Press Release - Mona Bismarck | American Center
Press Release - Mona Bismarck | American Center
Press Release - Mona Bismarck | American Center
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PRESS RELEASE<br />
PR<br />
Agence Catherine Dantan<br />
Marie Decap<br />
7, rue Charles V - 75004 Paris<br />
Phone: 01 40 21 05 15<br />
Email: marie@catherine-dantan.fr<br />
www.catherine-dantan.fr
CONTENTS<br />
P 3 - <strong>Press</strong> <strong>Release</strong><br />
P 5 - Interview with Eddie McDonnell, Executive Director of the MBAC<br />
P 7 - Mary Cassatt, an <strong>American</strong> Woman in Paris<br />
P 8 - The Challenge of Printmaking<br />
- The Printmaker's "Kitchen"<br />
- The Japanese Influence<br />
- The Pastel Counterproofs<br />
P 10 - History of a Collection<br />
P 11 - Chronology<br />
P 13 - Mary Cassatt's Primary Printing Techniques<br />
P 14 - Images Available for the <strong>Press</strong><br />
P 17 - List of Exhibited Works<br />
P 24 - Programs Accompanying the Exhibition<br />
P 26 - Useful Information<br />
2
PRESS RELEASE<br />
A dynamic new place for <strong>American</strong> culture has come to life on 34 avenue de New York: the<br />
<strong>Mona</strong> <strong>Bismarck</strong> <strong>American</strong> <strong>Center</strong> for art & culture (MBAC) whose mission is to strengthen the<br />
friendship between France and the United States through an exciting and eclectic<br />
programming.<br />
First up, from September 26, 2012 to January 20, 2013, is Mary Cassatt<br />
in Paris: Prints & Drawings from the Ambroise Vollard Collection. This<br />
exhibition will reveal an important aspect of the works on paper by the<br />
<strong>American</strong> artist in France, whose remarkably modern character so<br />
struck Ambroise Vollard that he acquired the majority of her personal<br />
studio collection. These works remained in his possession until his<br />
death in 1939, when they were purchased by the dealer-collector Henri<br />
Petiet. In 2000, a significant portion of these treasures was brought to<br />
light by Marc Rosen and Warren Adelson in an exhibition at the Adelson<br />
Galleries in New York. Art in the Mirror: The Counterproofs of Mary<br />
Cassatt, also held in the Adelson Galleries in 2004, highlighted Mary<br />
Cassatt’s unique experimentation with the counterproof technique and displayed her never-beforeseen<br />
work in the medium. Thanks to this new show at the MBAC, Paris will now enjoy this<br />
phenomenal collection of Mary Cassatt’s prints.<br />
This exhibition will present 67 works, including engravings, aquatints,<br />
pastel counterproofs, and preparatory drawings that shed light on the<br />
various steps of the artist’s creative process. The 15 exceptional<br />
pastel counterproofs, with their experimental character, testify to the<br />
talent and originality of Mary Cassatt. These inverted reproductions<br />
were achieved by pressing a damp piece of Japanese paper against a<br />
pastel before running it through a press. More abstract than the<br />
original pastel, the resulting imprints were often the source of new<br />
inspiration.<br />
Displayed thematically in the three galleries of the MBAC, the first<br />
gallery will introduce the artist overall, the second gallery will highlight the different printmaking<br />
techniques she utilized in general and the Japanese influence on her prints in particular, and the third<br />
gallery will focus on the pastel counterproofs.<br />
3
Mary Cassatt (1844-1926) moved to Paris in 1874 and exhibited with the Impressionists<br />
starting in 1880. She soon developed a friendship with Edgar Degas that would last a lifetime<br />
and, along with Berthe Morisot, was the first woman to be embraced by an artistic group.<br />
Ambroise Vollard, renowned for his taste in graphic arts, recognized very early on the<br />
extraordinary technical quality of her prints and the modern aesthetic of her work.<br />
The <strong>Mona</strong> <strong>Bismarck</strong> <strong>American</strong> <strong>Center</strong> for art & culture offers a glimpse<br />
into the <strong>American</strong> spirit through exhibitions of authentic, emblematic<br />
<strong>American</strong> artists, too often less known in France. The Wyeths, for<br />
example, who were the subject of the MBAC’s previous exhibition, and<br />
now this coming fall season Mary Cassatt, who established her career as<br />
an artist in Paris. Through her work and commitment, she created new<br />
channels of exchange between France and the United States, serving as a<br />
crucial intermediary in the <strong>American</strong> art market.<br />
A new magnet center for <strong>American</strong> art and culture in Paris, the MBAC<br />
offers an array of programs to accompany the upcoming exhibition:<br />
educational activities (for children and adults), as well as a cycle of conferences and concerts related<br />
to Mary Cassatt. These will take place during the day and in the evening during the week as well as<br />
on weekends.<br />
In addition, The MONA Café will open its doors on the ground floor with a view of a beautiful<br />
private garden. The décor will pay homage to <strong>Mona</strong> <strong>Bismarck</strong>, a patron with unrivaled<br />
elegance. Visitors will be able to enjoy some <strong>American</strong> specialties while surrounded by images<br />
of MBAC’s extraordinary founder. The café will be open to the public between 11 AM and 6<br />
PM.<br />
4
INTERVIEW WITH EDDIE MCDONNELL, EXECUTIVE DIRECTOR OF THE MBAC<br />
