Rehearsal of the Ballet
Sheet: 23 13/16 × 29 3/16 inches (60.48 × 74.2 cm)
Possibly Catalogue de la 3e Exposition de Peinture par MM. Caillebotte, Cals, Cézanne, Cordey, Degas, Guillaumin, Jacques-François, Lamy, Levert, Maureau, C. Monet, B. Morisot, Piette, Pissarro, Renoir, Rouart, Sisley, Tillot, 6 rue Le Peletier, Paris, April 1877, no. 61, as Répétition de ballet.
Eleventh Annual Exhibition of the American Water Color Society, The National Academy of Design, New York, February 3-March 3, 1878, no. 133, as A Ballet.
Possibly Works in Oil and Pastel by the Impressionists of Paris, 1886: Special Exhibition, American Art Galleries, New York, April 10, 1886; National Academy of Design, New York, May 25, 1886, hors cat.
Loan Exhibition of Masterpieces
by Old and Modern Painters, M. Knoedler and Company, New York, April 6-24,
1915, no. 33, as The Rehearsal with the
Dancing Master.
Masterpieces of Art, World’s Fair, New York, April 30-October 1939, hors cat.
Masterpieces of Art, World’s Fair,
New York, May-October 27, 1940, no. 274, as Répétition
de Ballet (Ballet Rehearsal).
Répétition de Ballet, Museum of Fine Arts, Boston, MA, July 7-October 21, 1965, no cat., as Répétition de Ballet.
Degas Monotypes, Fogg Art Museum, Cambridge, MA, April 25-June 14, 1968, no. 2, as Répétition de Ballet.
Exhibition of Works from the Collection of the Norton Simon Foundation and the Norton Simon Incorporated Museum of Art, Los Angeles County Museum of Art, June 15, 1972-June 15, 1974 (shown from January 24-February 12, 1973), no cat., as Rehearsal of the Ballet.
Fortieth anniversary exhibition, The Nelson-Atkins Museum of Art, Kansas City, MO, December 11, 1973-January 6, 1974, no cat., as Ballet Rehearsal.
The Impressionist Epoch, The Metropolitan Museum of Art, New York, December 12, 1974-February 10, 1975, no cat.
Genre, The Nelson-Atkins Museum of Art, Kansas City,
MO, April 5-May 15, 1983, no. 36A, as Ballet
Rehearsal.
Impressionism: Selections from Five
American Museums, The Carnegie Museum of Art, Pittsburgh,
November 4-December 31, 1989; The Minneapolis Institute of Arts, January 27-March
25, 1990; The Nelson-Atkins Museum of Art, Kansas City, MO, April 21-June 17,
1990; The Saint Louis Art Museum, July 14–September 9, 1990; The Toledo Museum
of Art, September 30-November 25, 1990, no. 18 (Kansas City only), as Ballet Rehearsal.
Encore Degas! Ballet, Fashion, and Movement, The Nelson-Atkins Museum of Art, Kansas City, MO, November 20, 2021–November 21, 2022, no cat.
Edgar Degas depicted the ballet in a modern way, in both its splendor and triviality. Here, the artist contrasts the graceful movements of a dancer with the awkward poses of ballerinas adjusting their costumes in the compressed space. Degas also juxtaposes the young women in frothy frocks with the commanding air of the old ballet master to the left and the sinister appearance of the dark-suited, wealthy observer to the right.
Degas used many types of media to create his dense, dynamic strokes of saturated color, making his pastels especially prone to flaking. This pastel is displayed on an angle to minimize the effects of gravity.
Purchased by Louisine Waldron Elder (later Mrs. H. O. Havemeyer, 1855-1929), New York, by 1877-no later than January 6, 1929 [1];
By descent to her daughter, Mrs. Peter Hood Ballantine Frelinghuysen (née Adaline Havemeyer, 1884-1963), Morristown, NJ, and Palm Beach, FL, by April 10, 1930-July 25, 1932 [2];
Given to her son, George Griswold Frelinghuysen (1911-2004), Beverly Hills, CA, 1932-April 14, 1965 [3];
Purchased at his sale, Impressionist and Modern Paintings, Sculptures, Drawings: “La Glace Haute” and “Ma Maison à Vernon” by Bonnard; “La Barque à St. Jean” and “La Madone du Village” by Chagall; “Répétition de Ballet” by Degas; “La Baignade devant le Port de Pont-Aven” by Gauguin; “Femme à l’Ombrelle Verte” by Matisse; “Les Peupliers” and “Nymphéas” by Monet; “Volume de Choses” by Staël; “Les Déchargeurs” by Van Gogh; “Portrait de la Comtesse de Noailles” by Vuillard, Sotheby’s, New York, April 14, 1965, lot 49, as Répétition de ballet, through Stephen Hahn, New York, by Norton Simon (1907-1993), Beverly Hills, CA, 1965-May 2, 1973;
Purchased at his sale, Ten Important Paintings and Drawings from the Private Collection of Norton Simon, Sotheby’s, New York, May 2, 1973, lot 7, as Repetition [sic] de ballet, by Marlborough Gallery, Vaduz, Liechtenstein, May 2-November 16, 1973;
Purchased from Marlborough Gallery by The Nelson-Atkins Museum of Art, Kansas City, MO, 1973.
