Friday, December 15, 2017

Cézanne's Portraits


National Gallery of Art, Washington, DC

March 25 through July 1, 2018

Bringing together some 60 paintings drawn from collections around the world, Cézanne Portraits is the first exhibition devoted exclusively to this often-neglected genre of his work. The revelatory exhibition explores the pictorial and thematic characteristics of Paul Cézanne's (1839–1906) portraits, the chronological development of his style and method, and the range and influence of his sitters. The sole American venue, Cézanne Portraits will be on view on the main floor of the West Building from March 25 through July 1, 2018.

"This exhibition provides an unrivaled opportunity to reveal the extent and depth of Cézanne's achievement in portraiture," said Earl A. Powell III, director, National Gallery of Art. "The partnership between the National Gallery of Art, the National Portrait Gallery in London, and the Musée d'Orsay in Paris has made it possible to explore his working techniques as well as his intellectual solutions to representation in these exceptional portraits."

Cézanne painted almost 200 portraits, including 26 self-portraits and nearly 30 portraits of his wife, Hortense Fiquet, as well as portraits of his son Paul and his uncle Dominique Aubert, art dealer Ambroise Vollard, critic Gustave Geffroy, and the local men and women in his native Aix-en-Provence. The exhibition presents a selection of portraits that reveals the most personal and human aspects of Cézanne's art.

Exhibition Organization and Support

The exhibition is organized by the National Gallery of Art, Washington, the National Portrait Gallery, London, and the Musée d'Orsay, Paris.

About the Exhibition

Cézanne Portraits explores the artist's series of portraits of the same sitter; traces his portraits chronologically, revealing changes in style and method; and shows the full range of his sitters and how they influenced his practice. Cézanne's unique vision was informed by a desire to see through appearances to the underlying structure using mass, line, and shimmering color. The exhibition traces the development of Cézanne's portraits and the changes that occurred through style and method and the understanding of resemblance and identity.

Cézanne made his first portrait in the early 1860s, although it was not until 1866 that he began to paint portraits in earnest. Often painting family and friends with whom he felt comfortable, his early works were stylistically influenced by Gustave Courbet's and Édouard Manet's Parisian portraits.

The Painter's Father, Louis-Auguste Cézann about 1865Paul Cézanne

The family paintings include large portraits of his father, small paintings of his mother and sisters, and about nine portraits of his uncle, the bailiff Dominique Aubert, and provocative paintings of poet and art critic Antony Valabrègue and the artist Achille Emperaire.

By the end of the 1860s Cézanne's portraits became more refined and more sympathetic to his sitters. He began to produce fewer portraits until 1875, when he created a group of self-portraits prominently featuring his bald head painted in an impressionist style. Between 1876 and 1877 he began to incorporate heightened hues in which areas of prismatic color help to shape a vivid human presence, as seen in

Madame Cézanne in a Red Armchair (c. 1877), on view in the exhibition.

Over the following seven or eight years, Cézanne created portraits of sculptural gravity, including paintings of his wife, their young son, and his son's friend Louis Guillaume,

 Paul Cézanne

Cézanne, Self Portrait, about 1880

as well as self-portraits.

Between 1872 and 1892 Cézanne painted 28 portraits of his wife. Seventeen of these, painted during the second half of the 1880s, form three distinct stylistic groups.

 Madame Cezanne with Unbound Hair, c.1887 - Paul Cezanne

The first group, a set of small, lightly painted canvases, were painted around 1886 and includes the most expressive images of her made to date, marking a major shift in his portraiture practice. The second group, made a few years later, is more explicit in its description of emotion and more heavily painted. The third group of four portraits depicts Hortense wearing a red dress. Fifteen of these portraits will be on view.

Cézanne also painted several portraits of the model Michelangelo de Rosa in Italian garb. The Gallery's version,

Boy in a Red Waistcoat (1888–1890), is the largest, most resolved of these portraits. Influenced by 16th-century mannerists such as Bronzino and Pontormo who painted iconic images of urban, male adolescents, Cézanne presents a moving, formally innovative image of a boy morphing into manhood.

During the 1890s Cézanne began to paint portraits of local people in and around his native Aix-en-Provence. His portraits of agricultural laborers record his admiration for people who had grown old without changing their ways. The paintings of domestic servants and children indirectly reflect Cézanne's increasing preoccupation with old age. Included among these works are

 Child in a Straw Hat (1896),

Man in a Blue Smock (c. 1897),

and Seated Peasant (c. 1900–1904), all of which are in the exhibition.