The name of the <strong>Mona</strong> <strong>Bismarck</strong> Foundation changed in December 2011. You are now the Director<br />
of the <strong>Mona</strong> <strong>Bismarck</strong> <strong>American</strong> <strong>Center</strong> for art & culture. What are your goals?<br />
We have fundamentally the same goal as we did before, that is strengthening the friendship<br />
between France and the United States through art and culture; however, with regard to the way and<br />
the means we will employ to achieve this goal, we are making a number of changes in order to<br />
become more dynamic.<br />
What do you anticipate in terms of activities?<br />
We are focusing on four programs: Exhibitions, Events, Education, and Community. In terms of art,<br />
we want to highlight important artists in America who may not be as well-known in France: such was<br />
the case with our last exhibition of the Wyeth family, notably Andrew Wyeth, a major <strong>American</strong><br />
painter of the 20th century who was even elected to the Académie des Beaux-Arts in France. It is also<br />
the case of Mary Cassatt, an iconic artist in the United States who is less well-known in France even<br />
though she lived in Paris and was part of the French Impressionist movement. We are planning two<br />
exhibitions per year that will range from printmaking, textiles and photography to painting, drawing<br />
and sculpture. Each show will present opportunities for unique events, conferences, guided tours,<br />
children's workshops and concerts.<br />
Do you anticipate musical programs?<br />
Indeed. We intend to showcase young talent, often <strong>American</strong>, for intimate concerts that attract 50-<br />
60 people in our townhouse. This spring we tested the idea of mini-concerts in our salons and the<br />
results were very positive. We are also exploring a jazz program.<br />
And educational programs?<br />
This coming fall, we will begin our first round of educational programming through partnerships with<br />
experienced instructors. There will be children’s theater and art classes taught in English, as well as<br />
drawing courses for adults in English, enabling visitors to actively engage in <strong>American</strong> culture and<br />
language. In light of the Mary Cassatt exhibition, we will also organize workshops about printmaking<br />
techniques. We will continue to reach out to schools offering visits to our galleries for students along<br />
with their teachers.<br />
Will all of these activities take place at 34 avenue de New York?<br />
Yes! Just a few steps from the Palais de Tokyo, on the banks of the Seine and across from the Musée<br />
du Quai Branly and the Eiffel Tower. We recently reorganized our building to free up the elegant<br />
rooms on the first floor for a variety of activities. In addition, we are pleased to announce that The<br />
MONA Café will open its doors on the ground floor with a view of our beautiful private garden. The<br />
decor will be in homage to our founder <strong>Mona</strong> <strong>Bismarck</strong>, an exceptionally elegant woman. The café<br />
will be open from 11 am to 6 pm.<br />
What do you hope for the years to come?<br />
Our goal is to become a reference point for <strong>American</strong> culture in Paris. We believe there is a need for<br />
a place to act as a magnet center that is accessible to all and for that we are fortunate to have some<br />
real advantages. The fact that we are an entirely private institution that relies on the support of our<br />
patrons allows us a great deal of flexibility in our choice of programming. We are also lucky to be<br />
located within such a high concentration of major cultural institutions like the Palais de Tokyo, the<br />
5
Musée d’Art Moderne de la Ville de Paris, the Musée Galliera, the Musée Guimet, the Cité<br />
d'Architecture, and the Musée du Quai Branly. In addition, the city of Paris is currently taking<br />
measures to make our neighborhood more conducive to foot traffic, so our area should attract even<br />
more people and help us to create synergies with our neighboring institutions. In short, all of this<br />
should help to revive the sleeping beauty of avenue de New York!<br />
6
AN AMERICAN WOMAN IN PARIS<br />
It was not easy to be a female artist during the Third Republic, even less so a foreign one at that.<br />
When Mary Cassatt moved to Paris in 1874, memories of the Franco-Prussian war and the Paris<br />
Commune were still quite vivid. The surrounding aesthetic was largely academic and nationalistic.<br />
Thus, when Cassatt presented the color prints that made her famous at the Peintres-Graveurs<br />
exhibition in 1891, it was in a separate room specifically for foreigners.<br />
The biases against women’s artistic abilities were strong in France, where women were only<br />
accepted as amateurs or watercolor painters. Despite the strikes against her, Mary Cassatt was one<br />
of only three women, and the only <strong>American</strong>, to exhibit with the Impressionists. Degas had noticed<br />
her at the 1874 Salon and invited her to exhibit with the Impressionists in 1877. She accepted and<br />
exhibited regularly with them from 1879 to 1886.<br />
Like Berthe Morisot, Mary Cassatt knew how to maintain her place as a painter and printmaker<br />
among the Impressionists. Throughout her career, which was almost exclusively outside of the<br />
United States, she sought to depict women in their social functions: at the theater, having tea, with<br />
their children and in their daily activities, without sentimentality or idealism. She used her friends<br />
and family members as models: often her sister Lydia and her mother.<br />
