Junior Milliners

1886: Catalogue de la 8me Exposition de Peinture par Marie Bracquemond, Mary Cassatt, Degas, Forain, Gauguin, Guillaumin, Berthe Morisot, C. Pissarro, Lucien Pissarro, Odilon Redon, Rouart, Schuffenecker, Seurat, Signac, Tillot, Vignon, Zandomeneghi, exh. cat.(Paris: Morris père et fils, 1886), 6, as Petites modistes.

Rodolphe Darzens, La Pleiade (May 1886): 91.

Henry Fèvre, La Revue de Demain (May–June 1886): 154.

F., “Exposition de Peinture: 1, rue Laffitte,” Le Gaulois 20, no. 1358 (May 16, 1886): 2, as Chez la modiste.

Le Masque de fer, “Echos de Paris,” Le Figaro 32, no. 136 (May 16, 1886): 2, les Petites Modistes.

Marcel Fouquier, “Les Impressionnistes,” Le XIXe siècle, no. 5241 (May 16, 1886): 16.

Henry Havard, “La Peinture Indépendante: Huitième Exposition des Impressionnistes,” Le Siècle 51, no. 18,406 (May 17, 1886): unpaginated.

Labruyère, “Les Impressionnistes,” Le Cri du Peuple 3, no. 931 (May 17, 1886): 2.

Roger Marx, “Les Impressionnistes,” Le Voltaire (May 17, 1886): unpaginated, as Modistes.

“L’Exposition des Indépendants,” Le Moniteur des Arts 29, no. 1653(May 21, 1886): 174.

Octave Mirbeau, “Exposition de peinture (1, rue Laffitte),” La France (May 21, 1886): unpaginated, as deux intérieurs de modistes.

Gustave Geoffroy, “Salon de 1886: VIII, Hors du Salon. Les Impressionnistes,” La Justice 7, no. 2324 (May 26, 1886): 2, as Petites Modistes.

Maurice Hermel, “L’exposition de peinture de la rue Laffitte,” La France Libre (May 27, 1886): 2.

Jules Vidal, “Les impressionnistes,” Lutèce 5, no. 239 (May 29–June 5, 1886; repr. Geneva: Slatkine Reprints, 1973): unpaginated.

Alfred Paulet, “Les Impressionnistes,” Paris (June 5, 1886).

Possibly H. [pseud.], “Les Impressionnistes,” Journal des Arts 5, no. 24 (June 11, 1886).

Jules Christophe, “Chronique: Rue Laffitte, N ^o 1,” Journal des Artistes 5, no. 24 (June 13, 1886): 193.

Félix Fénéon, “Les Impressionnistes,” La Vogue, no. 8 (June 13–20, 1886): 264.

Edmond Jacques, “Le Salon,” L’Intransigeant94, no. 2165 (June 18, 1886): 2.

Jean Ajalbert, “Le Salon des Impressionnistes,” La Revue Moderne: Littéraire, Politique et Artistique 3, no. 30 (June 20, 1886): 386.

[Octave Maus], “Les Vingtistes Parisiens,” L’Art Moderne (Brussels), 6, no. 26 (June 27, 1886): 202.

Félix Fénéon, Les Impressionnistes en 1886, rev. ed. (1886; Paris: La Vogue, 1886), 11.

Paul A. Lemoisne, “La Collection de M. Alexis Rouart,” Les Arts no. 75 (March 1908): 31, (repro.), as Les Modistes.