Of the 100 paintings Cézanne made between 1900 and 1906, only about 20 are portraits, seven of which were painted outside.

Child in a Straw Hat, 1902 - Paul Cezanne

 During this period, Cézanne painted his final self-portrait,

Self-Portrait with Beret (1898–1900), on view in the exhibition, which depicts a fragile, prematurely aged but still vehement figure. The subjects of these later portraits are local men, women, and children as well as a pair of portraits of his sister, Marie, depicted in a blue dress,

Paul Cezanne, The Gardener Vallier 1902-1906 Oil on canvas. National Gallery of Art,enhance,format&crop=faces,entropy,edges&fit=crop&w=820&h=550

'The Gardener Vallier', 1902–6, by Paul Cézanne. '

Portrait of Vallier, 1906 - Paul Cezanne

The Gardener Vallier, 1906 - Paul Cézanne, E. G. Buhrle Collection (Switzerland)

Portrait of the Gardener Vallier, c.1906 - Paul Cezanne

and five paintings of his gardener, Vallier, three of which are on view.

Exhibition Curators

The exhibition is curated by John Elderfield, chief curator emeritus of painting and sculpture at the Museum of Modern Art, New York, with Mary Morton, curator and head of the department of French paintings at the National Gallery of Art, Washington, and Xavier Rey, formerly director of collections at the Musée d'Orsay, now director of the museums of Marseille.

Exhibition Catalog

The exhibition is accompanied by a 256-page, fully illustrated catalog with essays by the exhibition curators—John Elderfield, chief curator emeritus of painting and sculpture at the Museum of Modern Art, New York, with Mary Morton, curator and head of the department of French paintings at the National Gallery of Art, Washington, and Xavier Rey, director of the museums of Marseille. Also included are a biographical essay on Cézanne's sitters by biographer Alex Danchev and a chronology of the artist's life by Jayne Warman.

This catalog establishes portraiture as an essential practice for Cézanne, from his earliest self-portraits in the 1860s to his famous depictions of figures including his wife Hortense Fiquet, the writer Émile Zola, and the art dealer Ambroise Vollard, and concluding with a poignant series of portraits of his gardener Vallier, made shortly before Cézanne's death. Featured essays explore the special pictorial and thematic characteristics of Cézanne's portraits and address the artist's creation of complementary pairs and multiple versions of the same subject, as well as the role of self-portraiture for Cézanne. They investigate the chronological evolution of his portrait work, with an examination of the changes that occurred within his artistic style and method, and in his understanding of resemblance and identity. They also consider the extent to which particular sitters influenced the characteristics and development of Cézanne's practice. Beautifully illustrated with works of art drawn from public and private collections around the world, Cézanne Portraits presents an astonishingly broad range of images that reveals the most personal and human qualities of this remarkable artist.

Also fascinating: Portraits by Cézanne at the Musée d’Orsay

Thursday, December 14, 2017

Sotheby’s Drawings 31 January 2018 i

Sotheby’s will present The Line of Beauty: Drawings from the Collection of Howard and Saretta Barnet in a dedicated auction on 31 January 2018 in New York, highlighting Sotheby’s annual Masters Week sales. The superb collection of 28 drawings, formed over a period of some 40 years by the New York couple Howard and Saretta Barnet, is unique for its combination of small overall size, great chronological span and exceptionally high quality. 

Making their selections with razor-sharp aesthetic judgement, the Barnets very carefully assembled a group of drawings that tells the story of five centuries of the art of drawing in Western Europe, each of the very highest quality and beauty. Spanning from an early Renaissance landscape, drawn around 1500 by Fra Bartolommeo, to the rare and penetrating portrait of fellow-artist Balthus, drawn by Lucian Freud in 1989, the collection also includes magnificent drawings by the great 17th-century landscape master, Claude Lorrain, by the five top draughtsmen of 18th-century France and Italy (Watteau, Boucher, Fragonard, Tiepolo, Guardi), by the most visionary of Spanish artists, Goya and Picasso, and by two of the giants of 19th-century French art, Ingres and Degas. 

Despite being very different from each other in date, geographical origin, technique, style and function, these drawings reflect a powerful, consistent taste. The collection will be on view in our New York galleries from 26 – 31 January 2018, alongside our public exhibitions of Master Paintings. 

