .\ letropo litan .\ luseum of Printmalcer. Boston: .vluscurn of Fine Arts, 1973. Exhibition Art. 1974. Catalogue. Lam. Antonia."Purpose and Pr-actice in French Avant-Garde Prim-.\lakins of the 1880s". 7/)< O\f ord .·1.1] ol/ma/6 (1983): • 18-29. CHECKLIST
Dimensions are given in inches, 7. .\lo the"~f Kiss, 1891 Drvpoint and E DGARD EGAS (French, 1834-191 i) • followed b~ · m il limeters in parentheses. aquatint 13 3/4 x 9 (349 x 229) Height precedes width. Unless other Fifth of fi ve states 15. / Jctresses in 17Jdr Dressing Rooms, 1879 wise indicated, .111 dimensions refer to 1880 I .ine etching and aquatint lin• age siz• es. 8. .\ 1891 D~'point, 6 5/16 x 8 3/ 8 (161 x ~ l.l ) • latemal Caress. sof t-ground etching and aquatint Second of five states .\ IARY CASSATT' (American, 18+! 14 W x 10 9f16 (368 x ~6 8 ) Lent hy The Art Institute of C hicago 1926) Unless otherwise indicated, all Second of six states Albert II. \ \ "olf .\ lemorial Collection works bv Cassatt are in the collection of St. John's .\ lusculll of Art and are the gift 9. Afternoon Tea Part)', 189 1 16. Dancer Putting 011 Her Sboc, 1888 ofTherese Thorne ,\ IcLane in honor of D rvp oinr and aquatint Line etching 7 x 4 5/8 (178 x 11 7) Sam uel H udson I Iughes and Zelina 13 11/ 16 x 10 318 (348 x 263) Lent by The Art Institute of Chicago Comegys Brun-chwig. Fifth of fi ve states J oseph Brooks Fair Collection
I. The Bath, 1891 Drypoint, soft-ground 10. 17", Coiffure. 1891 17. Four Heads of' J'omen. c. t878 etching and aquatint 12 5/8 x I) 3/4 Drvpoint and aquatint Lithograph, transferred from 19 (321 x 247) Seventeenth of seventeen 14 318 x 10 I /~ (365 x 26i ) fuu r monotvpes states Fifth of fi ve states 14 I / R x 10 i /8 (358 x ~ i5 ) sheet Lent by The Art Institute of Chicago -,, 'I1x I ,ilmp, 189 1 Drypoint, soft- I I . Tbe Barefooted cuu, 1896- 1897 Clarence Buckingham Collection ground etching and aquatint 12 3/4 x D rypoin r and aquatint C) 5/8 x 12 5/8 9 15/1 6 (3 23 x 252) Fourth offour (244 x 320) Fourth of four states 18. l.i>t11.'ing the Bmb, 1879- 1880 states Drypoint and aquatint 12 . J~)' the Pond, c. 1896 Drypoinr and 5 x 5 (127 x 12 7) 3. III the Omnibus, 1891 Drypcinr and aquatint 13 x 16 i/8 (330 x 4~9 ) Fourteenth o f rwenrv-rwo states aquatint 14 3/8 x 10 I/ ~ (384 x ~6 i ) Fourth of four states Lent by the Stcrling and Francine Seventh ofseven states Clark An Institute. 13. Under tbe Horse-Ch estnut Tree, 1896 \ \ "i lliamstown, ;\ lassachusctrs , 4. 17Je Letter, 1891 Drypoint and 1897 Drypoint and aquatint 15 7/8 x aquatint 13 5/8 x 8 5/ 16 (345 x ~ I I) II 1/4 (404 x 2R6) Third of three 19. The Little Dressing Room, 1879- 1880 Fourth of four states states D c)l lOim 4 1I11 6 x 3 1/ 8 Fifth of five sta tes • ,. The Fitting, 1891 Drvpoinr and I4. /11 the Opera 80x (1':0. Z), 18i9- 1880 Lent hy The Art Institute o f C hicago aquatint 14 3/4 x 10 1/8 (3/i x ~ 56 ) Soft-ground etching and aquatint \\"ill ialll .\ lcC allin .\ lcKce .\ Iemorial Seventh of seven states R3/Rx 6 1/4 (213 x 159) Lent hy the Collection .