Mary Cassatt

Mary Cassatt K I E C H E L

F I N E

ART

I n t h e Om n i b u s ( FAC I N G I M AG E )

I n t h e O m n i b u s belongs to the famous group of ten color print subjects

sixth step (otherwise known as “state”) in the artistic development of

created by Mary Cassatt in Paris between 1890 and 1891. It is one of the most

this composition. By the seventh state, Cassatt and her master printer, M.

visually pleasing, compositionally accomplished and, in certain respects,

Leroy, were ready to print the final edition of 25 impressions. The sixth

distinct, examples in the series. At first glance, our attention is drawn to the

state, offered here, is much rarer. To date, only one other impression

triangular group of figures formed by the endearing child in a voluminous

has been recorded. It is owned by the Museum of Fine Arts, Boston.

coat and bonnet bridging the laps of the elegantly dressed, contemplative mother and the dutifully preoccupied nanny. Next, we noticed the broad river and distant bridge through the row of windows directly behind the trio of traveling companions. In the Omnibus is the only plate from this series in which Cassatt decides to let her women and children step out of the hushed, indoor settings in which they are typically involved with domestic activities such as bathing, dressing, catching up on reading and correspondence, caring for children, or offering tea to their friends. Her omnibus figures, by using modern, public transportation, come across as far more adventurous, and point to Cassatt’s artistic kinship with other mid-to late nineteenth century artists working in France such as Daumier, Degas and Toulouse-Lautrec, each of whom frequently showed an interest in chronicling contemporary, urban life.

An important feature of the works comprising Cassatt’s 1890-91 color series is the fact that, like all prints, each example is unique. The lines

W e are gratef u l to A nne s p ink ,

etched into the plates can wear down, different amounts of pressure can

formerly vice president in the print

be applied during printing and, as in the case of prints such as these which

department of Christie’s New York,

include so much color, the exact hues and saturation levels of the carefully

then director of C.G. Boerner’s

applied inks will always vary. This particular impression of In the Omnibus

New York gallery, and now an

is beautifully balanced throughout, with the etched lines consistently

independent consultant, for her

distinct and the colors wonderfully harmonious. It is an example of the

assistance with these prints.

(C OV E R)

M a ry C a s sat t

The Banjo Lesson ca. 1893, Drypoint, aquatint and monotype printed in colors from two plates on blue, laid paper, fourth (final) state, from an edition of 40 impressions (only about 15 of which have been located) 11 9/16 x 9 3/8 inches, Signed in pencil at lower right “Mary Cassatt” C atalo g u e

Breeskin 156; Mathews/Shapiro 16 Pr ovenance

Private collection, UK Private collection, USA

(RIGHT)

M a ry C a s sat t

In the Omnibus ca. 1890-91, Drypoint and color aquatint printed from three plates on laid paper, the rare sixth state (of seven) 14 3/8 x 10 1/2 inches, Initialed in pencil at lower left “M.C.” C atalo g u e

Breeskin 145; Mathews/Shapiro 7 Pr ovenance

Private collection, USA

THE BA N J O L ESS O N (C OV E R I M AG E )

O n e o f t h e m o s t immediately striking features of this impression of The

the black drypoint lines are done on one copper plate, and the colored areas

Banjo Lesson is the blue paper on which it is printed. Cassatt occasionally used

(both aquatint and monotype) are done on another copper plate. The aquatint

this type of paper for her prints, however, it is more the exception than the rule.

sections include the flesh areas, the older woman’s skirt and bodice, and

To date, this is the only example of The Banjo Lesson that we have seen printed

the rim of the banjo. All of the other colored sections are created using inks

on anything other than various cream or off-white papers. The seemingly

brushed directly onto the copper plate for each unique impression. Mathews

unfaded, light-blue paper adds to the precious mood of the scene and balances

and Shapiro write that “An oily ink is applied in a monotype manner to the

beautifully with Cassatt’s choice of two blues plus a dusty rose as the image’s

woman’s sleeves and child’s dress, as well as to details such as the woman’s

primary colors. The drypoint lines all read extremely well in this impression,

collar, to the polka dots scattered at random on her bodice and skirt, and, on

and while they may lack a small degree of the richness found on examples

occasion, to the neck of the banjo.” We have seen at least one other impression

pulled from the copper plate one of two impressions earlier, this particular

of this print in which the polka dots appeared to be highly organized rather

print benefits from the fact that shadowy burr does not over emphasize the

than randomly placed on the main figure’s dress, and where the neck of the

parallel shading on the banjo, or the contours of the hands, or the tightly-

banjo was left uncolored. The end result was not nearly as pleasing as it is here.

pulled hairdos. In other words, just as the blue paper harmonizes with the colors of the women’s dresses, so too does the relative strength of the drypoint

Mathews and Shapiro state that although The Banjo Lesson is cited in early

lines work especially well in this impression.

record books as an edition of 40 impressions, at the time of their research they were only able to locate 15 examples in either public or private collections.

The colorful inks used to print this sheet—partly via color aquatint and partly via monotype techniques—are also worth consideration. The entry in Mathews and Shapiro begins by comparing The Banjo Lesson with another color print from the same time period, but goes on to say that here, “with only

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four states and only one known preliminary sketch, Cassatt seems surer of

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both the composition and the technical means of achieving it. For the first

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time…Cassatt worked only with two plates instead of the usual three. The

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use of heightening by monotype and a method of ‘stopping-out’ the aquatint on the skirt that gives the impression of brushstrokes in the woman’s blue

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dress indicate that Cassatt wanted to achieve a ‘painterly’ print.” Basically,

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