Gregory Rubinstein, Head of Sotheby’s Old Master Drawings Department, commented: 

“The sale of the Barnet Collection offers not only a unique and liberating insight into what makes a great drawing, but also gives another generation of collectors the opportunity to acquire works of the very highest quality, which have been off the market for several decades. Rarely, if ever, can a more perfectly chosen collection have been formed, in any collecting field.”
He continued: 

“The greatest masters of Western European art, from Leonardo da Vinci, Raphael and Michelangelo to Rembrandt, Goya and Picasso, all began every work of art that they made, in every medium, with drawings. Through drawings, they worked out how they would approach their projects, and developed their ideas. Drawings open a magical door, through which we can pass into the very heart of the creative process – we are transported in time, to the very moment when the artist was working out what he or she was going to do, and that moment, whenever it occurred, 3thereby becomes part of the present, not the past. This timeless and universal quality is also fundamentally modern, and drawings from all periods can be equally revelatory to artists and collectors of today – to anyone fascinated by the process of making art.” 


Fra Bartolommeo holds a distinct and distinguished position amongst the classic painters of the Renaissance. The present drawing, an exquisite and highly rare landscape drawing, depicting a View of Fiesole (estimate $600/800,000), has an absolutely impeccable provenance; given by Fra Bartolommeo to his fellow artist Fra Paolina da Pistoia, before subsequently entering the celebrated collection of the Florentine art historian Nicolo Gabburi. Dating to circa 1508, this drawing can be considered among the earliest pure landscape studies in European art and like the other surviving landscape studies by the artist, the majority of which are in museum collections, this sheet appears to have been drawn directly from nature.

Parmigianino was a prodigiously talented painter, draughtsman and print maker, whose career spanned the Mannerist period. His drawings are continuously sought after by collectors and connoisseurs, and justifiably recognized for their outstanding quality. The present work, a double sided drawing, is no exception to this rule and depicts two separate studies of
Girolamo Francesco Maria Mazzola, called Parmigianino Recto: Shepherds for an Adoration Verso: Two Putti Among Foliage Estimate: 300,000 - 500,000 USD

 “Shepherds for an Adoration” on the recto and “Two putti among foliage” on the verso (estimate $300/500,000). The drawing also contains a charming musical score on the recto, perhaps explaining why it once belonged in the collection of Nicolas Lanière, who was appointed in 1618 as “Master of the Musick” to Prince Charles, who would later become King Charles I of England. 
 The Valley of the Aniene, Near Tivoli, With the Ruins of the Aqua Anio Novus Aqueduct Estimate: 600,000 - 800,000 USD. Francisco José de Goya y Lucientes

Claude Lorrain’s The Valley Of The Aniene, Near Tivoli, With The Ruins Of The Aqua Anio Novus Aqueduct (estimate $600/800,000) has not been seen in public since it was exhibited at the Metropolitan Museum, New York, some 40 years ago, and the occasion of this sale therefore provides the first opportunity in a long generation to study and appreciate its exceptional qualities. Historically resonant, elegant in composition and understated in the handling of the media, it epitomises Claude’s accomplishments in the field of drawing, at a moment when he was riding a wave of critical acclaim and professional success. It is through serene and imposing drawings such as that cemented the artist’s position as the ultimate recorder of the landscape, ruins and atmosphere of the Roman Campagna. 

Though the monuments and antiquities of Rome itself and its immediate surroundings had been drawn and painted by other artists since the earlier 16th century, it was only when Claude took to the wider countryside surrounding the Eternal City in the 1620s that these pastoral locations began to be widely appreciated as subjects – a fashion that was subsequently to endure more or less unabated until the late 19th century. This characteristically atmospheric work is one of the finest and most significant drawings by the artist to remain in private hands, and is particularly fascinating in that it depicts an identifiable location, with the ruins of the Aqua Anio Novus Aqueduct still surviving to this day.

 In his relatively short-life, Jean Antoine Watteau managed to have a hugely significant impact on the development of Rococo art in France and beyond.

A Scene From The Commedia dell'arte: A Girl Resisting The Advances Of A Comedian And An Actress Executing A Step (estimate $500/700,000) is an exquisite and extremely elegant drawing by the artist, depicting a scene from the “Commedia dell’Arte”, an early form of theatre, that originated in Italy in the 15th century. Spreading in popularity throughout Europe, it was of the utmost fashion in Rococo France by the 18th century. 