\ tuseum ofAlodem Art, j\,'ew York 6. IVU1J!flJ1 Bathing, 1891 D rypoinr and Gift of Abbv Aldrich Rockefeller aquatint 14 1/2 x 10 3/8 (368 x 263) Fourth of four states 20. .\1my Cassatt (It the l.O/IIn: 24. Chestnut Vendors, 1878 30. SelfPortrait, c. 1890 The Antiques Galin)" 18i 9-1 880 D rypoint 8 3/ 16 x 6 3/8 (~ 0 7 x 1 6~ ) • Line etching and drypoinr 7 3/ 8 x 7 Line etching, soft-ground etching, First of two states (187 x 178) Third of three states drypoint and aquatint Lent bv the National Gallen' ofArt, I • • Lent bv the M useot» of Fine Arts. 10 I / ~ x9 1/ 8 ( ~ 6 7 x 23~) W ashington, DC Boston, Lee .\ 1. Friedman Fund Sixth of ninc states Rosenwald Collection I Lent hv the Librarv of Congress . . ~ 31. IVw um Bathing: Witb Geese, IH95 25. Church and Farm at Eragny-sur-Epte, Line etching ,111 <1 dryp oinr 5 x 6 13/16 21. •\1aJ)' Cassatt at the Lomnv: 7111' 1894- 189 5 Line etching and drypoint (1 27 x 173) Second of sixteen states Paintings Galin)', 1879-1 880 63/16 x 'I 3/4 (158 x 248) Len t by The ,\ letropolitan ,\ l useum I Line etchi ng, soft-ground etching, Sixth of six states of An, New York IIarris Brisbane drypoint and aquatint Lent by the ,\Iuscum of Fine Arts, D ick Fund, 1928 I ~ x 5 (305 x 1~ 5 ) Boston, Ellen Frances .\ Iason Fund Xinereenth of rwenrv states 32 . JV()lnon Emptyinq a Wbeelbarrotr, 1880 Lent bv The Xew York Public 26. Girl Combinq l lerllair, 1894-95 Drypoint and aquatint 12 1/2 x 91/8 Libra ry, S.P. Avery Collection, Print .\ lonot)'pe 5 x 71/8 (128 x 180) 20 (3 17 x 232) Eleventh of eleven states Collection, T he .\ liriam and Ira D . Lent by the .\ 1useum of Fine Arts, Lent by the Sterling and Franci ne \\"allach Division ofArt, Prints and Boston, Lee J\ 1. Friedman Fund C lark An Institu te, \ V illiamstown, Photographs,Astor, Lenox and ~\ Iassachuserts Tilden Foundati ons 27. lme ofBmb"1J, 189i Lithograph • 5 1/8 x 7 7/8 (l 30 x 200) B. lVooded la ndscape at Pontoise, IH79 22. ,HaJ )' Cassatt at tbe Louvre: 71Jt' Lent by The 1\ lcrropolitan ,\ luseu m Soft-ground etching, drypoint and Paiminf(f Galin)', 1879- 1880 ofArt, New York, H arris Brisbane aquatint 8 5/8 x 10 9/ 16 (218 x ~68 ) Line etching, soft-ground etching, Dick Fund, 1923 Second of six St:ItCS drypoint and aquatint Lent bv the Librarv ofCongres s • • • 12 x 5 (305 x 125) 28..vlosber -"ursin? Her Child, 1882 Twentieth of twentv states D tvpoint and aquatint 4 i/8 x 4 7/16 Lent by the Library ofCongress (124 x 113) First ofthree states Lent by the j\ luseum of Fine Arts, 23. Tbe Washbasin, 1879-1883 Boston, Lee ,\ 1. Friedman Fund M onorypc 12 1/4 x 10 3/4 (3 11 x 273) Lenr hy the Sterling and Francine 29. Rain Ejject, 1Hi 9 Line etching, C lark Art Institute, \ Villiatnsrown, drypoint and aquatint 6 lI8 x H3/8 .\ lassachusctts (155 x 21 2) Sixth of six sta tes Lent bv T he N ew York Public C -\.\ULLE PISSARRO Library, S.P. ..h cf}' Collection, Print (born in Danish \\'est Indies Collection, The .\ liriam and Ira D . [worked in France]. 1830- 1903) \\"allach D ivision ofAn, Prints and Photographs, Astor, Lenox and T ilden Foundations , . , ...... >
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