NOTES:
[1] Elder wrote in her memoirs that she purchased the pastel at an unnamed color shop. Scholars have not been able to definitively identify which one, but Portier, Latouche and Père Tanguy have all been proposed. Tanguy’s shop is cited by Susan Alyson Stein in Elder’s memoirs. See Frances Weitzenhoffer, The Havemeyers: Impressionism Comes to America (New York: Harry N. Abrams, 1986), 21, and Louisine W. Havemeyer, Sixteen to Sixty: Memoirs of a Collector, ed. Susan Alyson Stein, 2nd ed. (New York: Ursus Press, 1993), 331n291.
The date of Elder’s purchase of the work is not certain, but it was one of Elder’s first purchases, bought on the advice of her friend, artist Mary Cassatt (American, 1844-1926). Most scholars agree that Elder bought the pastel by 1877; see Havemeyer, Sixteen to Sixty, 331n291. Elder definitely owned the pastel before February 1878, when she lent it to the Eleventh Annual Exhibition of the American Water Color Society.
[2] Louisine Havemeyer may have given the pastel to her daughter when she married on February 7, 1907. Havemeyer writes, “As each of you acquired a home of your own I gave to you works of art to beautify it, believing it would be the wish of Father to have me do so. These objects are yours and the disposition you finally make of them, your responsibility.” Havemeyer also noted, “Degas: I have given Adaline…the one I bought when a girl.” This was probably in reference to the Nelson-Atkins’ pastel, which Havemeyer fondly recalled in her memoires as her first Degas purchase when she was still a teenager. See Louisine Waldron Elder Havemeyer, “Notes to My Children” regarding disposition of Havemeyer art collection, Series II. Miscellaneous, box 3, folder 23, pp. 1, 7, The Havemeyer Family Papers relating to Art Collecting, The Metropolitan Museum of Art Archives, New York. In any case, the pastel was not in Havemeyer’s will listing artworks to be donated to the Metropolitan Museum of Art, New York, and it was also not among the artworks donated by Havemeyer’s three children in 1929. It was published in the 1931 H. O. Havemeyer Collection catalogue as being in Frelinghuysen’s collection.
[3] Paper label on the pastel’s verso inscribed: “To George on his / 21st birthday / from Mother”.
Possibly Catalogue de la 3e Exposition de Peinture par MM. Caillebotte, Cals, Cézanne, Cordey, Degas, Guillaumin, Jacques-François, Lamy, Levert, Maureau, C. Monet, B. Morisot, Piette, Pissarro, Renoir, Rouart, Sisley, Tillot, exh. cat. (Paris: Imprimerie E. Capiomont et V. Renault, 1877), 6, as Répétition de ballet [repr. in Theodore Reff, ed., Modern Art in Paris: Two-Hundred Catalogues of the Major Exhibitions Reproduced in Facsimile in Forty-Seven Volumes, vol. 23, Impressionist Group Exhibitions (New York: Garland, 1981), unpaginated].
Possibly Paul Sebillot, “Exposition des impressionnistes,” Le Bien public (April 7, 1877): 2.
Possibly Léon de Lora, “L’Exposition de impressionnistes,” Le Gaulois (April 10, 1877): 2.
Possibly Ph. M., “Arts: Les Impressionnistes,” Revue des idées nouvelles, no. 11 (May 1, 1877): 167.
Illustrated Catalogue of the Eleventh Annual Exhibition of the American Water Color Society Held at the Galleries of the National Academy of Design, exh. cat. ([New York], 1878), 14, as A Ballet.
“American Water-Color Society: Eleventh Annual Exhibition; Reception to Artists and the Press; American and Foreign Exhibitors,” The New York Times 27, no. 8235 (February 2, 1878): 5, as Ballet.
“The Old Cabinet,” Scribner’s Monthly 15, no. 6 (April 1878): 888-89, as A Ballet.
John Moran, “The American Water-Colour Society’s Exhibition,” The Art Journal 4 (1878): 92, as The Ballet.
“Les Impressionnistes,” L’Art Moderne 5, no. 1 (January 4, 1885): 107, as Répétition de Ballet.
“Les Impressionnistes,” L’Art Moderne (March 15, 1885): unpaginated, as Répétition de Ballet.
Loan Exhibition of Masterpieces by Old and Modern Painters, exh. cat. (New York: M. Knoedler, 1915), 20, as The Rehearsal with the Dancing Master.
“Art Show for Suffrage,” New York Times 64, no. 20,869 (March, 15, 1915): 10.
“Art Exhibit for Suffrage,” New York Times 64, no. 20,891 (April 6, 1915): 10.
“Loan Exhibition in Aid of Suffrage,” The Sun 82, no. 218 (April 6, 1915): 7.
“‘Art and Artists’, by Mrs. Havemeyer,” New York Times 64, no. 20,892 (April, 7, 1915), 7.
