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    Mary Stevenson Cassatt (American, 1844-1926)
    Sara in a Red Dress, circa 1901
    Pastel on card
    15-3/4 x 17-3/4 inches (40.0 x 45.1 cm) (sheet)

    The artist;
    Mathilde Vallet, acquired from the above, 1927;
    Sale: Mathilde X, Paris, March 30, 1927;
    Durand-Ruel, Paris, acquired from the above (as Fillette blonde aux yeux noirs, corsage rouge);
    Private collection, New York;
    By descent to the present owner.

    Galerie A.M. Reitlinger, Paris, 1927, no. 67.

    Gallerie A.M., Reitlinger, exhibition catalogue, Paris, 1927, n.p., no. 67, illustrated;
    A.D. Breeskin, Mary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors, and Drawings, Washington, D.C., 1970, p. 149, no. 349, illustrated.

    Painted circa 1901, Sara in a Red Dress is an important example of Mary Cassatt's exploration of the theme of the single child. The artist had received great acclaim for her depictions of children, returning to the theme throughout her career and investigating it in various mediums. "In the course of revising her approach to the mother and child theme Cassatt embarked on a series of pastels, drawings, and drypoint etchings of children that preoccupied her for the rest of her working career. She had painted children many times before, but there had always been an obvious incentive, either a portrait commission or contact with her young nieces and nephews. This series seems to have had no such motivation." (N.M. Mathews, Mary Cassatt, New York, 1987, p. 125)

    The year 1901 marks a significant shift in Cassatt's style due in large part to her travels with her close friends, affluent American collectors Louisine and Harry Havemeyer. Cassatt had begun working closely as an art advisor to the couple in the 1890s and she continued in this role with increasing frequency after the turn of the century, aiding the collectors in their endeavors to acquire works by both historic and modern masters. In the spring of 1901 the couple invited Cassatt to travel with them to Italy and Spain, in pursuit of important paintings of the sixteenth and seventeenth centuries. The artist's renewed exposure to such works as those by Titian, El Greco and Sandro Bernini was not only a catalyst for increased productivity, but also for stylistic changes, which would be evident for the remainder of her career. According to Nancy Mathews, "The trip...had a great impact on her own art. She set to work as soon as she got back to Paris and wrote with the mixture of enthusiasm and uncertainty with which the immersion in the old masters had left her: 'All day long I work! I am wild to do something decent after all the fine things we have seen.'" (Mary Cassatt, p. 265) Sara Holding a Cat demonstrates the heightened attention to fabric and texture and the more thoroughly worked and vibrant surface of Cassatt's mature style.

    Similarly significant was Cassatt's choice, after 1900, to use the same models repeatedly. The artist preferred to use as models children from Mesnil-Theribus, Oise, the village near her country home, Beaufresne, fifty miles northwest of Paris and in 1901 she began to frequently employ Sara, the young golden-haired girl depicted in the present work, who according to Adelyn Breeskin, was a granddaughter of one of the former presidents of the French Republic, Emile Loubet. (Mary Cassatt: A Catalogue Raisonné, Washington, D.C., 1970, p. 150) The sweetness of Sara's face, the ethereality of her features, and her reportedly good-natured demeanor evidently made her a favored model for Cassatt during these years and she was the subject of many of the artist's works from the period including both single and group portraits such as Sara in a Green Bonnet (circa 1901, The Smithsonian Institution, National Museum of American Art, Washington, D.C.) and Children Playing witha Dog. (1907, private collection)

    While it is important to stress that Cassatt's works of this period are compositions rather than portraits, by repeatedly utilizing the same models, "she attempted to achieve an intimacy and familiarity with her subjects, as found in her earlier family portraits." (E.J. Bullard, Mary Cassatt: Oils and Pastels, New York, 1972, p. 68) During this period Cassatt also took great care in deliberately assembling her compositions: "She selected her models and set up situations in her studio that she could examine and paint a representation, a mise en toile, a composition in the old academic sense, and not just a casually observed or spontaneously formed scene." (Mary Cassatt: Painter of Modern Women, p. 16)

    The stylistic maturity of Cassatt's later works, of which Sara in a Red Dress is a lovely example, was met with praise from critics, dealers, collectors and students on both sides of the Atlantic. The artist's broad international appeal during this period was a testament to the fact that, "Although she worked throughout her entire career in France, her art is indeed expressive of the vitality which characterized the sturdy American temperament of her own epoch. She fused these thoroughly native qualities with a deep appreciation and thorough knowledge of the painting tradition of France, significantly enriching her life and art." (A.D. Breeskin in The Knoedler Galleries, "The Paintings of Mary Cassatt," exhibition catalogue, New York, 1966, n.p.)

    More information about Mary Stevenson Cassatt, also known as Cassatt, Mary Stevenson, Mary Cassatt, .

    Condition Report*: Condition report available upon request.
    Framed Dimensions 24 X 24 Inches
    *Heritage Auctions strives to provide as much information as possible but encourages in-person inspection by bidders. Statements regarding the condition of objects are only for general guidance and should not be relied upon as complete statements of fact, and do not constitute a representation, warranty or assumption of liability by Heritage. Some condition issues may not be noted in the condition report but are apparent in the provided photos which are considered part of the condition report. Please note that we do not de-frame lots estimated at $1,000 or less and may not be able to provide additional details for lots valued under $500. Heritage does not guarantee the condition of frames and shall not be liable for any damage/scratches to frames, glass/acrylic coverings, original boxes, display accessories, or art that has slipped in frames. All lots are sold "AS IS" under the Terms & Conditions of Auction.

    Auction Info

    Auction Dates
    November, 2021
    5th Friday
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