Works – Women Artists – Collections – Terra Foundation for American Art

Mary Cassatt

Date: 1890–91

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

Object number: 1994.5

Text Entries: Ives, Colta Feller. The Great Wave: The Influence of Japanese Woodcuts on French Prints. New York: The Metropolitan Museum of Art, 1974. Text pp. 45–55 (discusses Mary Cassatt print Maternal Caress, cited specifically on pp. 48–49). Breeskin, Adelyn Dohme. The Graphic Work of Mary Cassatt: A Catalogue Raisonné. 2nd ed. Washington, D.C.: Smithsonian Institution Press, 1979. No. 150, p. 64; ill. p. 146 (color). Getlin, Frank. Mary Cassatt: Paintings and Prints. New York: Abbeville Press, 1980. Text p. 90; ill. p. 91 (color impression from The National Gallery of Art). Mathews, Nancy Mowll and Barbara Stern Shapiro. Mary Cassatt: The Color Prints. (exh. cat., Museum of Fine Arts). Boston, Massachusetts: Museum of Fine Arts, 1989. No. 12, pp. 140-44. Maternal Caress, Mary Cassatt. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, February 1995. Ill. (black & white). [specific reference to Terra print] Regard sur cinq années d'expositions (Five years of Exhibitions at a Glance). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 113; ill. p. 108 (color). [specific reference to Terra print] Barter, Judith A. Mary Cassatt, Modern Woman. (exh. cat., The Art Institute of Chicago). Chicago, Illinois: The Art Institute of Chicago, 1998. No. 63, p. 285 (color impression from The Art Institute of Chicago, acc. no. 1932.1288). Mancoff, Debra N. Mary Cassatt: Reflections of Women's Lives. London, England: Frances Lincoln, 1998. Text p. 88; ill. p. 89 (color). [specific reference to Terra print] Mary Cassatt: Impressions. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2005; Paris: Le Passage Paris–New York Éditions, 2005. Text p. 56 (checklist); ill. p. 59 (color). Vanessa Lecomte, editor. Portrait of a Lady : peinture et photographies américains (exh. cat., Musée d'Art Américain Giverny and Musée des beaux-arts de Bordeaux). Chicago, Illinois: Terra Foundation for American Art, 2008. Text (checklist) p. 93.

Afternoon Tea Party

Mary Cassatt

Date: 1890–91

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

Object number: 1994.13

Text Entries: Collection Cameo companion piece, Terra Museum of American Art, Chicago, Illinois, February 1995. Impressions de toujours: les peintres américains en France, 1865–1915 (Lasting Impressions: American Painters in France, 1865–1915), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–October 31, 1995. [exh. cat.] Regard sur Mary Cassatt (Mary Cassatt at a Glance), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 2–October 31, 1996. American Artists and the Paris Experience, 1880–1910, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, November 22, 1997–March 8, 1998. Collection Cameo, Terra Museum of American Art, Chicago, Illinois, January 1999. Ville et campagne: les artistes américains, 1870–1920 (The City and the Country: American Perspectives, 1870–1920), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–July 15, 1999. [exh. cat.] The Decorative Form: The Aesthetic Movement, Arts & Crafts and the Asian Influence in American Art, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, September 16–December 5, 1999. On Process: The American Print, Technique Examined, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, January 13–March 2, 2001. D'une colonie à une collection: le Musée d'Art Américain Giverny fête ses dix ans (From a Colony to a Collection: Celebrating the Tenth Anniversary of the Musée d'Art Américain Giverny), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, March 30–June 16, 2002. Mary Cassatt, graveur impressionniste (Mary Cassatt: Impressionist Printmaker), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–July 3, 2005. [exh. cat.] Portrait of a Lady : peintures et photographies américaines en France, 1870–1915 (Portrait of a Lady: American Paintings and Photographs in France, 1870–1915), Musée d'Art Américain Giverny, Giverny, France and Musée des Beaux-Arts de Bordeaux, Bordeaux, France (organizers). Venues: Musée d'Art Américain Giverny, Giverny, France, April 1–July 14, 2008; Musée des Beaux-Arts de Bordeaux, Bordeaux, France, September 25, 2008–January 5, 2009 (exhibited in Giverny). [exh. cat.] Vanessa Lecomte, editor. Portrait of a Lady : peinture et photographies américains (exh. cat., Musée d'Art Américain Giverny and Musée des beaux-arts de Bordeaux). Chicago, Illinois: Terra Foundation for American Art, 2008. Text (checklist) p. 93.