The two figures on the left, drawn predominantly in a vibrant red chalk, with touches of black lead, appear to depict the timeless scene of a beautiful woman, spurning 5the advances of an enthusiastic suitor. The equally beautiful woman on the right side of the sheet, does not seem to directly relate to the aforementioned narrative, but rather, appears to be an actress or dancer performing a step. The two groups of figures combined form a delightfully balanced “mis en page”, in which Watteau, captures both the elegance of the figures he portrays, coupled with an expressiveness and sense of movement that only a draughtsman of his immense virtuosity could achieve.

Goya’s penetrating vision of humanity and intense visual imagination mark him out as one of the first truly modern artists. Throughout his life, he expressed his most private thoughts and feelings in his drawings, and gathered them at various stages of his career into eight remarkable "Private Albums".

No Ilenas Tanto La Cesta (Don't Fill The Basket So Full)(estimate $1/1.5 million) originates from the Black Border Album, named for its most visible characteristic: the distinctive lines that frame each drawing within this group. Here the artist has portrayed an elderly woman, hunched over a basket of food, some of which has fallen on the ground to the right of her. Goya has added his own proverbial inscription to the lower centre of the drawing: No Ilenas tanto la cesta (Don’t fill the basket so full), to suggest that the viewer can learn from the mistakes made by the elderly woman depicted. The combination of media that Goya uses in this drawing remain in particularly exceptional condition, making this museum quality drawing one of the most important works by the artist to appear on the open market in recent years.

Samuel Palmer was undoubtedly one of the most important and influential artists of the Romantic era, working in Britain. A particular emphasis is placed on his celebrated early career, a period in which he was living in the Kent village of Shoreham. His work from this “Shoreham period”, of which

Landscape With A Church, A Boat And Sheep (estimate $250/350,000) is a wonderful example, is executed in his visionary style. Drawn in Palmer’s characteristic combination of brown ink and wash with scratching out, the present work depicts a scene of rural bliss, with two shepherds and their flock bathed in dappled light, whilst behind them a boatman drifts past an idyllic village Church. 

Degas’ two engrossing passions, horse racing and ballet, provided him with a rich and exciting social life and the artistic inspiration for the greatest part of his œuvre. As a member of the prestigious Jockey Club, Degas was a habitué of the racecourses at Deauville and Longchamps, where he could study the beauty of thoroughbred horses at close quarters. Images of racing were a central part of his career, and his pastels of the subject are among his most celebrated works, of which  

Edgar Degas, Deux Jockeys. Gouache and oil on paper; stamped lower left: Degas, 238 by 311 mm; 9⅜ by 12¼ in. Executed circa 1868-70. Estimate: 80,000 USD - 120,000 USD. Courtesy Sotheby’s.

Deux jockeys (estimate $80/120,000) is a perfect example.

A virtuoso rendering of bold line and delicate chiaroscuro, Lucian Freud’s arresting 


Lucian Freud, Portrait of Balthus. Charcoal on paper; dated in pencil in the upper left: 8 – 10 – 89, 327 by 248 mm; 12⅞by 9 ¾ in. Estimate: 70,000 USD - 90,000 USD. Courtesy Sotheby’

Portrait of Balthus (estimate $70/90,000) magnificently illustrates the legendary British portraitist’s extraordinary powers of analysis in both form and character. Executed in 1989, the present work portrays Freud’s fellow artist Balthus, a French modern painter whose early investigation of figurative expressionism served as a significant influence upon Freud’s own iconic output. This drawing confidently captures the essence of the sitter, the brooding gaze and distinctive, shadowy features readily evoking Balthus’ reputation as a reclusive and impenetrable artistic figure. In each deft charcoal accent, Freud imbues his sitter’s refined visage with an arresting psychic intensity that serves as an enduring testament, both to Freud’s inimitable analysis of the human subject, and to his remarkable abilities as a master draughtsman.

The Impressionist Line: From Degas to Toulouse-Lautrec

Clark Art Institute 
November 5, 2017–January 7, 2018

Prints and drawings comprised nearly half of the works included in the eight Impressionist exhibitions held in Paris between 1874 and 1886. Today, however, Impressionism is usually understood as a celebration of the primacy of oil painting. The Impressionist Line: From Degas to Toulouse-Lautrec challenges this perception, exploring the Impressionists’ substantial—and often experimental—contributions to the graphic arts. The new exhibition of thirty-nine works on paper, on view at the Clark Art Institute November 5, 2017–January 7, 2018, showcases the hallmarks of the “Impressionist line” from the movement’s precursors in the 1860s through post-Impressionist art of the 1890s.