“Mrs. Havemeyer Praises Woman’s Art at Exhibit for Suffragist Fund,” The Sun 82, no. 219 (April 7, 1915): 3.
“Mrs. Havemeyer Talks of Artists,” New York Tribune 74, no. 24,979 (April 7, 1915): 11.
“Art of To-day and Yesterday,” Vogue 45, no. 10 (May 15, 1915): 61.
Possibly Julius Meier-Graefe, Degas, trans. J[ohn] Holroyd-Reece (New York: Alfred A. Knopf, 1923), 60, as Répétition de Ballet.
Dorothy Grafly, "In Retrospect - Mary Cassatt," The American Magazine of Art 18, no. 6 (1927): 308.
Louisine W. Havemeyer, "Mary Cassatt." Bulletin of the Pennsylvania Museum 22, no. 113 (1927): 377.
Edith de Terey, “Mrs. Havemeyer’s Vivid Interest in Art,” New York Times 78, no. 25,943 (February 3, 1929): 117.
“Obituaries,” American Art Annual 26 (1929): 389.
“Mrs. Havemeyer’s Vivid Interest in Art,” New York Times 78, no. 25,943 (February 3, 1929): 117.
“Mrs. Havemeyer, Art Patron, Dies,” New York Times 78, no. 25,916 (January 7, 1929): 25.
“Mrs. Havemeyer,” New York Times 78, no. 25,929 (January 20, 1929): 13.
Probably Louisine Waldron Elder Havemeyer, “Notes to My Children” regarding disposition of Havemeyer art collection, by 1929, Series II. Miscellaneous, box 3, folder 23, The Havemeyer Family Papers relating to Art Collecting, The Metropolitan Museum of Art Archives, New York.
“Havemeyer Art Gift Valued at $3,489,461,” New York Times 80, no. 26,722 (March 24, 1931): 18.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art (Portland, ME: Southworth Press, 1931), 364-65, (repro.), as Répétition de Ballet.
Louise Burroughs, “Degas in the Havemeyer Collection,” Bulletin of The Metropolitan Museum of Art 27, no. 5 (May 1932): 141.
Forbes Watson, Mary Cassatt (New York: Whitney Museum of American Art, 1932), 17.
Tristan Florisoone, “La Danse et les artistes du xvii siècle à nos jours,” L’Art et les Artistes 27, no. 140 (October 1933): 29, as La Répétition de Ballet.
Georges Rivière, Mr. Degas, Bourgeois De Paris (Paris: Floury, 1938), 87, as Répétition de Ballet.
Mary Cassatt, 1845-1926, exh. cat. (Haverford, PA: Haverford College Art Committee, 1939), unpaginated.
Walter Pach and Christopher Lazare, Catalogue of European and American Paintings, 1500-1900 ([New York]: Art Aid Corporation, 1940), 188-89, (repro.), as Répétition de Ballet (Ballet Rehearsal).
Hans Huth, “Impressionism comes to America,” Gazette des Beaux-Arts 29 (April 1946): 239, Dance Rehearsal.
P[aul] A[ndré] Lemoisne, Degas et son œuvre (Paris: Paul Brame et C. M. de Hauke, 1946-49), no. 365, pp. 2:194-95, (repro.); 4:41, 97, 121, 139-40, 142, 153, as Répétition de Ballet.
Frederick A. Sweet, “America's greatest woman painter: Mary Cassatt,” Vogue 123, no. 3 (February 15, 1954): 123, as La Répétition de Ballet.
François Fosca, Degas: Étude Biographique et Critique (Geneva: Éditions d’Art Albert Skira, 1954), 52-53, (repro.), as Répétition de Ballet.
Aline B[ernstein] Saarinen, “The Proud Possessors: The Henry O. Havemeyers, an adventurous pair who gave 1,972 objects of art to the Metropolitan Museum of Art,” Vogue 132, no. 6 (October 1, 1958): 148.
René Brimo, L'évolution du goût aux Etats-Unis, d'après l'histoire des collections (Paris: J. Fortune, 1958), 89.
Mary Cassatt, peintre et graveur, 1844-1926, exh. cat. (Paris: Centre culturel américain, 1959), unpaginated.
Louisine W. Havemeyer, Sixteen to Sixty: Memoirs of a Collector (New York, 1961), 249-51, as Répétition de Ballet [repr. in Louisine W. Havemeyer, Sixteen to Sixty: Memoirs of a Collector, ed. Susan Alyson Stein, 2nd ed. (New York: Ursus Press, 1993), 204, 206-07, 249-51, 307n1, 331n291, 332n295, 336n364, 336n366, (repro.)].
Ronald Pickvance, “Degas’s Dancers: 1872-6,” The Burlington Magazine 105, no. 723 (June 1963): 264, as la Répétition de Ballet.
W. G. Constable, Art Collecting in the United States of America: An Outline of a History (London: Thomas Nelson, 1964), 77, as Répétition de Ballet.
Advertisement, The Burlington Magazine 107, no. 744 (March 1965): xlviii, liv, as Répétition de Ballet.