She was also a valued adviser to <strong>American</strong> collectors, especially to her childhood friend Louisine<br />
Havemeyer. In 1929, Cassatt was instrumental in her friend’s acquisitions of Degas and Manet, quite<br />
notable as her collection was ultimately given to the Metropolitan Museum of Art in New York.<br />
Indeed, Mary Cassatt played an important role in bringing Impressionism to the United Sates. One of<br />
her art dealers, Durand-Ruel, organized a huge Impressionist exhibition in New York in 1886, which<br />
also helped to establish the movement in North America.<br />
At the end of her life, Mary Cassatt was recognized as an artist on both sides of the Atlantic and was<br />
praised as one of the major figures of her time. She was truly a Modern Woman (title of her nowmissing<br />
mural that was exhibited at the Universal Exposition in Chicago in 1893), who worked to<br />
obtain the right to vote for women in the United States.<br />
7
THE CHALLENGE OF PRINTMAKING<br />
Organized thematically, this exhibition is displayed in the three galleries of the MBAC. The first<br />
gallery introduces the artist, her favorite models and the different printmaking techniques she<br />
employed. The second gallery illustrates the Japanese influence on Cassatt’s work, and the third<br />
shows her pastel counterproofs. The Vollard collection includes multiple different states of prints,<br />
which gives visitors a unique opportunity to follow the step-by-step development and evolution of<br />
her works.<br />
1 - The Printmaker’s "Kitchen"<br />
In the 1870s, printmaking was considered a "minor" art, especially because of its reproducible<br />
nature. Mary Cassatt, however, saw in it a tool of research with untapped potential. Thus, she<br />
devoted herself diligently to the many possibilities of the medium, which played a major role in her<br />
work. Her career as a printmaker really began in 1879 when she accepted an invitation from Degas to<br />
join the Impressionist group in their fourth exhibition. Before then, she had only tried etching and<br />
had not yet approached color sequences.<br />
Cassatt’s first prints were made in 1879-80; they are accompanied in the exhibition by preparatory<br />
drawings and show a strong desire for experimentation. The main themes of these works are:<br />
theatre (for instance In the Opera Box or Two Young Ladies in a Loge, Facing Right), domestic life<br />
(Mrs. Cassatt Reading to her Grandchildren, Before the Fireplace, or Lydia at Afternoon Tea), family<br />
scenes and upper-class daily activities. Unlike traditional printmaking, Mary Cassatt did not try to<br />
define figures but rather to suggest their moods through the manipulation of shadow and light.<br />
Indeed, the artist would often trace from a sheet of paper onto the copper plate so that the<br />
freshness of her inspiration would show through.<br />
In 1889, after several years of creating only a few prints, she started working in drypoint and<br />
produced an important body of work, including Quietude and The Caress. Many of these drypoints<br />
consist of a mostly bare surface covered by an inked veil that creates an atmosphere. Others, such as<br />
The Mandolin Player and Tea, are more finished and demonstrate a more complete means of<br />
pictorial expression.<br />
2 - The Japanese Influence<br />
Mary Cassatt refined her techniques in soft ground etching and aquatint in order to combine and mix<br />
them in more ambitious color prints: a new direction she took after visiting the 1890 exhibition of<br />
Japanese woodblock prints at the Ecole des Beaux-Arts in Paris (with Berthe Morisot). The “set of<br />
ten” color prints that resulted were exhibited at Durand-Ruel's gallery in April 1891. Degas and<br />
Pissarro did not hide their admiration for these prints that revealed, in a way, the very steps of<br />
Cassatt’s creative process.<br />
Mary Cassatt appropriated the Japanese aesthetic and recreated it in European terms: the courtesan<br />
thus became a modern European woman depicted scenes of her daily life. Not wishing to merely<br />
imitate, Cassatt chose to work on copper plates rather than woodblock, devising an entirely new<br />
method of color printing, the genesis of which can be seen in the different states of The Bath. The<br />
different hues of the intermediate states, which vary from the final picture, are proof of the many<br />
variations in her process.<br />
8
3 - The Pastel Counterproofs<br />
The thrill of this exhibition is also in the discovery of an exceptional group of 15 pastel counterproofs:<br />
a medium in which Mary Cassatt excelled and which exemplifies the experimental and thoroughly<br />
modern nature of her work. The counterproofs have received little attention to date – apart from the<br />
2004 Art in a Mirror: The Counterproofs of Mary Cassatt exhibition at the Adelson Galleries. Indeed,<br />
Degas's counterproofs in charcoal and pastel have been studied before, but not Mary Cassatt's.<br />
Today, thanks to this show, this oversight is rectified.<br />
A counterproof is a technique that reproduces a drawing or print. The method was often used in the<br />
18 th century, by artists such as Boucher and Fragonard, but disappeared in the early 19 th century with<br />
Romanticism – which favored a more "solid" aesthetic as found in oil paintings. At the end of the 19 th<br />
century, the light and evanescent quality of pastels and the airy colors that the counterproofs create<br />
attracted artists once again, particularly those focusing on the ephemeral and ethereal.<br />