The Impressionist Line is drawn from the Clark’s collection of more than 6,000 works on paper. Artists represented in the exhibition include Charles-François Daubigny, Édouard Manet, Edgar Degas, Mary Cassatt, Camille Pissarro, Paul Gauguin, Henri de Toulouse-Lautrec, and others. The exhibition demonstrates not only the Impressionists’ embrace of modern subjects, but also their enthusiasm for new artistic materials and technologies, as well as ties to public and commercial ventures, such as fine art publications and art dealers.

“It’s a great opportunity for the Clark to show our visitors a different side of the Impressionist story, focusing on lesser known works through which one can develop a more fully rounded appreciation of their approach and practice,” said Olivier Meslay, Felda and Dena Hardymon Director of the Clark.

The exhibition traces an artistic lineage through which the development of Impressionist practice can be observed. “The Clark has an astounding collection of Impressionist-era prints and drawings, many of which are featured in this exhibition,” said exhibition curator Jay A. Clarke, Manton Curator of Prints, Drawings, and Photographs. “The Impressionist Line is a true mini-survey of French prints and drawings produced during the last decades of the nineteenth century, and it tells the story of the graphic line in black and white and color through some of the greatest practitioners of their time.”

Before Impressionism

Servant Knitting

François Bonvin
French, 1817–1887
Servant Knitting
Charcoal and black chalk with stumping and erasing on paper
15 11/16 x 12 5/16 in. (39.8 x 31.3 cm)
Clark Art Institute, 2012.12

Servant Knitting (1861) by François Bonvin (French, 1817–1887) depicts a humble scene from everyday life. The creation of such highly finished drawings was a relatively new phenomenon in contemporary French art and helped elevate the graphic arts among a growing middle-class clientele.

Barbizon School artist Charles-François Daubigny (French, 1817–1878) mentored Claude Monet, Berthe Morisot, and Camille Pissarro, among other younger artists associated with Impressionism. Devoted to observing the landscape around him and capturing the essence of transitory sensations, Daubigny routinely worked en plein air in the forest of Fontainebleau. His red-chalk drawing

Charles-François Daubigny
French, 1817–1878
Cows at a Watering Hole
c. 1863
Red chalk with stumping on paper
11 1/8 x 17 7/16 in. (28.3 x 44.3 cm)
Clark Art Institute, 1991.2
Cows at a Watering Hole (c. 1863) explores the fleeting effects of dawn or dusk upon a tranquil pond as cows drink.

The Impressionists

The Impressionist movement coincided with the birth of mass media and the growth of illustrated fine art journals. Because photography was in its infancy and could not capture the tonal nuances of oil painting, Impressionists such as Claude Monet (French, 1840–1926) often reproduced their own paintings as black-and-white drawings that were more easily reproduced photomechanically for publication.

Claude Monet
French, 1840–1926
View of Rouen
Black chalk on Gillot paper
Image: 12 5/16 x 18 11/16 in. (31.3 x 47.5 cm)
Sheet: 13 x 19 3/4 in. (33 x 50.2 cm)
Clark Art Institute, 1955.1914
View of Rouen (1883) replicated

Monet’s painting of the same title for publication in the art journal Gazette des beaux-arts.

Mary Cassatt
American, active in France, 1844–1926
In the Opera Box (No. 3)
c. 1880
Soft-ground etching and aquatint on paper
Image: 7 3/4 x 7 in. (19.7 x 17.8 cm)
Sheet: 13 15/16 x 10 7/16 in. (35.4 x 26.5 cm)
Clark Art Institute, 1971.45
In the Opera Box (No. 3) (c. 1880) by Mary Cassatt (American, active in France, 1844–1926) was originally created in preparation for an art journal, Day and Night (Le Jour et la nuit). Conceived by Edgar Degas and his Impressionist collaborators, the publication was to be illustrated with original etchings. For reasons unknown, the journal was never published, but this etching was included in the Fifth Impressionist Exhibition.

Edgar Degas (French, 1834–1917) thought of prints as drawings, and he used drawings as a mechanism for replicating his paintings, pastels, and other prints. He began creating monotypes—prints that generally only yield one impression—in 1874 and reached his most productive period around 1880.

In the bold monotype Three Ballet Dancers (c. 1878–80), ballet dancers leap and land on stage, their movements observed from the perspective of a theater balcony. To create the work, Degas covered a copper plate with ink and then selectively removed the ink with a textured cloth, the end of a paintbrush, and his fingernail and fingertips.

Degas and other Impressionists experimented with pastel and elevated it to a realm previously reserved for oil paintings.