Catalogue des Tableaux par Baron (H.), Bonvin (F.), Boudin (E.), Cabat (L.), Cals (A. -F.), Chintreuil, Ciceri (E.), Colin (G.), Corot (C.), Couture (T.), Daumier (H.), Dehondencq, Devéria (E.), Dreux (A. de), Drolling (M.), Dufeu (e.), Fantin-Latour, Forain (J.-L.), Gavarni, Granet, Heim (F.-J.), Helleu, Jongkind, Johannot, Lepaulle (F.-G.), Lépine (S.), Noel (J.), Pissaro [sic] (C.), Roqueplan (C.), Rousseau (T.-H.), Tassaert (O.), (Vernet H.), etc., Aquarelles, Pastels, Dessins, Miniatures par Cassatt (Mary), Daumier (H.), Forain (J.-L.), Gavarni, Guérin (P.), Hervier, Millet (J.-F.), Monnier (H.), Raffet. Œuvres Importantes d'Eugène Lami, Pastels et Gouache, par Degas, Composant la Collection de Feu M. Alexis Rouart (Paris: Hôtel Drouot, May 9, 1911), 51, (repro.), as L’Atelier de la modiste.

“À Travers Paris,” Le Figaro 57, no. 126 (May 6, 1911): 1.

“Art et Curiosité,” Le Journal, no. 6800 (May 10, 1911): 2, as L’Atelier de la Modiste.

“La Curiosité,” Excelsior, no. 176 (May 10, 1911): 4, as L’Atelier de la Modisté [sic].

“Les Grandes Ventes,” Le Figaro 57,no. 130 (May 10, 1911): 5, as L’Atelier de la Modiste.

L. P., “A travers la Curiosité,” Le Gil Blas33, no.12506 (May 11, 1911): 2, as L’Atelier de la Modiste.

“Revue des Ventes: Collection Alexis Rouart; 4e Vente faite salle 6, les 8, 9, 10 mai, par M. Baudoin et MM. Chaine et Simonson et Durand-Ruel,” Gazette de l’Hôtel Drouot 20, no. 54 (May 11, 1911): unpaginated, as L’Atelier de la modiste.

“Mouvement des arts,” La Chronique des arts et de la curiosité, no. 20(May 20, 1911): 157, as L’Atelier de la Modiste.

Paul A. Lemoisne, Degas (Paris: Librairie Centrale Des Beaux-arts, [1911?]), 98, 114, (repro.), as Les Modistes.

“16,400 For Degas Pastel: Another by the Same Master Brings $10,020 at the Rouart Sale,” New York Times 62, no. 20,051 (December 17, 1912): 4, as At the Milliners.

Max Goth, “Edgar Degas,” Les Hommes du jour 5, no. 257 (December 21, 1912): unpaginated.

Loan Exhibition of Masterpieces by Old and Modern Painters, exh. cat.(New York: Knoedler, 1915), 20, as The Milliners.

“Exhibition for Suffrage Cause,” New York Times 64, no. 20899 (April 4, 1915): 14, as The Milliners.

“Loan Exhibition in Aid of Suffrage,” The Sun (New York) 82, no. 218 (April 6, 1915): 7.

“Mrs. Havemeyer Praises Woman’s Art at Exhibit for Suffragist Fund,” The Sun (New York)82, no. 219 (April 7, 1915): 11, as The Milliner’s.

“Mrs. Havemeyer Talks of Artists,” New York Tribune 74, no. 24979 (April 7, 1915): 11.

Paul Lafond, Degas (Paris: H. Floury, 1918), 1:11, 2:46, (repro.), as Les modistes.

Julius Meier-Graefe, Degas, trans. J[ohn] Holroyd-Reece (New York: Alfred A. Knopf, 1923), (repro.), as L’Atelier des Modistes.

Ambroise Vollard, Degas (1834–1917) (Paris: Les Éditions G. Crés et Cie, 1924), unpaginated, (repro.), as L’atelier de la modiste.

Louisine W. Havemeyer, “Mary Cassatt,” Pennsylvania Museum Bulletin 22, no. 113 (1927): 378.

Douglas Cooper, Pastels by Edgar Degas (New York: Macmillan, 1928), unpaginated, (repro.), as The Hat-Makers.

Arsène Alexandre, “La Collection Havemeyer, 2me Étude: Edgar Degas,” La Renaissance 12 (October 1929): 484–85, (repro.), as L’Atelier de la Modiste.