Sanka Knox, “A Degas is Bought for $410,000 Here,” New York Times 114, no. 39,163 (April 15, 1965): 30, as Répétition de Ballet.
Advertisement, International Art Market 5, no. 4/5 (June-July 1965): 112, (repro.), as Répétition de Ballet.
Denys Sutton, “The Discerning Eye of Louisine Havemeyer,” Apollo 82, no. 43 (September 1965), 231, as Répétition de Ballet.
“Department of Paintings,” and “Publications, Exhibitions, and Lecturers,” The Museum Year: Annual Report of the Museum of Fine Arts, Boston, 90 (1965): 73, 91, as Répétition de Ballet.
Art-Price Annual, 1964-1965, vol. 20 (Paris: Editions Art and Technique, 1965), 366, as Répétition de Ballet.
Impressionist and Modern Paintings, Sculptures, Drawings: “La Glace Haute” and “Ma Maison à Vernon” by Bonnard; “La Barque à St. Jean” and “La Madone du Village” by Chagall; “Répétition de Ballet” by Degas; “La Baignade devant le Port de Pont-Aven” by Gauguin; “Femme à l’Ombrelle Verte” by Matisse; “Les Peupliers” and “Nymphéas” by Monet; “Volume de Choses” by Staël; “Les Déchargeurs” by Van Gogh; “Portrait de la Comtesse de Noailles” by Vuillard (New York: Parke-Bernet Galleries, April 14, 1965), 13, as Répétition de Ballet.
Michael Strauss, ed., Ivory Hammer 3: The Year at Sotheby’s and Parke-Bernet; The Two Hundred and Twenty First Season, 1964-65 (New York: Holt, Rinehart, and Winston, 1965), 48, (repro.), as La Répétition de Ballet.
Frederick R. Sweet, Mary Cassatt, 1844-1926: A Retrospective Exhibition, exh. cat. (Chicago: International Galleries, 1965), unpaginated.
Art Prices Current: A Record of Sale Prices at the Principal London and Other Auction Rooms, vol. 42 (London: Art Trade Press, 1966), A131, as Répétition de Ballet.
Julia Carson, Cassatt (New York: David McKay, 1966), 109, as Répétition de Ballet.
Eugenia Parry Janis, “The Role of the Monotype in the Working Method of Degas: I,” The Burlington Magazine 109, no. 766 (January 1967): 21, 22n13, 23, (repro.), as Répétition de Ballet.
Eugenia Parry Janis, “The Role of the Monotype in the Working Method of Degas: II,” The Burlington Magazine 109, no. 767 (February 1967): 72, as Répétition de Ballet.
Raymond Cogniat, Degas (Lugano: Uffici Press, 1968), 18, (repro.), as Ballet Rehearsal.
Eugenia Parry Janis, Degas Monotypes, Essay, Catalogue and Checklist, exh. cat. ([Cambridge, MA]: Fogg Art Museum, 1968), xviii, unpaginated, (repro.), as Répétition de Ballet.
Pierre Schneider, The World of Manet, 1832-1883 (New York: Time-Life Books, 1968), 138, 158, (repro.), as Ballet Rehearsal.
Geraldine Keen, “Dealers raise prices after record US art sale,” The Times, no. 57,693 (October 17, 1969): 20, as Répétition de Ballet.
L. B. Gillies, “European Drawings in the Havemeyer Collection,” Connoisseur 172, no. 693 (November 1969), 149, 153, as Répétition de Ballet.
Adelyn D. Breeskin, Mary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors, and Drawings (Washington, D.C.: Smithsonian Institution Press, 1970), 9.
Franco Russoli and Fiorella Minervino, L’opera completa di Degas (Milan: Rizzoli Editore, 1970), no. 485, pp. 109, (repro.), as Prova di Balletto in Scena, con Maestro.
Wesley Towner, The Elegant Auctioneers (New York: Hill and Wang, 1970), 120.
Ellen Wilson, American Painter in Paris: A Life of Mary Cassatt (New York: Farrar, Straus and Giroux, 1971), 51-3, 55, 203, (repro.), as The Ballet Rehearsal.
John E. Bullard, Mary Cassatt: Oils and Pastels (New York: Watson-Guptill, 1972), 13, 18, 20.
Robin McKown, The World of Mary Cassatt (New York: Thomas Y. Crowell Co, 1972), 48, 75, as Repetition de Ballet.
Geraldine Norman, “Big prices likely at Norton Simon sale,” Times (London), no. 58,744 (March 29, 1973): 4, (repro.), as Repetition de Ballet.
Advertisement, Burlington Magazine 115, no. 841 (April 1973): xxii, xxv, (repro.), as Répétition de Ballet.
Sanka Knox, “Norton Simon Art, with 2 Cézanne’s, will be sold here,” New York Times 122, no. 42,071 (April 1, 1973): 77.
“Highest Prices for Priceless Art,” Kansas City Star 93, no. 228 (May 3, 1973): 5, as Répétition de Ballet.
Sanka Knox, “Norton Simon Art Sold for 6.7 Million,” New York Times 122, no. 42103 (May 3, 1973): 89, as Répétition de Ballet.