Degas’s Entrance of the Masked Dancers (c. 1884) presents an unusual view of ballerinas backstage.
Camille Pissarro
French, 1830–1903
Boulevard Rochechouart
Pastel on paper
23 9/16 x 28 15/16 in. (59.9 x 73.5 cm)
Clark Art Institute, 1996.5

Camille Pissarro’s (French, 1831–1903) pastel Boulevard de Rochechouart (1880) depicts a bustling street with closed carriages, pedestrians, and a horse-drawn double-decker omnibus. It is one of the artist’s first Parisian street scenes, a motif that would become one of his signature serial explorations of the 1890s. The blue, white, and yellow palette, combined with the lack of leaves on the trees, suggests a wintry day.

Paul Gauguin and Henri de Toulouse-Lautrec

The Impressionists’ use of prints to more broadly circulate and promote their painted work influenced artists such as Paul Gauguin (French, 1848–1903). In 1889 art dealer Theo van Gogh, Vincent van Gogh’s brother, encouraged Gauguin to create a print series to publicize his recent paintings.

What eventually became known as the Volpini Suite—named after a café owned by Monsieur Volpini where the works were first shown—included eleven zincographs (a form of lithography using zinc plates) depicting everyday scenes from rural France and Martinique. The artist chose to print his zincographs on vibrant yellow paper.

Fragrance (Noa Noa), from Fragrance (Noa Noa), title block

Gauguin’s Noa Noa (Fragrant Scent) series was created in part to promote the artist’s paintings and to explain their layered symbolism. They later illustrated his autobiographical travel journal titled Noa Noa, which chronicled the artist’s time in the South Pacific.

The color woodcut Nave Nave Fenua (Delightful Land) (1894) depicts a nude woman in a landscape. As she picks a flower, a lizard whispers in her ear. The print has been interpreted as the artist’s attempt to create a Tahitian version of the biblical Fall in the Garden of Eden, when the snake tells Eve to eat the apple.

Though Henri de Toulouse-Lautrec (French, 1864–1901) did not align himself with any particular school or style, his inventive prints added to the visual vocabulary associated with Post-Impressionism, an art movement less interested in naturalism and detail but more focused on the qualities of abstraction that would later become a hallmark of twentieth-century art. As Degas chronicled both the on- and off-stage life of the ballet, Lautrec recorded the dance halls and brothels of Montmartre, often using recognizable actresses, notables, and dancers in his pictures.

Henri de Toulouse-Lautrec
French, 1864–1901
The Englishman at the Moulin Rouge
Color lithograph on paper
Image: 20 11/16 x 14 5/8 in. (52.6 x 37.1 cm)
Sheet: 23 1/2 x 18 1/16 in. (59.7 x 45.9 cm)
Clark Art Institute, 1968.17

The brightly colored lithograph The Englishman at the Moulin Rouge (1892) depicts a top-hatted man—the English artist William Tom Warrener—engaging in conversation with two women, likely prostitutes.

Like his Impressionist predecessors, Lautrec was a skilled printmaker. His command of the medium is evident in the color lithograph,

Henri de Toulouse-Lautrec
French, 1864–1901
The Jockey
Color lithograph on paper
Image: 20 5/16 x 14 3/16 in. (51.6 x 36 cm)
Sheet: 20 5/16 x 14 3/16 in. (51.6 x 36 cm)
Clark Art Institute, 1962.122
The Jockey (1899). The tightly cropped composition places the viewer alongside two jockeys as they push their horses along the racecourse, thrusting the viewer in the action.

Félix Bracquemond
French, 1833–1914
Terrace of the Villa Brancas
Etching on paper
Image: 9 15/16 x 13 7/8 in. (25.3 x 35.2 cm)
Sheet: 10 13/16 x 14 7/8 in. (27.4 x 37.8 cm)
Acquired with funds donated by participants in the Friends of the Clark Print Seminar
Clark Art Institute, 1982.35

Mary Cassatt
American, active in France, 1844–1926
The Visitor
c. 1881
Soft-ground etching, drypoint, aquatint on paper
Image: 15 9/16 x 12 1/8 in. (39.5 x 30.8 cm)
Sheet: 20 9/16 x 15 11/16 in. (52.2 x 39.8 cm)
Clark Art Institute, 1967.4