To create a counterproof, an original drawing as well as a thin dampened piece of paper, laid over<br />
the drawing, are passed through a printing press. Some of the excess drawing material from the<br />
original adheres to the new page. Thus the reproduction obtained is softened and reversed, as in<br />
Head of Adele, Peasant Mother and Child, and Sara Wearing a Bonnet and Coat. The counterproof<br />
reproduces the picture with a slightly more mysterious appearance, more brushed than printed,<br />
sparking the imagination with its unfinished quality.<br />
9
HISTORY OF A COLLECTION<br />
Mary Cassatt kept all of her prints, related drawings and working proofs – traces of the different<br />
states of her printmaking process. During the realization of a plate, from one change to another,<br />
throughout the successive “bites,” she would make one or several proofs from a plate to appreciate<br />
the result. These intermediary proofs, usually only a few in number, were then much more rare than<br />
the final prints. Indeed, they were the artist’s sketches and comprise part of her creative process.<br />
Mary Cassatt had gathered quite a vast body of prints when she decided to sell them to Ambroise<br />
Vollard. Every step of her career was represented, from her first etchings of 1870 to her 1890s color<br />
sets. Overall, the studio collection consisted of approximately 300 prints, drawings and<br />
counterproofs, most of which would probably be missing today if Vollard had not kept them so<br />
carefully.<br />
More than twenty years separated Mary Cassatt and Ambroise Vollard (1866-1939). Born in 1866 in<br />
La Réunion, Vollard left his native island for metropolitan France where he studied law and cultivated<br />
his passion for art, which led him to open his own gallery in 1893.<br />
He met Mary Cassatt in the 1890s when she was still under contract with Durand-Ruel. The art dealer<br />
was immediately struck by the modernity and vitality of her work on paper, and by the impressions<br />
of the many different states of her prints. Passionate for the graphic arts, Vollard worked hard to<br />
convince the greatest artists of his time to pursue printmaking as a major activity.<br />
His first significant deal with Cassatt dates to 1906 when Vollard went to the artist's country house in<br />
Mesnil-Théribus, Oise. At this time, he was also working with very avant-garde artists: for instance<br />
the first Pablo Picasso exhibition in Paris took place at his gallery, when Picasso was only 19.<br />
Later in his career, Vollard purchased Mary Cassatt's collection of prints and drawings, most of which<br />
had never been exhibited. These works remained in his possession until his death in 1939. Vollard<br />
was known for buying entire studio collections from a given artist at once, and everything he bought<br />
or published was eventually the subject of a sale. He sold many of the pastels and paintings he had<br />
bought from Cassatt, but he kept her prints – perhaps the joy of owning them surpassed any idea of<br />
profit.<br />
The “studio collection,” from which the works included in this exhibition come, upon Vollard’s death<br />
in 1939, was bought by the art dealer and collector Henri Petiet. Petiet placed a few of Cassatt's<br />
works in the best <strong>American</strong> museums - among them the Museum of Fine Arts, Boston and the<br />
National Gallery of Art in Washington, D.C. - so that the artist would be recognized in her native<br />
country. The rest of the collection remained quite unknown (except to a few lucky connoisseurs).<br />
In 2000, part of this trove was at last revealed to the public by Marc Rosen Fine Art at the Adelson<br />
Galleries in New York. In 2004 another aspect of Mary Cassatt's experimentation was unveiled at the<br />
same place in the exhibition Art in a Mirror: The Counterproofs of Mary Cassatt, which presented her<br />
pastel counterproofs for the first time. In 2008, a third part of the collection was displayed at the<br />
gallery. This exhibition marks the first time the collection is shown in Europe.<br />
10
CHRONOLOGY<br />
1844: Mary Cassatt was born in Pittsburgh, Pennsylvania in a wealthy family. She spent her childhood<br />
in Germany, and then France.<br />
1865: She left for Europe after studying at the Pennsylvania Academy of the Fine Arts.<br />
1866: In Paris, she studied with Charles Chaplin and Jean-Léon Gérôme.<br />
1868: She presented a work at the Paris Salon, La Mandoline.<br />
1870-71: Mary Cassatt returned to Pennsylvania during the Franco-Prussian War. Afterwards, she<br />
resumed her studies in Europe, in Parma, Rome, Anvers and Spain, before settling in Paris.<br />
1877: Mary Cassatt met Edgar Degas who invited her to join the Impressionist group. She accepted<br />
and exhibited with them from 1879 until their last exhibition in 1886. At that time, she devoted<br />
herself more and more to printmaking.<br />
1880: At the Impressionist exhibition, Cassatt exhibited eight paintings and pastels as well as eight<br />
etchings. The dealer Durand-Ruel began to buy her works.<br />
1886: Three of her paintings were shown in New York at the first Impressionist exhibition organized<br />
by the dealer Durand-Ruel in the United States.<br />
1889: Mary Cassatt displayed two prints at the Peintres-Graveurs exhibition, the first of a series of<br />
exhibitions dedicated to printing at the Durand-Ruel gallery.<br />
1890: She presented a series of drypoints, aquatints and a pastel at the Peintres-Graveurs exhibition.<br />