Possibly Exhibition of Paintings by the Maser Impressionists, exh. cat. (New York: Durand-Ruel, 1929), unpaginated, as L’atelier de la modiste.

Important Paintings from the Havemeyer Estate, Part I: Oil Paintings (New York: American Art Association, Anderson Galleries, April 10, 1930).

H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art (Portland, ME: Southworth Press, 1931), 362–63, (repro.), as L’Atelier de la Modiste.

Degas, 1834–1917, exh. cat. (Philadelphia: Pennsylvania Museum of Art, 1936), 31, 89, (repro.), as The Millinery Shop.

Ambroise Vollard, Degas: An Intimate Portrait, trans. Randolph T. Weaver (New York: Crown Publishers, 1937), (repro.), as The Millinery Shop.

Camille Mauclair, Degas (New York: New York: Hyperion Press, 1941), 116, 167, (repro.), as A Milliner’s Work-Room.

Paul A. Lemoisne, Degas et son œuvre (Paris: Arts et Métiers Graphiques, 1946), no. 681, pp. 1: 123, 148; 2: 382–83, (repro.); 4: 37, 97, 123, 149, as Petites Modistes (L’Atelier de la Modiste).

John Rewald, The History of Impressionism (1946; repr. New York: Museum of Modern Art, 1973), 524.

A Loan Exhibition of Degas for the Benefit of the New York Infirmary, exh. cat. (New York: Wildenstein, 1949), 44, 59, (repro.), as The Millinery Shop.

Judith Kaye Reed, “Degas shown for Charity,” Arts Digest 23, no. 14 (April 15, 1949): 15, (repro.) as The Millinery Shop.

Degas: Loan Exhibition for the benefit of The Citizens’ Committee for the Children of New York, Inc., exh. cat. (New York: Wildenstein, 1960), (repro.), as Petites Modistes.

John Canaday, “World of Degas,” New York Times109, no. 37,325 (April 3, 1960): 38, as The Millinery Shop.

Louisine W. Havemeyer, Sixteen to Sixty: Memoirs of a Collector, ed. Susan Alyson Stein, 2nd ed. (1961; repr. New York: Ursus Press, 1993), 258, 338n382.

Jean Bouret, Degas (London: Thames and Hudson, 1965), 176, 178, (repro.), as Petites Modistes.

Franco Russoli and Fiorella Minervino, L’opera completa di Degas (Milan: Rizzoli Editore, 1970), no. 587, pp. 114, (repro.), as Due Modiste.

“One Hundred Years of Impressionism:” A Tribute to Durand-Ruel; A Loan Exhibition For the Benefit of the New York University Art Collection,exh. cat. (New York: Wildenstein, 1970), (repro.).

Hedy B. Landman, ed., European and American Art from Princeton Alumni Collections, exh. cat. (Princeton, NJ: Princeton University Press, 1972), 77, 89, (repro.), as L’Atelier de la modiste.

Theodore Reff, Degas: The Artist's Mind (Cambridge, MA: Harvard University Press, 1976), 322n92.

Donald Hoffman, “Intensity and nuance: The Nelson’s new pastels,” Kansas City Star 100, no. 77 (December 16, 1979): 24–26, (repro.), as Little Milliners.

Donald Hoffman, “San Francisco Work of Art,” Kansas City Star 100, vol. 89 (December 30, 1979): 2D.

Ronald Pickvance, Degas 1879: Paintings, Pastels, Drawings, Prints and Sculpture from Around 100 Years Ago in the Context of His Earlier and Later Works, exh. cat. (Edinburgh: National Galleries of Scotland, 1979), 63.

Rosalind C. Truitt, “What’s new? To find out, take a break and visit the Nelson Gallery,” Kansas City Times 112, no. 267 (July 15, 1980): A-6, as L’Atelier de la Modiste.

Donald Hoffmann, “The Nelson gets first prize for new artworks,” Kansas City Star (July 20, 1980): 4E.

Ross E. Taggart and Laurence Sickman, Genre, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1983), 15, 27, (repro.), as The Shop of the Modiste.