Paul Cézanne
French, 1839–1906
The Bathers: Large Plate
Color lithograph on paper
Image: 16 7/16 x 20 13/16 in. (41.8 x 52.8 cm)
Sheet: 19 x 24 13/16 in. (48.3 x 63.1 cm)
Clark Art Institute, 1962.26

Charles-François Daubigny
French, 1817–1878
View of a Village
c. 1864–72
Black chalk, partially stumped, on paper
Image: 12 7/8 × 19 7/16 in. (32.7 × 49.4 cm)
Clark Art Institute, 2015.14

Edgar Degas
French, 1834–1917
After the Bath
c. 1891–92
Charcoal with stumping on paper
14 x 9 3/4 in. (35.5 x 24.8 cm)
Clark Art Institute, 1955.1408

Edgar Degas
French, 1834–1917
Entrance of the Masked Dancers
c. 1879
Pastel on paper
19 5/16 x 25 1/2 in. (49 x 64.8 cm)
Clark Art Institute, 1955.559

Edgar Degas
French, 1834–1917
Standing Nude
c. 1860–65
Graphite on paper
11 9/16 x 8 11/16 in. (29.4 x 22 cm)
Clark Art Institute, 1955.1847

Edgar Degas
French, 1834–1917
Three Ballet Dancers
c. 1878–80
Monotype on paper
Plate: 7 13/16 x 16 3/8 in. (19.9 x 41.6 cm)
Sheet: 14 x 20 3/16 in. (35.6 x 51.3 cm)
Clark Art Institute, 1955.1386

Edgar Degas
French, 1834–1917
The Washbasin
c. 1880–85
Monotype on paper
Plate: 12 1/4 x 10 3/4 in. (31.1 x 27.3 cm)
Sheet: 19 1/16 x 13 7/8 in. (48.4 x 35.3 cm)
Clark Art Institute, 1962.39

Paul Gauguin
French, 1848–1903
Breton Women Standing by a Fence, from the Volpini Suite
Zincograph on yellow paper
Image: 6 5/16 x 8 7/16 in. (16 x 21.5 cm)
Sheet: 17 1/4 x 21 5/8 in. (43.8 x 54.9 cm)
Clark Art Institute, 1962.60

Paul Gauguin
French, 1848–1903
Dramas of the Sea: A Descent into the Maelstrom, from the Volpini Suite
Zincograph on yellow paper
Image: 6 3/4 x 10 3/4 in. (17.1 x 27.3 cm)
Sheet: 17 1/4 x 21 3/8 in. (43.8 x 54.3 cm)
Clark Art Institute, 1962.66

Paul Gauguin
French, 1848–1903
Dramas of the Sea: Brittany, from the Volpini Suite
Zincograph on yellow paper
Image: 6 3/8 x 8 7/8 in. (16.2 x 22.6 cm)
Sheet: 17 1/4 x 21 3/8 in. (43.8 x 54.3 cm)
Clark Art Institute, 1962.63

Paul Gauguin
French, 1848–1903
Grasshoppers and Ants: A Souvenir of Martinique, from the Volpini Suite
Zincograph on yellow paper
Image: 7 7/8 x 10 1/4 in. (20 x 26.1 cm)
Sheet: 17 1/4 x 21 13/16 in. (43.8 x 55.4 cm)
Clark Art Institute, 1962.68

Paul Gauguin
French, 1848–1903
Nave Nave Fenua (Delightful Land), from Noa Noa (Fragrant Scent)
Color woodcut on paper
Image: 14 3/16 x 8 1/4 in. (36 x 20.9 cm)
Sheet: 15 1/2 x 9 3/16 in. (39.3 x 23.3 cm)
Clark Art Institute, 1962.72

Paul Gauguin
French, 1848–1903
Te Atua (The Gods), from Noa Noa (Fragrant Scent)
Color woodcut on paper
8 1/8 x 14 1/16 in. (20.6 x 35.7 cm)
Clark Art Institute, 1962.73

Paul Gauguin
French, 1848–1903
Te Faruru (Here We Make Love), from Noa Noa (Fragrant Scent)
Winter 1893–94
Color woodcut on paper
14 1/8 x 8 1/16 in. (35.9 x 20.5 cm)
Clark Art Institute, 1962.70

Paul Gauguin
French, 1848–1903
Washerwomen, from the Volpini Suite
Zincograph on yellow paper
Image: 8 1/4 x 10 5/16 in. (21 x 26.2 cm)
Sheet: 17 1/4 x 21 9/16 in. (43.8 x 54.8 cm)
Clark Art Institute, 1962.62