In April, she attended the exhibition of Japanese woodblock ukiyo-e prints held at the Ecole des<br />
Beaux-Arts in Paris (with Berthe Morisot), which led her to a new direction in her artistic work.<br />
1891: She finished her famous "set of ten" color prints inspired by the Japanese prints and which is<br />
considered today as one of the greatest works of printed art in the 19 th century. The Lesson was<br />
reproduced on the cover of the first issue of L’Art dans les deux mondes magazine published by<br />
Durand-Ruel to promote his artists. The dealer organized Cassatt’s first solo exhibition in 1891 in<br />
Paris.<br />
1893: Mary Cassatt’s mural, Modern Woman went on view at the Universal Exposition in Chicago in<br />
May. Durand-Ruel held the first retrospective of Cassatt's work at his Paris gallery in December.<br />
1894: She purchased the Château de Beaufresne at Mesnil-Théribus, Oise. During these years, she<br />
continued experimenting with different printmaking techniques.<br />
1896: Mary Cassatt met Ambroise Vollard who sold a painting by Paul Cézanne to her. Vollard and<br />
Durand-Ruel serve as her art dealers and most of her works will be bought in 1939 by another dealer,<br />
Henri Petit, after Vollard’s death in 1939.<br />
1903: At the turn of the century, she exhibited at Durand-Ruel’s gallery and at Ambroise Vollard’s,<br />
who shared her passion for graphic arts. Cassatt’s clients are increasingly those of her native country.<br />
In 1910, she joined the National Academy of Design in New York and was awarded, in 1914, the gold<br />
medal of the Pennsylvania Academy of the Fine Arts.<br />
11
1910: She progressively became blind and gave up printmaking.<br />
1915: She participated in a campaign for women’s right to vote in the United States. She gave up<br />
painting.<br />
1926: Mary Cassatt died in Mesnil-Théribus, where she was buried in her family plot.<br />
12
MARY CASSATT'S PRIMARY PRINTING TECHNIQUES<br />
Etching<br />
In etching, the metal is “bitten” by an acid rather than scraped away by a tool. The plate is covered<br />
with a thin layer of hard ground, which is resistant to the acid. The artist sketches on this ground with<br />
a stylus, baring the copper, and the plate is then exposed to an acid bath. The surfaces uncovered by<br />
the stylus are then “bitten,” more or less deeply according to the immersion time. The ground is then<br />
removed and the plate can be inked. Since the acid cuts into the metal itself, there is no issue related<br />
to the resistance of the material. The deeper the lines are, the darker they will be printed.<br />
Drypoint<br />
Drypoint printmaking consists in scratching directly on the metal plate with a sharp steel tool, which<br />
is called a drypoint. This point does not cut a neat groove like a chisel, but scratches and plows the<br />
metal more unevenly. On the edges of each line, the drypoint leaves metal ridges that keep the ink<br />
and give a velvety aspect to the print.<br />
Soft Ground Etching<br />
A variant of the etching process, in which the acid-resistant coating on the plate is relatively soft.<br />
The artist places a preliminary drawing on top of the plate and goes over its lines, pressing the image<br />
into the ground on the plate. The bare surface of the plate is unevenly exposed to the acid,<br />
producing a softer and more tonal line – more like a pencil line. Soft-ground etching is rarely used<br />
alone, but rather combined with other printing techniques.<br />
Aquatint<br />
Aquatint is a further elaboration of the etching process especially suited for shading. Once the basic<br />
lines of the image have been etched into the plate, acid-resistant resin is spread onto the entire<br />
surface of the plate and heated to adhere. The artist can then cover selected areas, so that when the<br />
plate is exposed to acid, only the uncovered areas will be etched, producing fields of tone. This<br />
technique is often used together with etching. It corresponds then to a wash added to an ink<br />
drawing, creating shades and fields of tone. Using multiple colors is complex: it requires going to<br />
press three or four times with a spotting system that allows the colors not to mix on the printed<br />
sheet.<br />
13
IMAGES AVAILABLE FOR THE PRESS<br />
These works are available for the press exclusively in the context of an article promoting the<br />
exhibition: Mary Cassatt in Paris: Prints & Drawings from the Ambroise Vollard Collection, on view<br />
from September 26, 2012 through January 20, 2013 at the <strong>Mona</strong> <strong>Bismarck</strong> <strong>American</strong> <strong>Center</strong> for art &<br />
culture.<br />
The credit line is mandatory: Courtesy Adelson Galleries, Inc. and Marc Rosen Fine Art Ltd.<br />
Peasant Mother and Child, c. 1894<br />
Drypoint and aquatint on paper<br />
Plate: 11 3/4 x 9 1/2 inches<br />
Sheet: 17 1/4 x 11 1/4 inches<br />
Courtesy Adelson Galleries, Inc. and Marc Rosen Fine<br />
Art Ltd.<br />
Smiling Sara in a Big Hat Holding Her Dog (No.2),<br />
c. 1901<br />
Pastel counterproof on Japan paper mounted on board<br />
26 1/2 x 20 7/8 inches; 67.31 x 53.02 cm<br />
Courtesy Adelson Galleries, Inc. and Marc Rosen Fine<br />
Art Ltd.<br />
The Fitting, 1890-91<br />
Drypoint and aquatint on paper<br />
Plate: 14 3/4 x 10 1/8 inches; 37.3 x 25.7 cm<br />
Sheet: 18 1/8 x 13 1/2 inches; 46 x 34.3 cm<br />
Courtesy Adelson Galleries, Inc. and Marc Rosen Fine<br />
Art Ltd.<br />
14
Baby with Left Hand Touching a Tub, 1890-91<br />
Pencil and charcoal on off-white wove paper<br />
9 3/8 x 6 7/8 inches; 23.81 x 17.46 cm<br />
