- Identification and Creation
- Physical Descriptions
- Drypoint, softground etching and aquatint
- plate: 31.9 x 24.9 cm (12 9/16 x 9 13/16 in.)
sheet: 43.5 x 30.4 cm (17 1/8 x 11 15/16 in.)
- Inscriptions and Marks
- inscription: lower right, graphite pencil, in artist's hand : Imprimé par l'artiste et M. Leroy / Mary Cassatt / (25 épreuves)
- stamp: center of lower platemark, blue ink, in artist's hand: Mary Cassatt's blue initial stamp (Lugt 604)
- watermark: Arches
- The artist; to Ambrose Vollard, Paris, 1926, bequest; to his heirs, 1939, sold; to Henri M. Petiet, Paris (Lugt 2021a), 1940, bequest; to his estate, 1980, sold; to Marc Rosen, New York, sold; to Harvard Art Museums, 2006
- State, Edition, Standard Reference Number
- xvii/xvii (final)
- Standard Reference Number
- B. 143; Mathews/Shapiro 5
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Fogg Museum, Gift of Dr. Ernest G. Stillman, Class of 1907, by exchange
- Accession Year
- Object Number
- European and American Art
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Label Text: 32Q: 2700 Impressionism , written 2014
Cassatt’s The Bath
At the instigation of Degas, Cassatt began making prints in the late 1870s. Unlike many of her contemporaries, who made lithographs, Cassatt experimented with aquatint and softground etching to create tone. These nine prints, trial proofs and a final state of The Bath, demonstrate her commitment to innovation.
A pioneering 1890 exhibition of Japanese color woodcuts in Paris inspired Cassatt to begin creating color prints to expand the tonal possibilities of her work. She used two plates, one for the drypoint lines and softground decoration in black and one for the tonal areas in color. These prints show Cassatt’s ingenuity and diligence in working out the process of combining line and color for the final state, as well as her use of colored papers and different inking techniques. These impressions in Harvard’s collection are historically significant as well. Cassatt kept them in her own “studio collection,” which included hundreds of experimental proofs, and they were still in her possession upon her death.
- Publication History
Stephan Wolohojian, ed., Harvard Art Museum/ Handbook, Harvard Art Museum (Cambridge, MA, 2008), pp. 178-9, ill.
- Exhibition History
32Q: 2700 Impressionism, Harvard Art Museums, Cambridge, 11/01/2014 - 04/03/2015
- Subjects and Contexts
Google Art Project
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