A Gentleman and Two Ladies

Constantin Guys
French, 1802–1892
A Gentleman and Two Ladies
Pen and brown and black ink on watercolor, over graphite, on paper
9 5/8 x 7 15/16 in. (24.4 x 20.2 cm)
Clark Art Institute, 1955.1833

The Wine Press by Leon Augustin L'Hermitte (1844-1925)

Léon-Augustin Lhermitte
French, 1844–1925
The Wine Press
c. 1872
Black chalk with stumping and erasing on paper, pieced
11 15/16 x 18 3/4 in. (30.4 x 47.7 cm)
Clark Art Institute, 1986.17

At the Café   -   Édouard Manet   1874 French  1832–1883  Gillotage on beige wove paper ,  12 ½ x 16 ¼ in. (31.7 x 41.2 cm)

Édouard Manet
French, 1832–1883
At the Café
Gillotage on paper
Image: 10 13/16 x 13 9/16 in. (27.5 x 34.5 cm)
Sheet: 12 1/2 x 16 1/4 in. (31.7 x 41.2 cm)
Clark Art Institute, 1962.82

 The Execution of Emperor Maximilian

Édouard Manet
French, 1832–1883
Execution of Maximilian
1868, printed 1884
Lithograph on paper
Image: 13 1/4 x 17 1/8 in. (33.6 x 43.5 cm)
Sheet: 20 1/4 x 26 5/8 in. (51.4 x 67.7 cm)
Acquired in memory of Rafael Fernandez (Curator of Prints and Drawings, 1975–1994), with contributions from his friends, colleagues, and students
Clark Art Institute, 2000.4

Claude Monet
French, 1840–1926
The Port at Touques
c. 1864
Black chalk on paper
8 1/4 x 13 in. (21 x 33 cm)
Clark Art Institute, 2006.5

The Market at Gisors: Rue Cappeville, Camille Pissarro (French, Charlotte Amalie, Saint Thomas 1830–1903 Paris), Etching and drypoint printed in color on laid paper; seventh state of seven; posthumous impression

Camille Pissarro
French, 1830–1903
The Gisors Market, Rue Cappeville
c. 1894
Color etching on paper
Plate: 7 7/8 x 5 1/2 in. (20 x 13.9 cm)
Sheet: 10 11/16 x 7 11/16 in. (27.2 x 19.5 cm)
Clark Art Institute, 1962.93

Peasant Women Weeding the Grass

Camille Pissarro
French, 1830–1903
Peasant Women Weeding the Grass
c. 1894
Color etching on paper
Plate: 4 3/4 x 6 5/16 in. (12 x 16 cm)
Sheet: 6 5/16 x 7 1/2 in. (16 x 19 cm)
Clark Art Institute, 1962.91

Camille Pissarro
French, 1830–1903
Woman Emptying a Wheelbarrow
Drypoint and aquatint on paper
Image: 12 1/2 x 9 1/8 in. (31.8 x 23.1 cm)
Clark Art Institute, 1962.92

Pierre-Auguste Renoir
French, 1841–1919
Pinning the Hat: Second Plate
c. 1898
Color lithograph on paper
Image: 23 13/16 x 19 3/8 in. (60.5 x 49.2 cm)
Sheet: 35 5/8 x 24 1/2 in. (90.5 x 62.3 cm)
Clark Art Institute, 1962.99

Henri de Toulouse-Lautrec
French, 1864–1901
At the Circus: Acrobats
Black and color chalks on paper
9 15/16 x 14 in. (25.3 x 35.5 cm)
Clark Art Institute, 1955.1429

At the Circus: The Dog Trainer

Henri de Toulouse-Lautrec
French, 1864–1901
At the Circus: The Dog Trainer
Black and color chalks, over graphite, on paper
14 x 9 15/16 in. (35.5 x 25.3 cm)
Clark Art Institute, 1955.1427

Henri de Toulouse-Lautrec
French, 1864–1901
Box in the Grand Tier
Color lithograph on paper
Image: 20 1/4 x 15 9/16 in. (51.4 x 39.5 cm)
Sheet: 20 1/4 x 15 9/16 in. (51.4 x 39.5 cm)
Clark Art Institute, 1962.118

Henri de Toulouse-Lautrec
French, 1864–1901
Dance at the Moulin Rouge
Color lithograph on paper
Image: 18 1/2 x 14 in. (47 x 35.5 cm)
Sheet: 18 1/2 x 14 in. (47 x 35.5 cm)
Clark Art Institute, 1962.119