Marché aux Fleurs

Jane C. Peterson

Date: 1908

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

Object number: 1994.17

Text Entries: Sotheby's New York, New York (Sale 6568, May 25, 1994): lot 88. Ill. lot 88 (color). Reymond, Nathalie. Un regard américain sur Paris. (An American Glance at Paris). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 78; ill. p. 76 (color). Cartwright, Derrick R. The City and the Country: American Perspectives, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 26 (checklist); ill. p. 36 (color). Cartwright, Derrick R. Ville et campagne: les artistes américains, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 26 (checklist); ill. p. 36 (color). Roznoy, Cynthia and Arlene Katz Nichols. Jane Peterson: At Home and Abroad. (exh. cat., Mattatuck Museum, Waterbury, Connecticut). Waterbury, Connecticut: Mattatuck Museum, 2017. Text p. 71, p. 116 (checklist); ill. front cover (detail), pp. vi, 73 (color). Roznoy, Cynthia. "Jane Peterson: At Home and Abroad." American Art Review, Vol. XXX, No. 2 (April 2018): 102–109, 111. Ill. p. 103 (color).

Bridge Cables II

Jolan Gross-Bettelheim

Date: c. 1940

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

Object number: 1995.35

Text Entries: Williams, Reba and Dave. "Jolan Gross Bettelheim: A Hidden Life." Print Quarterly 7:3 (1990): 303–314. Cartwright, Derrick R. and Paul J. Karlstrom. American Moderns, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Fig. 4, p. 78 (black & white). [specific reference to Terra print] Cartwright, Derrick R. and Paul J. Karlstrom. L'Amérique et les modernes, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Fig. 4, p. 78 (black & white). [specific reference to Terra print] Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Ill. p. 134, detail p. 16, cat. no.32 (color).

Bleecker Street Fire Hydrant

Kyra Markham

Date: 1942

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

Object number: 1995.43

Text Entries: Witkin, Lee D. Kyra Markham, American Fantasist (1891–1967). (exh. cat., The Witkin Gallery, Inc.). New York: The Witkin Gallery, Inc., 1981. Ill. p. 7 (black & white). Master Prints of Five Centuries, The Alan and Marianne Schwartz Collection. (exh. cat., The Detroit Institute of Arts). Detroit, Michigan: The Detroit Institute of Arts, 1990. No. 73, p. 94.

Queer Fish

Mabel Dwight

Date: 1936

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

Object number: 1996.16

Text Entries: Mabel Dwight (born Mabel Jacque Williamson) lived for many years in New York's Washington Square, working for a time as an assistant to Juliana Force, director of the Whitney Studio Club. The crowded and comic variety of the city's Depression-era population at work and at play inspired her best known lithographs, whose realistic, anecdotal treatment of everyday life exemplified the tenets of the developing American Scene movement. Despite having moved to New York as a young woman to establish herself as a painter and illustrator, Dwight found that upon her marriage to etcher Eugene Higgins in 1903, "domesticity followed and for many years my career as an artist was in abeyance." It was not until 1926 that Dwight, already separated from her husband, changed her name and sailed for Paris, where she made her first lithograph at the age of fifty-two. Soon after her return, her satirical prints appeared in publications such as Vanity Fair and were exhibited widely in American galleries. Dwight saw the print as an opportunity to democratize fine art; of her newfound medium, she wrote, A humorous subject, a political satire, can be made a lasting work of art, as much as any so-called beautiful theme. Lithography, being one of the reproductive media, enables an artist to reach a large public. Whether his message is still life or bitter revolt against social injustice, he can give it to the people.

Boy and Goose

Eliza Draper Gardiner

Date: c. 1919

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

Object number: 1996.19

Text Entries: Falk, Peter Hastings. Eliza Draper Gardiner: Master of the Color Woodcut. (exh. cat., Newport Art Museum). Madison, Connecticut: Sound View Press, 1987. No. 6.