Courtesy Adelson Galleries, Inc. and Marc Rosen Fine<br />
Art Ltd.<br />
The Lamp, 1890-91<br />
Drypoint, soft-ground and aquatint, printed in colors on<br />
paper<br />
Plate: 12 5/8 x 9 7/8 inches; 32.1 x 25.2 cm<br />
Sheet: 16 3/4 x 12 3/8 inches; 42.6 x 31.5 cm<br />
Courtesy Adelson Galleries, Inc. and Marc Rosen Fine<br />
Art Ltd.<br />
The Bath, 1890-91<br />
Drypoint, soft-ground and aquatint on paper<br />
14 5/8 x 10 7/8 inches; 37.15 x 27.62 cm<br />
Courtesy Adelson Galleries, Inc. and Marc Rosen Fine<br />
Art Ltd.<br />
The Banjo Lesson, c. 1892-93<br />
Pastel counterproof on Japan paper<br />
28 1/4 x 23 inches; 71.75 x 58.42 cm<br />
Courtesy Adelson Galleries, Inc. and Marc Rosen Fine<br />
Art Ltd.<br />
15
In the Omnibus, 1890-91<br />
Drypoint and aquatint, printed in colors on paper<br />
14 1/2 x 10 1/2 inches; 36.83 x 26.67 cm<br />
Courtesy Adelson Galleries, Inc. and Marc Rosen Fine<br />
Art Ltd.<br />
Two Ladies in a Loge, Facing Right, 1879-80<br />
Soft-ground etching and aquatint on paper<br />
Plate: 10 7/8 x 8 1/2 inches; 27.6 x 21.6 cm<br />
Sheet: 17 5/8 x 11 inches; 44.8 x 28 cm<br />
Courtesy Adelson Galleries, Inc. and Marc Rosen Fine<br />
Art Ltd.<br />
Drawing for “Lydia end Her Mother at Tea," c. 1881<br />
Soft pencil on paper with soft-ground on the verso<br />
Sheet: 7 5/8 x 11 1/4 inches; 18.8 x 28.6 cm<br />
Courtesy Adelson Galleries, Inc. and Marc Rosen Fine<br />
Art Ltd.<br />
16
LIST OF THE EXHIBITED WORKS<br />
1<br />
Drawing for “At the Dressing Table”<br />
c. 1880<br />
Pencil on paper with soft-ground on the verso<br />
Fold Line: 13 x 8 1/2 inches; 33.3 x 21.7 cm<br />
Sheet: 16 x 12 inches; 40.5 x 30.6 cm<br />
2<br />
At the Dressing Table<br />
1880<br />
Soft-ground and aquatint on paper<br />
Plaque: 12 3/4 x 81/8 inches; 32.3 x 20.6 cm<br />
Feuille: 17 x 113 / 4 inches; 43.2 x 30 cm<br />
3<br />
At the Dressing Table<br />
1880<br />
Soft-ground and aquatint on paper<br />
Plate / Plaque: 12 7/8 x 8 1/4 inches; 32.7 x 20.9 cm<br />
Sheet / Feuille: 14 1/8 x 10 7/8 inches; 35.9 x 27.6 cm<br />
4<br />
At the Dressing Table<br />
1880<br />
Soft-ground and aquatint on paper<br />
Plate / Plaque: 12 7/8 x 8 1/4 inches; 32.7 x 20.9 cm<br />
Sheet / Feuille: 14 1/8 x 10 7/8 inches; 35.9 x 27.6 cm<br />
5<br />
Two Ladies in a Loge, Facing Right<br />
1879-80<br />
Pencil on paper, with soft-ground on verso<br />
Sheet / Feuille: 14 1/4 x 11 inches; 36.2 x 27.9 cm<br />
6<br />
Two Young Ladies in a Loge, Facing Right<br />
1879-80<br />
Soft-ground and aquatint on paper<br />
Plate / Plaque: 10 7/8 x 8 1/2 inches; 27.6 x 21.6 cm<br />
Sheet / Feuille: 17 5/8 x 11 inches; 44.8 x 28 cm<br />
7<br />
In the Opera Box (No. 3)<br />
1879-80<br />
Etching and aquatint on medium weight laid paper<br />
Plate / Plaque: 8 1/8 x 7 3/8 inches<br />
Sheet / Feuille: 11 3/4 x 8 1/2 inches<br />
8<br />
Mrs. Cassatt Reading to her Grandchildren (No. 1)<br />
c. 1880<br />
Soft-ground etching on paper<br />
Plate / Plaque: 6 1/4 x 11 7/8 inches<br />
Sheet / Feuille: 12 1/4 x 17 7/8 inches<br />
9<br />
Before the Fireplace (No. 2)<br />
c. 1882<br />
Soft-ground etching and aquatint on paper<br />
Plate / Plaque: 6 3/8 x 8 5/8 inches; 16.2 x 21.8 cm<br />
Sheet / Feuille: 8 x 12 1/8 inches; 20.3 x 30.8 cm<br />
17
10<br />
Drawing for “Before the Fireplace”<br />
c. 1880-82<br />
Pencil on paper<br />
Sheet / Feuille: 7 7/8 x 8 3/4 inches; 20 x 22.2 cm<br />
11<br />
Lydia at Afternoon Tea<br />
1880-82<br />
Soft-ground, aquatint and drypoint on paper<br />
Plate / Plaque: 5 1/2 x 8 3/4 inches; 14 x 22.3 cm<br />
Sheet / Feuille: 7 1/8 x 10 3/4 inches; 18.1 x 27.5 cm<br />
12<br />
Drawing for “Lydia end Her Mother at Tea”<br />
c. 1881<br />
Soft pencil on paper with soft-ground on the verso<br />
Sheet / Feuille: 7 5/8 x 11 1/4 inches; 18.8 x 28.6 cm<br />
13<br />
Lydia and her Mother at Tea<br />
1882<br />
Soft-ground and aquatint on paper<br />
7 x 11 inches; 17.78 x 27.94 cm<br />
14<br />
Bill Lying on his Mother's Lap<br />
c. 1889<br />
Soft-ground and aquatint on paper<br />
7 x 5 3/8 inches; 17.78 x 13.65 cm<br />
15<br />
Bill Lying on his Mother's Lap<br />
c. 1889<br />
Soft-ground and aquatint on paper<br />
7 x 5 3/8 inches; 17.78 x 13.65 cm<br />
16<br />
A Portrait of the Artist's Mother<br />
c. 1889-90<br />
Soft-ground and aquatint on paper<br />
9 7/8 x 7 1/8 inches; 25.08 x 18.1 cm<br />
17<br />
The Mandolin Player<br />
1889-90<br />
Drypoint on paper<br />
Plate / Plaque: 9 3/8 x 6 1/4 inches; 23.7 x 15.9 cm<br />
Sheet / Feuille: 17 1/4 x 10 7/8 inches; 44 x 27.7 cm<br />
18<br />
The Mandolin Player<br />
1889-90<br />
Drypoint on paper<br />
9 3/8 x 6 1/4 inches; 23.81 x 15.88 cm<br />
19<br />
The Mandolin Player<br />
1889-90<br />
Drypoint on paper<br />
9 1/4 x 6 1/4 inches; 23.5 x 15.88 cm<br />
20<br />
Tea<br />
c. 1890<br />
Drypoint on paper<br />
18
7 1/8 x 6 1/8 inches; 18.1 x 15.56 cm<br />
21<br />
Hélène of Septeuil<br />
c. 1890<br />
Drypoint on paper<br />
9 1/4 x 6 1/8 inches; 23.5 x 15.56 cm<br />
22<br />
The Parrot<br />
c. 1891<br />
Drypoint on paper<br />
6 1/4 x 4 3/4 inches; 15.88 x 12.06 cm<br />
23<br />
The Parrot<br />
c. 1891<br />
Drypoint on blue paper<br />
Plate / Plaque : 6 3/8 x 4 3/4 inches; 16.2 x 11.9 cm<br />
Sheet / Feuille : 10 3/8 x 7 3/4 inches; 26.5 x 19.7 cm<br />
24<br />
Quietude<br />
c. 1891<br />
Drypoint on paper<br />
Plate / Plaque : 10 1/4 x 6 7/8 inches<br />
Sheet / Feuille : 13 7/8 x 8 3/8 inches<br />
25<br />
The Caress<br />
c. 1891<br />
Drypoint on paper<br />
Plate / Plaque : 7 3/4 x 5 3/4 inches; 19.6 x 14.7 cm<br />