Lode Seghers, “Mercado de las arte en el Extranjero,” Goya 115, no. 63 (July 1973): 63, (repro.), as Repetición de ballet.
Advertisement, Pantheon 31, no. 3 (July-August 1973): 348, (repro.), as Répétition de Ballet.
Donald Hoffmann, “Gifts Grace Gallery’s 40th Year,” Kansas City Times 106, no. 82 (December 12, 1973): 1, 12, (repro.), as Ballet Rehearsal.
“Kansas City Woman Gives Nelson Gallery A $1-Million Degas,” supplement, New York Times 123, no. 42.326 (December 12, 1973): 62, as Repetition [sic] de Ballet.
Kathleen Patterson, “Gallery Champagne, Glitter,” Kansas City Times 106, no. 82 (December 12, 1973): 13, as Ballet Rehearsal.
“The Supreme Birthday Present,” Independent (December 12, 1973): unpaginated, as Ballet Rehearsal.
“Over my Shoulder,” Independent (December 15, 1973): unpaginated, as Ballet Rehearsal.
“On the Rise,” Kansas City Star 94, no, 104 (December 30, 1973): unpaginated, (repro.), as Ballet Rehearsal.
Franz Park, “Care to see my Etchings? They Proved the Best Investment of 1973,” Barron’s National Business and Financial Weekly 52, no. 63 (December 31, 1973): 11, as Répétition de Ballet.
Moussa M. Domit, American Impressionist Painting, ext. cat. (Washington, D.C.: National Gallery of Art, 1973), 47n29.
Annamaria Edelstein, ed., Art at Auction: The Year at Sotheby Parke-Bernet, Two hundred and thirty-ninth season, 1972-73 (New York: The Viking Press, 1973), 123, as Répétition de Ballet.
John Rewald, The History of Impressionism (1946; repr. New York: Museum of Modern Art, 1973), 310.
Ten Important Paintings and Drawings from the Private Collection of Norton Simon (New York: Sotheby Parke Bernet, May 2, 1973), unpaginated, (repro.), as Repetition [sic] de Ballet. Sold for $780,000.
Hertha Wellensiek and Robert Keyszelitz, Art-Price Annual, 1972-1973, vol. 28 (Paris: Editions Art and Technique, 1973), 389, as Répétition de Ballet.
“Major Accession,” Gallery Events (The Nelson Gallery and Atkins Museum) (January 1974): unpaginated, (repro.), as Ballet Rehearsal.
Donald Hoffmann, “Visual Arts Here Keep Pace with Fast Moving Times,” Kansas City Star 94, no. 125 (January 20, 1974): unpaginated, (repro.), as Ballet Rehearsal.
Donald Hoffmann, “Nelson Gallery Construction To Start on the Second Floor,” Kansas City Times 104, no. 265 (July 13, 1974): 3A, as Ballet Rehearsal.
Jean Adhémar and Françoise Cachin, Degas: The Complete Etchings, Lithographs, and Monotypes (New York: Viking Press, 1974), 269, 281, as Ballet Rehearsal (Répétition de Ballet).
Richard J. Boyle, American Impressionism (Boston, MA: New York Graphic Society, 1974), 54, 112.
Barbara Stern Shapiro, Edgar Degas, the Reluctant Impressionist, exh. cat. (Boston: Museum of Fine Arts, 1974), unpaginated, as Répétition de Ballet.
“Spencer Gift for K.U. Gallery,” Kansas City Times 13, no. 174 (March 29, 1975): 2A, as Ballet Rehearsal.
Nancy Hale, The Life of Mary Cassatt (Garden City, NY: Doubleday, 1975), 54, as Répétition de Ballet.
Karen M. Jones, “Museum Accessions,” Antiques 109, no. 1 (January 1976): 66, (repro.), as Ballet Rehearsal.
Laurence Sickman, “The Gallery in the Bicentennial Year,” and “Recent Acquisitions,” Bulletin (The Nelson Gallery and Atkins Museum) 5, no. 3 (February 1976): 4, 38, (repro.), as Ballet Rehearsal.
Donald Hoffman, “Other Gifts,” Kansas City Star 96, no. 151 (February 15, 1976): 2D, as Ballet Rehearsal.
Art Prices Current: A Record of Sale Prices at the Principal London and Other Auction Rooms, vol. 50 (London: Dawson and Sons, 1976), A74, as Répétition de Ballet.
Theodore Reff, ed., The Notebooks of Edgar Degas: A Catalogue of the Thirty-Eight Notebooks in the Bibliothèque Nationale and Other Collections (Oxford: Clarendon Press, 1976), 1:164, as Répétition de Ballet.
Charles S. Moffett and Elizabeth Streicher, “Mr. and Mrs. H. O. Havemeyer as collectors of Degas,” The Nineteenth Century Philadelphia 3, no. 1 (1977): 23, 25, (repro.), as Répétition de Ballet
Katherine Schwarz, "Monotypes: Where are they?" The Print Collector's Newsletter 9, no. 5 (1978): 156.