Mac Cullagh et al., Degas in The Art Institute of Chicago, exh. cat. (Chicago: Art Institute of Chicago, 1984), 133.

Nancy Mowll Mathews, “Beauty, Truth, and the Artist’s Mirror: A Drypoint by Mary Cassatt,” Source: Notes in the History of Art 4, no. 2/3 (Winter/Spring 1985): 79n9.

Götz Adriani, Degas: Pastels, Oil Sketches, Drawings, trans. Alexander Lieven (New York: Abbeville Press, 1985), 377.

Jean Sutherland Boggs, “Degas at the Museum: Works in the Philadelphia Museum of Art and John G. Johnson Collection,” Philadelphia Museum of Art Bulletin 81, no. 346/347 (1985): 12, 41n24.

Richard Thomson, “Degas’s Nudes at the 1886 Impressionist Exhibition,” Gazette des Beaux-Arts 108, no. 128(November 1986): 190, as Petites Modistes.

Charles S. Moffett, The New Painting: Impressionism 1874–1886, exh. cat. (Geneva: Richard Burton SA, 1986), 430–33, 437, 439, 443–44, (repro.), as Petites Modistes.

Frances Weitzenhoffer, The Havemeyers: Impressionism Comes to America (New York: Harry N. Abrams, Inc., 1986), 224, (repro.).

Denys Sutton, “XI: A Continuing Romance,” Apollo 125, no. 300 (February 1987): 127, 131, as Petites Modistes.

“Museums to Sports, KC Has It All,” American Water Works Association Journal 79, no. 4 (April 1987): 133.

Donald Hoffmann, “Dressed for Success,” Kansas City Star 108, no. 26 (October 18, 1987): 1D, (repro.), as The Milliners.

Roger Ward, A Bountiful Decade: Selected Acquisitions 1977–1987, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1987), 116–17, (repro.), as The Milliners (L’Atelier de la Modiste).

Richard Kendall, Degas by Himself: Drawings, Prints, Paintings, Writings (London: Macdonald and Co., 1987), 168, 323, (repro.), as The Hat Shop.

Eunice Lipton, “The Sadness of Artists: Degas by Himself,” New York Times 137, no. 47,569 (July 17, 1988): BR27, as The Hat Shop.

Michael Pantazzi, “Lettres De Degas à Thérèse Morbilli Conservées Au Musée Des Beaux-arts Du Canada,” RACAR: Revue D'art Canadienne / Canadian Art Review 15, no. 2 (1988): 132n94, as petites modistes.

Jean Sutherland Boggs et al., Degas, exh. cat.(New York: Metropolitan Museum of Art, 1988), 259, 375–76, 385, 395–96, 397n1, 606, (repro.), as The Little Milliners and Les modistes.

Robert Gordon and Andrew Forge, Degas (New York: Harry N. Abrams, 1988), 132, 275, (repro.), as Petites Modistes, L’Atelier de la Modiste (Milliner’s).

Eunice Lipton, Looking into Degas: Uneasy Images of Women and Modern Life (Berkeley: University of California Press, 1988), 150, 153–54, 164, (repro.), as The Milliner’s Shop.

Marc S. Gerstein, Impressionism: Selections from Five American Museums, exh. cat. (New York: Hudson Hills Press, 1989), 21, 60–61, 150, (repro.), as Little Milliners.

Ecole du Louvre, Degas inédit: actes du colloque Degas, Musée d’Orsay, 18–21 avril 1988 (Paris: La Documentation française, 1989), 344–45, 533, as Petites Modistes.

Christopher Gray, “Show and Sell: Early Art Dealers Built Themselves Picture Palaces,” Avenue 14, no. 7 (February 1990): 104, (repro.).

Toni Wood, “Modern viewers love impressionism,” Kansas City Star 110, no. 184 (April 15, 1990): H-4, as Little Milliners.

“At the Nelson,” Kanas City Star 110, no. 189 (April 20, 1990): C10.