Sheet / Feuille : 13 5/8 x 8 3/8 inches; 34.8 x 21.4 cm<br />
26<br />
Baby with Left Hand Touching a Tub<br />
1890-91<br />
Pencil and charcoal on off-white wove paper<br />
9 3/8 x 6 7/8 inches; 23.81 x 17.46 cm<br />
27<br />
Drawing for "The Bath"<br />
1890<br />
Graphite and conté crayon on paper<br />
12 1/8 x 9 7/8 inches; 30.8 x 25.08 cm<br />
28<br />
The Bath<br />
1890-91<br />
Drypoint, soft-ground and aquatint on paper<br />
12 5/8 x 9 7/8 inches; 32.07 x 25.08 cm<br />
29<br />
The Bath<br />
1890-91<br />
Drypoint, soft-ground and aquatint on paper<br />
12 5/8 x 9 7/8 inches; 32.07 x 25.08 cm<br />
30<br />
The Bath<br />
1890-91<br />
Drypoint, soft-ground and aquatint on paper<br />
12 5/8 x 9 7/8 inches; 32.07 x 25.08 cm<br />
31<br />
19
The Bath<br />
1890-91<br />
Drypoint, soft-ground and aquatint on paper<br />
12 5/8 x 9 7/8 inches; 32.07 x 25.08 cm<br />
32<br />
The Bath<br />
1890-91<br />
Drypoint, soft-ground and aquatint on paper<br />
12 5/8 x 9 3/4 inches; 32.07 x 24.76 cm<br />
33<br />
The Bath<br />
1890-91<br />
Drypoint, soft-ground and aquatint on paper<br />
12 5/8 x 9 3/4 inches; 32.07 x 24.76 cm<br />
34<br />
The Bath<br />
1890-91<br />
Drypoint, soft-ground and aquatint on paper<br />
12 5/8 x 9 7/8 inches; 32.07 x 25.08 cm<br />
35<br />
The Bath<br />
1890-91<br />
Drypoint, soft-ground and aquatint on paper<br />
12 1/2 x 9 3/4 inches; 31.75 x 24.76 cm<br />
36<br />
The Bath<br />
1890-91<br />
Drypoint, soft-ground and aquatint on paper<br />
12 1/2 x 9 3/4 inches; 31.75 x 24.76 cm<br />
37<br />
The Bath<br />
1890-91<br />
Drypoint, soft-ground and aquatint on paper<br />
12 5/8 x 9 3/4 inches; 32.07 x 24.76 cm<br />
38<br />
The Bath<br />
1890-91<br />
Drypoint, soft-ground and aquatint on paper<br />
14 5/8 x 10 7/8 inches; 37.15 x 27.62 cm<br />
39<br />
The Fitting<br />
1890-91<br />
Drypoint and aquatint on paper<br />
Plate / Plaque: 14 3/4 x 10 1/8 inches; 37.3 x 25.7 cm<br />
Sheet / Feuille: 18 1/8 x 13 1/2 inches; 46 x 34.3 cm<br />
40<br />
The Lamp<br />
1890-91<br />
Drypoint, soft-ground and aquatint, printed in colors on paper<br />
Plate / Plaque: 12 5/8 x 9 7/8 inches; 32.1 x 25.2 cm<br />
Sheet / Feuille: 16 3/4 x 12 3/8 inches; 42.6 x 31.5 cm<br />
41<br />
In the Omnibus<br />
1890-91<br />
20
Drypoint and aquatint, printed in colors on paper<br />
14 1/2 x 10 1/2 inches; 36.83 x 26.67 cm<br />
42<br />
Gathering Fruit<br />
1893<br />
Drypoint, soft-ground and aquatint on paper<br />
16 1/2 x 11 3/4 inches; 41.91 x 29.84 cm<br />
43<br />
Gathering Fruit<br />
1893<br />
Drypoint, soft-ground and aquatint on paper<br />
16 3/4 x 11 3/4 inches<br />
19 5/8 x 15 1/8 inches<br />
44<br />
Peasant Mother and Child<br />
c. 1894<br />
Drypoint and aquatint on paper<br />
Plate / Plaque: 11 5/8 x 9 1/2 inches; 29.6 x 24.1 cm<br />
Sheet / Feuille: 18 1/2 x 12 3/8 inches; 46.8 x 31.6 cm<br />
45<br />
Peasant Mother and Child<br />
c. 1894<br />
Drypoint and aquatint on paper<br />
Plate / Plaque: 11 3/4 x 9 1/2 inches<br />
Sheet / Feuille: 17 1/4 x 11 1/4 inches<br />
46<br />
The Barefooted Child<br />
1896-97<br />
Drypoint and aquatint, printed in colors on paper<br />
Plate / Plaque: 9 5/8 x 12 5/8 inches; 24.4 x 31.9 cm<br />
Sheet / Feuille: 13 3/4 x 17 inches; 35 x 43.2 cm<br />
47<br />
The Barefooted Child<br />
1896-97<br />
Drypoint and aquatint, printed in colors on paper<br />
9 5/8 x 12 5/8 inches; 24.45 x 32.07 cm<br />
48<br />
By the Pond<br />
c. 1896<br />
Drypoint and aquatint, printed in colors on paper<br />
13 x 16 7/8 inches; 33.02 x 42.86 cm<br />
49<br />
By the Pond<br />
c. 1896<br />
Drypoint and aquatint, printed in colors on paper<br />
Plate / Plaque: 13 x 16 7/8 inches; 33.1 x 42.7 cm<br />
Sheet / Feuille: 17 1/2 x 20 3/8 inches; 44.5 x 51.8 cm<br />
50<br />
Under The Horse-Chestnut Tree<br />
1896-97<br />
Drypoint and aquatint on paper<br />
Plate / Plaque: 15 7/8 x 11 3/8 inches; 40.5 x 28.8 cm<br />
Sheet / Feuille: 19 5/8 x 15 3/8 inches; 50 x 39 cm<br />
51<br />
Céleste and Marjorie<br />
c. 1898<br />
21
Drypoint on paper<br />
11 3/8 x 16 1/8 inches; 28.89 x 40.96 cm<br />
52<br />
The Banjo Lesson<br />
c. 1892-93<br />
Pastel counterproof on Japan paper<br />
28 1/4 x 23 inches; 71.75 x 58.42 cm<br />
53<br />
Simone Seated on the Grass Next to Her Mother<br />
c. 1904 [c. 1902]<br />
Pastel counterproof on Japan paper<br />
27 7/8 x 23 inches; 70.8 x 58.42 cm<br />
54<br />
Sketch of a Mother Looking Down at Thomas<br />
c. 1894-95<br />
Pastel counterproof on Japan paper<br />
20 1/8 x 23 inches; 51.12 x 58.42 cm<br />
55<br />
Head of Simone in a Green Bonnet with Wavy Brim (No. 2)<br />
c. 1904 [c. 1901-03]<br />
Pastel counterproof on Japan paper<br />
21 1/2 x 17 5/8 inches; 54.61 x 44.77 cm<br />
56<br />
Girl in a Hat with a Black Ribbon<br />
c. 1902<br />
Pastel counterproof on Japan paper<br />
17 3/4 x 21 1/8 inches; 45.08 x 53.66 cm<br />
57<br />
Baby Charles Looking Over His Mother's Shoulder (No. 2)<br />
c. 1900<br />
Pastel counterproof on Japan paper<br />
28 x 23 inches; 78 x 58.42 cm<br />
58<br />
Bust Length Sketch of Margot in a Big Hat and a Red Dress<br />
c. 1903<br />
Pastel counterproof on Japan paper<br />
23 1/2 x 19 inches; 59.69 x 48.26 cm<br />
59<br />
Study of Margot in a Fluffy Hat<br />
c. 1903-04<br />
Pastel counterproof on Japan paper<br />
28 3/8 x 23 1/4 inches; 72.07 x 59.06 cm<br />
60<br />
Study of Margot in a Pale Rose Hat<br />
c. 1903-04<br />
Pastel counterproof on Japan paper<br />
23 3/4 x 20 3/4 inches; 60.33 x 52.71 cm<br />
61<br />
Hélène of Septeuil, with a Parrot<br />
c. 1905-15<br />
Pastel counterproof on Japan paper<br />