Pickaback

Eliza Draper Gardiner

Date: c. 1920

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

Object number: 1996.20

Text Entries: Falk, Peter Hastings. Eliza Draper Gardiner, Master of the Color Woodcut. (exh. cat., Newport Art Museum). Madison, Connecticut: Sound View Press, 1987. No. 28. Green, Nancy E. and Jessie Poesch. Arthur Wesley Dow and American Arts and Crafts. (exh. cat., Iris and B. Gerald Cantor Center for Visual Arts, Stanford University). New York: American Federation of Arts, 1999, p. 24.

Above the Trail

Frances Hammell Gearhart

Date: 1929

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

Object number: 1996.21

Text Entries: Frances Hammell Gearhart is best known for her nuanced woodblock and watercolor depictions of the California landscape, for which she developed a lifelong love following her father, a beekeeper, on his honey-gathering treks near Pasadena. She was the oldest of three unmarried sisters, all of whom taught in the Los Angeles public schools and later became proficient in the art of woodblock prints; Frances first exhibited her work when she was forty-two years old. She was the only one of the three sisters who did not study with Arthur Wesley Dow (1857-1922), the influential painter, printmaker and teacher whose book Composition of 1899 cultivated widespread interest in this country in abstract principles of design, especially those of traditional Japanese art. Nevertheless, her spare and atmospheric woodblock prints, suffused with the delicate colors of Japanese prints, reveal a deep appreciation for Dow's teachings.

Chill December

Frances Hammell Gearhart

Date: 1936–37

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

Object number: 1996.22

Text Entries: Frances Hammell Gearhart is best known for her nuanced woodblock and watercolor depictions of the California landscape, for which she developed a lifelong love following her father, a beekeeper, on his honey-gathering treks near Pasadena. She was the oldest of three unmarried sisters, all of whom taught in the Los Angeles public schools and later became proficient in the art of woodblock prints; Frances first exhibited her work when she was forty-two years old. She was the only one of the three sisters who did not study with Arthur Wesley Dow (1857-1922), the influential painter, printmaker and teacher whose book Composition of 1899 cultivated widespread interest in this country in abstract principles of design, especially those of traditional Japanese art. Nevertheless, her spare and atmospheric woodblock prints, suffused with the delicate colors of Japanese prints, reveal a deep appreciation for Dow's teachings.

The Bath

Helen Hyde

Date: 1905

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

Object number: 1996.24

Text Entries: Helen Hyde was one of thousands of young American art students in France between 1891 and 1894, the height of popular enthusiasm for Japanese art and culture. She saw Mary Cassatt's Japanese-inspired prints of mothers and children while in Paris, and would produce many variations on this theme in her own prints, though she never married or had children. However, Hyde differed from the majority of Western artists who experimented with Japanese woodblock prints in that she spent half of her adult life living and working in Nikko and Tokyo, Japan. While most Western artists carved their own blocks, Hyde worked exclusively according to the Japanese traditional method, in which the artist collaborates with a specially trained block cutter and printer. The subtle gradations of tone, cutting off or overlapping of forms at the frame, and bold curvilinear variety of shapes evident in The Bath and Moon Bridge at Kameido indicate Hyde's study of Japanese compositional devices. Although executed in Tokyo, Moonlight on the Viga Canal was inspired by scenes from Hyde's 1911 trip to Mexico; she wrote of the "tall, thin, French-looking trees" and "witchyfolk, heavy laden" that followed the canal's banks.

Moon Bridge at Kameido

Helen Hyde

Date: 1914

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

Object number: 1996.25

Text Entries: Helen Hyde was one of thousands of young American art students in France between 1891 and 1894, the height of popular enthusiasm for Japanese art and culture. She saw Mary Cassatt's Japanese-inspired prints of mothers and children while in Paris, and would produce many variations on this theme in her own prints, though she never married or had children. However, Hyde differed from the majority of Western artists who experimented with Japanese woodblock prints in that she spent half of her adult life living and working in Nikko and Tokyo, Japan. While most Western artists carved their own blocks, Hyde worked exclusively according to the Japanese traditional method, in which the artist collaborates with a specially trained block cutter and printer. The subtle gradations of tone, cutting off or overlapping of forms at the frame, and bold curvilinear variety of shapes evident in The Bath and Moon Bridge at Kameido indicate Hyde's study of Japanese compositional devices. Although executed in Tokyo, Moonlight on the Viga Canal was inspired by scenes from Hyde's 1911 trip to Mexico; she wrote of the "tall, thin, French-looking trees" and "witchyfolk, heavy laden" that followed the canal's banks.