Anne Distel, Impressionism: The First Collectors, trans. Barbara Perroud-Benson (New York: Harry N. Abrams, 1990), 189–90, 271, (repro.), as The Little Milliners (Petites Modistes).

John Russell Taylor, Impressionist Dreams: The Artists and the World They Painted (Boston: Bulfinch Press, 1990), 131, 187, (repro.), as The Milliners.

Roger Ward, “Selected Acquisitions of European and American Paintings at The Nelson-Atkins Museum of Art, Kansas City, 1986–1990,” Burlington Magazine 133, no. 1055 (February 1991): 158.

Hollis Clayson, Painted Love: Prostitution in French Art of the Impressionist Era (1991; repr. Los Angeles: Getty Research Institute, 2003), 129–31, (repro.), as The Millinery Shop.

Jean Sutherland Boggs and Anne Maheux, Degas Pastels (New York: George Braziller, 1992), 12, 98, 100–01, 156, 164, 182, (repro.), as The Little Milliners.

Alice Thorson, “The Nelson Celebrates its 60th: Museum built its reputation, collection virtually ‘from scratch’,” The Kansas City Star 113, no. 304 (July 18, 1993): J5.

Alice Cooney Frelinghuysen et al., Splendid Legacy: The Havemeyer Collection, exh. cat. (New York: Metropolitan Museum of Art, 1993), 47, 93, 95, 257, 333, 335, (repro.), as Little Milliners.

Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 14, 209, (repro.), as Little Milliners.

Roger Ward, “New at the Nelson: Degas Masterwork on Loan to Nelson-Atkins,” Newsletter (The Nelson-Atkins Museum of Art) (Summer 1995): 2, as Little Milliners.

Anthea Callen, The Spectacular Body: Science, Method and Meaning in the Work of Degas (New Haven: Yale University Press, 1995), 33–34, (repro.), as Petites modistes.

“Music Teachers National Association National Convention, March 23–27, 1996, Kansas City, Missouri,” American Music Teacher 45, no. 4 (February–March 1996): 23.

Ruth Berson, The New Painting: Impressionism, 1874–1886: Documentation, vol. 2, Exhibited Works (San Francisco: Fine Arts Museums of San Francisco, 1996), no. VIII-15, pp. 240, 258, (repro.), as Petites Modistes.

George T. M. Shackelford, Edgar Degas (New York: Abbeville Press, 1996), 82, 116, (repro.), as The Little Milliners.

Sylvie Gache-Patin and Gary Tinterow, La Collection Havemeyer: Quand l’Amérique découvrait l’Impressionnisme, exh. cat. (Paris: Réunion des Musées Nationaux, 1997), 21, 71, 78n133 as Petites Modistes (l’atelier de la modiste).

Michael Howard, Encyclopedia of Impressionism (San Diego: Thunder Bay Press, 1997), 104, 252, 254, (repro.), as The Two Milliners.

Michael Howard, Impressionism (London: Carlton, 1997), 104, (repro.), as The Two Milliners.

Johann Georg Prinz von Hohenzollern and Peter-Klaus Schuster, eds., Manet bis Van Gogh: Hugo von Tschudi und der Kampf um die Moderne (Berlin: Nationalgalerie, Staatliche Museen, 1997), 120.

Newsletter(The Nelson-Atkins Museum of Art) (September 1998): 5, (repro.).

Griselda Pollock, Differencing the Canon: Feminist Desire and the Writing of Art’s Histories (London: Routledge, 1999), 222–23, 236, (repro.), as Little Milliners.

Ann Dumas and David A. Brenneman, Degas and America: The Early Collectors, exh. cat (Atlanta: High Museum of Art, 2000), 35.

Gabriele Crepaldi and Étienne Schelstraete, Les impressionnistes: Gustave Caillebotte, Mary Cassatt, Paul Cézanne, Edgar Degas (Paris: Gründ, 2001), 280, as Les Petites Modistes.

The Impressionists (London: Harper Collins, 2002), unpaginated, (repro.), as Milliners.

