American Impressionism 2014-15

Collection Info

Terra loans to Une nouvelle lumière : les américains face à l’impressionnisme, Musée des impressionnismes Giverny: March 28–June 29, 2014; American Impressionism: a New Vision, 1880-1900, Scottish National Gallery, Edinburgh, July 19–October 19, 2014; Impresionismo Americano, Museo Thyssen-Bornemisza, Madrid, November 4, 2014–February 1, 2015

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Jenny and Her Sleepy Child

Mary Cassatt

Date: c. 1891–92

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1988.24

Text Entries: Illustrated London News 223 (June 11, 1953): 73. Text p. 73. Mary Cassatt, 1844–1926. (exh. cat., Marlborough Fine Art, Ltd.). London, England: Marlborough Fine Art, Ltd., 1953. Ill. p. 11 (as Mere et Enfant). Breeskin, Adelyn Dohme. Mary Cassatt, Catalogue Raisonné: Oils, Pastels, Watercolors, and Drawings. Washington, D.C.: Smithsonian Institution Press, 1970. Ill. no. 188, p. 98 (black & white). The Art of Mary Cassatt (1844–1926). (exh. cat., American Federation of the Arts). New York: American Federation of the Arts, 1981. No. 24, p. 100; ill. p. 42. American Paintings IV 1986. New York: Berry-Hill Galleries, Inc., 1986. Text p. 106; ill. frontispiece (color). Atkinson, D. Scott et al. A Proud Heritage: Two Centuries of American Art. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Pl. T-59, p. 168 (color). Gerdts, William H. et al. Lasting Impressions: American Painters in France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text p. 248; pl. 71, p. 249 (color). Gerdts, William H. et al. Impressions de toujours: les peintres américains en France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text p. 248; pl. 71, p. 249 (color). Costantino, Maria. Mary Cassatt. New York: Barnes & Noble Books, 1995. Ill. p. 71 (color). Reymond, Nathalie. Un regard américain sur Paris (An American Glance at Paris). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 28; ill. p. 29 (color). Lévy, Sophie, et al. Twarze Ameryki: Portrety z kolekcji Terra Foundation for American Art, 1770–1940/Faces of America: Portraits from the collection of the Terra Foundation for American Art, 1770–1940. (exh. cat. International Cultural Center). Cracow, Poland: International Cultural Center, 2006. Text p. 90; ill. p. 91 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Museum of China, Beijing; Shanghai Museum). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Chinese and English version; citing English version). Ill. p. 171 (color). Art In America: 300 years of Innovation. Hong Kong: Wen Wei Publishing Co. Ltd, 2007. Text pp. 73–74 (in Chinese). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., The Pushkin Museum of Fine Arts, Moscow, Russia). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Russian version). Ill. p. 89 (color). Pfeiffer, Ingrid and Max Hollein, eds. Women Impressionists. (Exh. cat., Schirn Kunsthalle, Frankfurt, Germany) Ostfildern, Germany: Hatje Cantz Verlag, 2008. Text pp. 167, 310 (checklist); ill. pp. 166 (color detail), p. 175 (color). Southgate, M. Therese. The Art of JAMA III: Covers and Essays from the Journal of the American Medical Association. Chicago, Illinois: American Medical Association, 2011. Text pp. 36, 203; ill. opposite p. 36 (color). Bourguignon, Katherine M. American Impressionism: A New Vision 1880–1900. (exh. cat., Musée des Impressionnismes Giverny, National Galleries of Scotland, Museo Thyssen-Bornemisza). Giverny, France: Musée des Impressionnismes Giverny, 2014. (English, French and Spanish versions). Text p. 27; ill. p. 59 (color). Ikeda, Yuko; Pamela A. Ivinski; Maruko Kanai; Chinatsu Makiguchi; Nancy Mowll Mathews; Hideko Numata; Susan Pinsky; Marc Rosen; and Junko Uchiyama. Mary Cassatt Retrospective. (exh. cat. Yokohama Museum of Art; National Museum of Modern Art, Kyoto). Yokohama, Japan: Yokohama Museum of Art, 2016. Text p. 211, cat no. 83 (checklist). Ill. 115 (color). Louisiana Museum of Modern Art. MOTHER! (exh. cat., Louisiana Museum of Modern Art in collaboration with Kunsthalle Mannheim). Denmark: Louisiana Museum of Modern Art, 2021. Ill. p. 93 (color).

Summertime

Mary Cassatt

Date: 1894

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1988.25

Text Entries: Mary Cassatt began her art training in Philadelphia at the age of sixteen, impatient with the academic emphasis on draftsmanship and eager to begin figure painting in oil. It was only after establishing herself in France as a portrait and genre painter, and exhibiting at Edgar Degas' invitation with the Impressionists, that Cassatt was inspired to develop an innovative, graphic and spare drawing style influenced by Japanese ukiyo-e prints pulled from wood blocks. Her famous series of ten color prints of 1890-1891, which included The Lamp, depict the enclosed and implicitly complete world of the upper class Parisian woman. Cassatt combined drypoint with aquatint techniques, used diluted printer's ink rather than paint, and employed the help of a professional printer; she explained that rather than duplicating Japanese printmaking methods, she had attempted to infuse a Japanese "atmosphere" into these works. Between 1892 and 1897, she designed nine more prints. Under the Horse Chestnut Tree typifies Cassatt's fascination with tender but unsentimental images of mothers and children; though she never married, she once declared that "There's only one thing in life for a woman; it's to be a mother." Cassatt probably executed Summertime at her country home of Mesnil-Beaufresne, where she lived year-round after her mother's death in 1895. The composition of the painting, including facing female figures in a rowboat cut off at right and an absent upper horizon line, reappears in one of her prints; though her range of subjects was comparatively small, Cassatt often explored a single composition in multiple media. Her use of bright, pure color, expressive brushwork and an extreme vantage point (in this case, from above) to depict a scene of modern recreation reveal Cassatt's thorough understanding of the Impressionists' experiment.