27 1/4 x 20 5/8 inches; 69.21 x 52.39 cm<br />
62<br />
Mother Jeanne Nursing Her Child, Profile Left (No. 3)<br />
[c. 1908]<br />
22
Pastel counterproof on Japan paper<br />
31 1/4 x 25 inches; 79.38 x 63.5 cm<br />
63<br />
Mother and Child<br />
[c. 1908]<br />
Pastel counterproof on Japan paper<br />
23 1/2 x 16 3/4 inches; 59.69 x 42.54 cm<br />
64<br />
Mother Holding Red-Haired Child<br />
[c. 1901-02]<br />
Pastel counterproof on Japan paper<br />
25 1/8 x 20 5/8 inches; 63.82 x 52.39 cm<br />
65<br />
Sara Wearing a Bonnet and Coat<br />
c. 1902-05<br />
Pastel counterproof on Japan paper<br />
24 1/2 x 18 inches; 62.23 x 45.72 cm<br />
66<br />
Head of Adele (No. 3)<br />
1892 [c. 1908-09]<br />
Pastel counterproof on Japan paper<br />
21 1/2 x 18 inches; 54.61 x 45.72 cm<br />
67<br />
Smiling Sara in a Big Hat Holding Her Dog (No.2)<br />
c. 1901<br />
Pastel counterproof on Japan paper mounted on board<br />
26 1/2 x 20 7/8 inches; 67.31 x 53.02 cm<br />
23
PROGRAMS ACCOMPANYING THE EXHIBITION<br />
As a new resource for <strong>American</strong> culture in Paris, the MBAC also offers a wide variety of programs<br />
accompanying the exhibition: educational activities (for children and adults), as well as a cycle of<br />
conferences and concerts related to Mary Cassatt’s works on paper. These events will take place<br />
during the day and in the evenings, during the week and on weekends, throughout the duration of<br />
the exhibition. For more information or to confirm the times and dates of specific events, please visit<br />
the website at www.monabismarck.org.<br />
<br />
LECTURES & TALKS IN FRENCH OR IN ENGLISH<br />
- The Influence of Japan on Mary Cassatt, by Emiko Maeda-Moine on Thursday, September 27<br />
at 6:30 PM, in collaboration with the Maison de la Culture du Japon. Talk in French / 15 € /<br />
rsvp@monabismarck.org.<br />
- Vollard and Cassatt, by Anne Roquebert, Curator of the Musée d’Orsay, on Wednesday,<br />
October 3 at 7 PM. Talk in French / 15 € / rsvp@monabismarck.org.<br />
- Cassatt, Vollard and the New Print, by Maryline Assante di Panzillo, Curator at the Petit<br />
Palais-Musée des Beaux-Arts de la Ville de Paris on Wednesday, October 10 at 7 PM. Talk in<br />
French / 15 € / rsvp@monabismarck.org.<br />
- Cassatt and Degas, by Xavier Rey, Curator at the Musée d’Orsay on Wednesday, October 25<br />
at 7 PM. Talk in French / 15 € / rsvp@monabismarck.org.<br />
- Mary Cassatt: Printmaking Methods and Techniques with Jonathan Shimony, Artist and<br />
Professor at the <strong>American</strong> University of Paris on Thursday, October 18 at 7 PM. Talk in<br />
English.<br />
- Literary café around theater & Cassatt with Chris Mack, actor, author, director.<br />
<br />
CONCERTS<br />
The MBAC is pleased to host a series of concerts promoting <strong>American</strong> talent, with musical<br />
selections inspired by the works on view in the exhibition.<br />
- Lauren Libaw, Soprano on October 11 at 8 PM<br />
- David Stern’s Opera Fuoco on October 17 at 8 PM<br />
- Jay Gottlieb, Concert-Discussion of <strong>American</strong> Music from Mary Cassatt’s Time to Today, a<br />
two-part series on November 8 and 15 at 8 PM<br />
as well as:<br />
- 2 concerts by young <strong>American</strong> Woolley Scholars: a bass player and a saxophonist, in<br />
collaboration with the Fondation des Etats-Unis (Cité internationale universitaire de Paris)<br />
- 2 concerts with Fulbright Scholars (in collaboration with the Franco-<strong>American</strong> Commission,<br />
which contributes to the friendship and co-operation between France and the United States<br />
through educational exchanges).<br />
- In the context of the Cinéjazz festival, special concert on Sunday November 25 th , together<br />
with an experimental film.<br />
24
EDUCATIONAL ACTIVITIES<br />
The MBAC will offer weekly programs for children and adults in connection with the Mary Cassatt<br />
exhibition. Some activities will be directly linked to the exhibited works, others will go beyond the<br />
exhibition.<br />
- Live-Model Drawing Class inspired by the poses in the exhibition, with Artist Jan Olsson, held<br />
on Oct. 11 and 25, Nov. 15 and 29, Jan. 17 from 1-4 PM<br />
- Printmaking workshops based on Mary Cassatt’s techniques with Jonathan Shimony, Artist<br />
and <strong>American</strong> University of Paris Professor, held on Oct. 13 and Nov. 17 from 1-4 PM<br />
- Susan Harloe, Founding Artistic Director of the Word for Word Theater (based in San<br />
Francisco), will present theater workshops for adults around 19 th -century short stories linked<br />
to the exhibited works, in English.<br />
Activity workbooks will be available for children and families visiting the exhibition.<br />
25
USEFUL INFORMATION<br />
<br />
MONA BISMARCK AMERICAN CENTER FOR ART & CULTURE<br />
Exhibition Organization<br />
Eddie McDonnell, Executive Director of the MBAC<br />
Danielle Berger Fortier, Director of Exhibitions and Programs<br />
34, avenue de New York<br />
75116 Paris<br />
Phone. : + 33 (0)1 47 23 38 88<br />
Email. : info@monabismarck.org<br />
Métro : Alma Marceau, Iéna, Trocadéro<br />
Bus : 42, 63, 72, 80, 92<br />
Exhibition and MONA Café Opening Hours<br />
Wednesday to Sunday, from 11 AM to 6 PM<br />
Admission<br />
Adults: 7 €<br />
Reduced admission: 5 € (Children 12-17, Seniors 60+, Unemployed, with valid ID)<br />
Free: Children under 12<br />
<br />
PRESS RELATIONS<br />
Agence Catherine Dantan<br />
Marie Decap<br />
7, rue Charles V<br />
75004 Paris<br />
01 40 21 05 15<br />
marie@catherine-dantan.fr<br />
www.catherine-dantan.fr<br />
26