Ian Dunlop, Degas (London: Thames and Hudson, 1979), 7, 113, 121, (repro.), as Ballet Lesson on Stage.
“$5.2 million for Van Gogh sets impressionist record,” Kansas City Star 106, no.286 (May 14, 1980): 6A, as Répétition de Ballet.
William H. Gerdts, American Impressionism, exh. cat. (Seattle: Henry Art Gallery, 1980), 26, 28, 46, (repro.), as Ballet Rehearsal (A Ballet).
Richard H. Love, Cassatt, the Independent (Chicago: R. H. Love, 1980), 12, 49, as La Répétition de Ballet.
Ann Havemeyer, “Cassatt: The Shy American,” Horizon 24, no. 24 (March 1981): 59, 62.
Donald Hoffman, “Benefactors’ gifts help keep inflation at bay at the Nelson,” Kansas City Star 101, no. 225 (June 7, 1981): 1F, as Ballet Rehearsal.
Adelyn Dohme Breeskin, Mary Cassatt: A Catalogue Raisonné of the Graphic Work (Washington, D.C.: Smithsonian Institution Press, 1981), 13.
Frank Herrmann, Sotheby’s, Portrait of an Auction House (New York: Norton, 1981), 400-01.
Sophie Monneret, L’Impressionnisme et son Époque (Paris: Éditions Denoël, 1981), 1: 269; 3: 150; 4: 105, as Répétition de Ballet.
Alicia Faxon, “Painter and Patron: Collaboration of Mary Cassatt and Louisine Havemeyer,” Woman's Art Journal 3, no. 2 (1982): 15, as Répétition de Ballet.
Mark Fraser, “Helen F. Spencer’s death ends career of a philanthropist,” Kansas City Times 114, no. 139 (February 16, 1982): A4, as Ballet Rehearsal.
Antonia Lant, “Purpose and Practice in French Avant-Garde Print-Making of the 1880s,” Oxford Art Journal 6, no. 1 (1983): 24.
Ross E. Taggart and Laurence Sickman, Genre, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1983), 8, 15, 27, (repro.), as Ballet Rehearsal.
Laura Babcock, “The Nelson Art Gallery: a salute to the past,” Kansas City Star 104, no. 19 (October 9, 1983): 2F, as Ballet Rehearsal.
“Remember when?,” Kansas City Times 116, no. 82 (December 12, 1983): A13, as Ballet Rehearsal.
Richard Brettell and Suzanne Folds McCullagh, Degas in the Art Institute of Chicago, exh. cat. (Chicago: Art Institute of Chicago, 1984), 73.
William H. Gerdts, American Impressionism (New York: Abbeville Press, 1984), 35, 49, 53, (repro.), as A Ballet and Ballet Rehearsal.
Nancy Mowll Mathews, Cassatt and her Circle: Selected Letters (New York: Abbeville Press, 1984), 278.
Sue Welsh Reed and Barbara Stern Shapiro, Edgar Degas: The Painter as Printmaker (Boston: Museum of Fine Arts, 1984), liin21, as La Répétition de Ballet.
John Rewald and Frances Weitzenhoffer, Aspects of Monet: A Symposium on the Artist's Life and Times (New York: Abrams, 1984), 78, 90n19, as Ballet Rehearsal.
George T. M. Shackelford, Degas: The Dancers, exh. cat. (Washington, D.C.: National Gallery of Art, 1984), 58-59, (repro.), as The Ballet Rehearsal.
Natalie Spassky, Mary Cassatt (New York: Metropolitan Museum of Art, 1984), 27.
Jean Sutherland Boggs, “Degas at the Museum: Works in the Philadelphia Museum of Art and John G. Johnson Collection,” Philadelphia Museum of Art Bulletin (Spring 1985): 7.
Nicholas Faith, Sold: The Rise and Fall of the House of Sotheby (New York: Macmillan, 1985), 77.
Suzanne G. Lindsay, Mary Cassatt and Philadelphia, exh. cat. (Philadelphia: University of Pennsylvania Press, 1985), 13.
“Behind the Scenes: The Healing of a Masterpiece,” Calendar of Events (The Nelson-Atkins Museum of Art) (Summer 1986): 8, (repro.), as Ballet Rehearsal.
Manuela Hoelterhoff, “Getting In on the Ground Floor with Degas,” Wall Street Journal (November 14, 1986): 28, as Ballet Rehearsal.
Jean Adhémar et al., Degas: The Complete Etchings, Lithographs and Monotypes (London: Thames and Hudson, 1986), 269.
Frances Weitzenhoffer, The Havemeyers: Impressionism Comes to America (New York: Harry N. Abrams, 1986), 21-23, 26-27, 35, (repro.), as Ballet Rehearsal (Répétition de ballet).
“Museums to Sports, KC Has It All,” American Water Works Association Journal 79, no. 4 (April 1987): 133.
Denys Sutton, “The Collecting Life,” The New Criterion 6, no. 1 (September 1987): 77, as Ballet Rehearsal.
Donald Hoffmann, “Art Notes,” Kansas City Star 108, no. 2 (September 20, 1987): 6D, as Ballet Rehearsal.
