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Ukiyo-E Prints She Borrowed Much More Specifically, Particularly Captivated Cassatt, Who Viewed the Exhibit Repeatedly from the Work of U Tamaro

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Ukiyo-E Prints She Borrowed Much More Specifically, Particularly Captivated Cassatt, Who Viewed the Exhibit Repeatedly from the Work of U Tamaro • • • Cassatt, , - Degas a Pissarro: \ A STATE OF REYOLLTIO:\, • Ii I ! \ ST.JOHN'S MUSEU\! OF ART \\lL\Il:"GTO:". ;-';ORTII C\ROLlX.-\ • •• \ , \ ..• • ... • ",t : If" ' . • .~ ~ • • • .A' .,. • • J • '--. \}.'\ • I • " . • ). \~ ~ ~' • 1'''.) I • It • # "• , • ' --. • •J " . • • .' ). \ ~/ ~ • It - • I J '- ,. • • ~ - • . , I • - • r .' t • ~/ ~ ..... I' \ ~ '" • • '.., :;r ."• I • ~ ~ I .~ , ~ : I .....• • ~ • ... , •• .)...) \ • Cassatt, Degas and Pissarro: A State ofRevolution 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 • 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. • , • I I ( I / I I I { I I /I I / 6 \ I \ ~ \ I \ I \ I , I . I I I I I I , • • 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.
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