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Before You Begin

Welcome to the Mary Cassatt Catalogue Raisonné (MCCR) online. Thank you for your participation in this survey.

We suggest that you read this page to the end and then go to the Guide to Using the Catalogue, available as a link on the lower navigation bar.

Open a survey at any time by clicking the link in the box at left. A new survey form will open in a separate window or tab, and you may keep the form open while exploring the site for as long as you remain on the Internet. You may go through the survey in any order. Your answers will remain in place; you can even print them out.

There are four pages to the survey: 1) Welcome, 2) Exploring the Site Content, 3) Using the Site Architecture, and 4) Overall Impressions. Please fill in your name and e-mail address on the Welcome page each time you open a new survey.

IMPORTANT TO SAVE: To save and submit the survey, you MUST go to page four and click the box marked “DONE.” If you close the survey without clicking “DONE” on page four, your work will be lost. Get to page four by clicking the “NEXT” button at the end of each page until you arrive at page four.

Your answers are important to us. We appreciate your responding to every question and taking particular advantage of those instances where comments are called for. You may submit a survey as many times as you wish. Each submission is dated and will be regarded as an addition or revision of any earlier submission(s).

The Mary Cassatt Catalogue Raisonné online is a work in progress. Read the following to get an understanding of the potential scope and the present limitations of this version of the catalogue.


Please bear in mind two important matters when perusing the Mary Cassatt Catalogue Raisonné during this testing phase. First, the research and writing of the catalogue is still in progress, and the material on this site should not be considered ready for use outside the test site. Second, although we have made every effort to ensure that no sensitive material (such as the name of an owner who has requested anonymity) appears on the site, some sensitive information might remain, or perhaps an owner who gave permission to use his name yesterday might change his mind before the final launch. Therefore, we request that beta testers use the catalogue as it exists in this testing phase with discretion. The material on this site is confidential during beta testing and not to be shared outside the test group.


The vetting work of the Mary Cassatt Raisonné Committee is still in progress. Therefore, some works included in the catalogue during this testing phase will not appear in the catalogue when it is publicly launched, and some works currently absent will be added before the public launch. The final number of works (oils, pastels, and watercolors) is anticipated to be around 700.


The dates of works as they currently appear on the site are to be confirmed; some will be changed before the final launch.


In keeping with current art historical practice, the Mary Cassatt Raisonné Committee originally intended to employ the first known title for each work. For example, the Breeskin title Reading "Le Figaro" would become Portrait, the title under which the painting was first exhibited. After reviewing thousands of known titles, however, we found that this plan is difficult to implement, especially with regard to Cassatt's earliest work. Scholars have yet to identify precisely which works were exhibited under which titles in many exhibitions before 1900. The Committee has chosen, therefore, to retain most Breeskin titles for the time being. More information regarding titles will be added to the Commentaries at some future date.


We are still obtaining credit lines and ownership information; therefore, many credit lines and ownership histories will change signficantly before final launch.


We have a significant file of important materials to add to the exhibition and literature sections of the catalogue, including Achille Segard's 1913 biography of the artist, Nancy Mowll Mathews's 1984 compilation of Cassatt's letters, Griselda Pollock's 1998 book Mary Cassatt, Painter of Modern Women, essays from the 1998–99 Art Institute of Chicago's Mary Cassatt: Modern Woman exhibition catalogue, the entire catalogue for the recent Women Impressionists exhibition (Schirn Kunsthalle, Frankfurt, and Fine Arts Museums of San Francisco), and the checklist for Mary Cassatt: Friends and Family currently on view at the National Museum of Women in the Arts. These will be added before final launch.

You might occasionally click on an exhibition or literature reference and find the message "0 works mentioned." This message signifies: 1) the reference remains incomplete due to error and has not been corrected; 2) the reference pertains to a work that will not be included in the catalogue at final launch but the reference itself has not yet been removed from the site; or 3) the reference pertains to a counterproof or drawing, which are not included in this iteration of the catalogue.


At present, the catalogue can be accessed through seven chronological divisions, each introduced by a collection of brief facts outlining major points about Cassatt's work of the period. These points are intended solely as a temporary reference tool and will eventually be replaced by more deeply considered essays, by Pamela A. Ivinski, on the stylistic development of Cassatt's work during each of the seven periods.


It is possible to search the present location of works (except those owned by collectors who wish to remain anonymous) by using a scroll-down menu on the Search page. In a number of cases, the present location of the work as listed in the credit line does not correspond to the location under which the work appears in this search field. These errors will be corrected before final launch.


In most cases, the images are the highest quality possible and were newly obtained for this catalogue. When the location of the original artwork is unknown, or when a new image could not be obtained, an older black-and-white image from the Breeskin archive has been used.


All reasonable efforts have been made to identify and contact copyright holders, but in some cases these could not be traced. If you hold or administer rights for materials published here, please contact us. Any errors or omissions will be corrected in subsequent editions.

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