Laura Rollins Hockaday, “Art Alive to salute museum,” Kansas City Star 108, no. 52(November 17, 1987): 4C, as Ballet Rehearsal.
Richard Kendall, Degas by Himself: Drawings, Prints, Paintings, Writings (London: Macdonald, 1987), 148, 323, (repro.), as Ballet Rehearsal.
Nancy Mowll Mathews, Mary Cassatt (New York: Harry N. Abrams, 1987), 33, 152.
Jean Sutherland Boggs et al., Degas, exh. cat. (New York: Metropolitan Museum of Art, 1988), 216-17, 258, 259n3, 260, (repro.), as Ballet Rehearsal.
Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 104-05, (repro.), as Ballet Rehearsal.
Robert Gordon and Andrew Forge, Degas (New York: Harry N. Abrams, 1988), 65, 273, (repro.), as Répétition de Ballet (Ballet Rehearsal).
Eunice Lipton, Looking into Degas: Uneasy Images of Women and Modern Life (Berkeley: University of California Press, 1988), 93-94, 113, (repro.), as The Ballet Rehearsal.
Denis Rouart, Degas in Search of His Technique (New York: Rizzoli, 1988), 77-78, 137, (repro.), as the Ballet Rehearsal.
Degas inédit: Actes du Colloque Degas, Musée d’Orsay, 18-21 avril 1988 (Paris: Documentation Française, 1989), 313, 535, as Répétition de ballet.
Doreen Bolger, American Pastels: In the Metropolitan Museum of Art (New York: Harry N. Abrams, 1989), 13, 29n60, (repro.), as Ballet Rehearsal.
Marc S. Gerstein, Impressionism: Selections from Five American Museums, exh. cat. (New York: Hudson Hills Press, 1989), 20, 38, 58-59, 64, 120, 150, 164, (repro.), as Ballet Rehearsal.
Denys Sutton, “Degas and America,” Gazette des Beaux-Arts 116, no. 1458-9 (July-August 1990): 35-36, (repro.), as Ballet Rehearsal.
Russell Ash and Bernard Higton, eds., Degas at the Ballet (San Francisco: Chronicle Books, 1990), unpaginated, (repro.), as Ballet Rehearsal.
Sophia Craze, Mary Cassatt (New York: Crescent Books, 1990), 12.
Anne Distel, Impressionism: The First Collectors, trans. Barbara Perroud-Benson (New York: Harry N. Abrams, 1990), 237-39, 271, 276, (repro.), as Ballet Rehearsal (A Ballet).
Frank Getlein, Mary Cassatt: Paintings and Prints (New York: Abbeville Press, 1990), 9.
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.
Carol Armstrong, Odd Man Out: Readings of the Work and Reputation of Edgar Degas (Chicago: University of Chicago Press, 1991), 131-32, 146-48, 290, (repro.), as Ballet Rehearsal.
Carole G. Calo, Impressionism and Post Impressionism: The Collector's Passion, exh. cat. (Portland, ME: Portland Museum of Art, 1991), 9, Répétition de ballet.
Ulrich W. Hiesinger, Impressionism in America: The Ten American Painters (Munich: Prestel, 1991), 110.
Kathleen D. McCarthy, Women’s Culture: American Philanthropy and Art, 1830-1930 (Chicago: University of Chicago Press, 1991), 107-08, 142, as Répétition de ballet.
Susan E. Meyer, Mary Cassatt (New York: Harry N. Abrams, 1991), 32, as Ballet Rehearsal.
George W. Neubert, American Impressionism from the Sheldon Memorial Art Gallery, exh. cat. (Lincoln, NE: Sheldon Memorial Art Gallery, 1991), 24, as Ballet Rehearsal.
Mara R. Witzling, Mary Cassatt: A Private World (New York: Universe, 1991), 22.
Russell Ash and Bernard Higton, Degas’ Ballet Dancers (New York: Universe, 1992), 30, (repro.), as Ballet Rehearsal.
Possibly Patrick Bade, Degas (London: Studio Editions, 1992), 96.
Jean Sutherland Boggs and Anne Maheux, Degas Pastels (New York: George Braziller, 1992), 12, 28-29, 50, 181, (repro.), as Ballet Rehearsal.
Jean-Philippe Breuille, L'impressionnisme et la peinture de plein air, 1860-1914: dictionnaire: histoire et sources, épanouissement, prolongements (Paris: Larousse, 1992), 213, 400, as Répétition de ballet.
William H. Gerdts, Lasting Impressions: American Painters in France, 1865-1915, exh. cat. (Evanston, IL: Terra Foundation for the Arts, 1992), 43, as Ballet Rehearsal.
S. Takashima, Y. Hasegawa, and T. Omori, The Canvas Seeks the Light (19th Century III) (Tokyo: Kodansha, 1992), 69 (repro.), as Ballet Rehearsal.
Peter Watson, From Manet to Manhattan: the rise of the modern art market (New York: Random House, 1992), 123-24, as Ballet Rehearsal.