Linda Bolton, Degas (Edison: Chartwell books, 2003), 11, (repro.), as At the Milliners.

Gabriele Crepaldi and Tatjana Pauli, The Impressionists (London: Collins, 2003), 280, (repro.), as Les Petites Modistes.

Norio Shimada, The History of Impressionism/ Inshōha bijutsukan (Tokyo: Shōgakukan, 2004), 225, (repro.).

Robyn Roslak, “Artisans, Consumers, and Corporeality in Signac’s Parisian Interiors,” Art History 29, no. 5 (November 2006): 865–66, (repro.), as Little Milliners.

Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 96–97, (repro.), as Little Milliners.

Werner Hofmann, Degas: A Dialogue of Difference (London: Thames and Hudson, 2007), 149–50, 154–56, 318, (repro.), as Two Milliners and At the Milliner’s.

Ruth E. Iskin, Modern Women and Parisian Consumer Culture in Impressionism Painting (Cambridge: Cambridge University Press, 2007), x, 60, 70–72, 77, 82, 96–97, 106–07, 110–11, 237n40–41, 238n51, (repro.), as The Little Milliners.

Eik Kahng, ed., The Repeating Image: Multiples in French Painting from David to Matisse, exh. cat. (Baltimore: Walters Art Museum, 2007), 114, (repro.), as Little Milliners.

Pamela Todd, The Impressionists at Leisure (New York: Thames & Hudson, 2007), 121.

Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), XIV, 122, (repro.), as Little Milliners.

Debra N. Mancoff, “Women’s Work,” Art Quarterly (Autumn 2011), 48–49, (repro.), as Little Milliners.

Charles Werner Haxthausen, The Two Art Histories: The Museum and the University (New Haven, CT: Yale University Press, 2011), 123, 125.

Louis-Antoine Prat, Le dessin français au XIXe siècle (Paris: Louvre Editions, 2011), 534, as Les Petites Modistes.

Natalia Brodskai︠a, Edgar Degas (New York: Parkstone International, 2012), 116–17, (repro.), as The Little Milliners.

Gloria Groom, ed., Impressionism, Fashion and Modernity, exh. cat.(Chicago: Art Institute of Chicago, 2012), 222, 225, (repro.), as Little Milliners.

Debra Mancoff, Fashion in Impressionist Paris (London: Merrell, 2012), 118, (repro.), as Little Milliners.

Xavier Rey, Degas: Capolavori dal Musée d'Orsay, exh. cat. (Milano: Skira, 2012), 39, as Picole modiste.

Christopher Lloyd, Edgar Degas: Drawings and Pastels (Los Angeles: The J. Paul Getty Museum, 2014), 187, 204, (repro.), as The Milliner’s Shop.

Mary Morton and George T. M. Shackelford, Gustave Caillebotte: The Painter’s Eye, exh. cat. (Washington: National Gallery of Art, 2015), 254n27, as The Little Milliners.

Laura Anne Kalba, Color in the Age of Impressionism: Commerce, Technology, and Art (College Park, PA: Pennsylvania State University Press, 2017), xi, 96–97, (repro.), as Little Milliners.

Simon Kelly and Esther Bell, Degas, Impressionism, and The Paris Millinery Trade, exh. cat. (San Francisco: Fine Arts Museums of San Francisco, 2017), 16, 23–24, 37, 275–76, 290, 295, (repro.), as Little Milliners (Petites modistes).

Theodore Reff, ed., The Letters of Edgar Degas (New York: The Wildenstein Plattner Institute, 2020), 1:400–01, 3:100, 352, as Petties modistes.

“Calendar,” KC Studio (Holiday 2022): 41, (repro.), as Junior Milliners (Petites Modistes).

Meghan L. Gray, “Edgar Degas, Junior Milliners, 1882,” catalogue entry, and Rachel Freeman, “Edgar Degas, Junior Milliners, 1882,” technical entry in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2023), https://doi.org/10.37764/78973.5.618.