E. V. Thaw, “Connoisseur Abroad,” New Republic 208, no. 22 (May 31, 1993): 40.
“Art Lovers, Museum Builders,” Christian Science Monitor (June 7, 1993), https://search-proquest-com.proxy.library.umkc.edu/docview/291206995/fulltext/CACCBB30B1CC4F86PQ/2?accountid=14589
Alice Thorson, “The Nelson celebrates its 60th; Museum built its reputation, collection virtually ‘from scratch’,” Kansas City Star (July 18, 1993), http://iw.newsbank.com.proxy.mcpl.lib.mo.us/resources/doc/nb/news/0EAF3F63F5A9B706?p=WORLDNEWS
Kennedy Fraser, “Patron Saints,” Vogue 183, no. 3 (March 1, 1994): 351, 353, as The Dance Rehearsal.
Bernard Denvir, The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists (London: Thames and Hudson, 1993), 108, (repro.), as Ballet Rehearsal.
Alison Effeny, Cassatt (London: Studio Editions, 1993), 14, as Ballet Rehearsal.
Alice Cooney Frelinghuysen et al., Splendid Legacy: The Havemeyer Collection, exh. cat. (New York: Metropolitan Museum of Art, 1993), 4, 6, 36, 77, 95, 203, 329-30, 380, (repro.), as Ballet Rehearsal.
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, 17, 207, (repro.), as Rehearsal of the Ballet.
The Metropolitan Museum of Art Bulletin 52, no. 2 (Fall 1994): 50, as Ballet Rehearsal.
Charles Hobson, Parisian Encounters: Great Loves and Grand Passions (San Francisco: Chronicle Books, 1994), unpaginated.
Emily Ballew Neff and George T. M. Shackelford, American Painters in the Age of Impressionism, exh. cat. (Houston: Museum of Fine Arts, Houston, 1994), 34.
Nancy Plain, Mary Cassatt: An Artist’s Life (New York: Dillon Press, 1994), 46-47, 77, 124-26, 149, 168, (repro.), as La Répétition de Ballet (The Ballet Rehearsal).
Mark Powell-Jones, Impressionism (London: Phaidon, 1994), 100.
Rachel Vigier, Gestures of Genius: Women, Dance, and the Body (Stratford, ON: Mercury Press, 1994), 57-58, 106, (repro.), as The Ballet Rehearsal and The Rehearsal of the Ballet.
H. Barbara Weinberg et al., American Impressionism and Realism: The Painting of Modern Life, 1885-1915, exh. cat. (New York: Metropolitan Museum of Art, 1994), 19-20, (repro.), as Rehearsal of the Ballet.
Anthea Callen, The Spectacular Body: Science, Method, and Meaning in the Work of Degas (New Haven, CT: Yale University Press, 1995), 76-77, (repro.), as Répétition de ballet.
Nicolai Ciksovsky Jr. and Franklin Kelly, Winslow Homer, exh. cat. (Washington, D.C.: National Gallery of Art, 1995), 166-67, (repro.), as Rehearsal of the Ballet.
Eva Mendgen, ed., In Perfect Harmony: Picture and Frame, 1850-1920, exh. cat. (Amsterdam: Van Gogh Museum, 1995), 134, as Ballet Rehearsal.
Jay Roudebush, Mary Cassatt (New York: Crown Publishers, 1995), 13-14, as Répétition de ballet.
Marilyn Stokstad, Art History (New York: Harry N. Abrams, 1995), 1008, 1012-13, (repro.), as Ballet Rehearsal.
“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 (San Francisco: Fine Arts Museums of San Francisco, 1996), no. III-61, pp. 1: 118, 169; 2: 74, 92, (repro.), as Répétition de ballet and Ballet Rehearsal.
Robert J. Boardingham, Impressionist Masterpieces in American Museums (Fairfield, CT: Hugh Lauter Levin Associates, 1996), 84, as Ballet Rehearsal.
Gerhard Gruitrooy, Mary Cassatt: An American Impressionist (New York: Todtri, 1996), 18, 46.
Nancy Mowll Mathews, Cassatt, a Retrospective (Fairfield, CT: Hugh Lauter Levin Associates, 1996), 84-85, 311.
Michel Melot, The Impressionist Print, trans. Caroline Beamish (New Haven, CT: Yale University Press, 1996), 236, 238-39, (repro.), as The Ballet Master.
Roger Ward, Dürer to Matisse: Master Drawings from The Nelson-Atkins Museum of Art, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1996), 222, as Rehearsal of the Ballet.
Barbara Ehrlich White, Impressionists Side by Side: Their Friendships, Rivalries, and Artistic Exchanges (New York: Knopf, 1996), 184, 277n24, 277n26, as The Ballet Rehearsal and The Ballet Rehearsal (A Ballet).
Richard Cork, “A sweet tooth for Impressionists,” Times (London), no. 66056 (November 25, 1997): 35.
Harry Bellet, “Havemeyer: Les Impressionistes à Manhattan,” Beaux-Arts, no. 162 (1997), 60.
Harvey Buchanan, “Edgar Degas and Ludovic Lepic: An Impressionist Friendship,” Cleveland Studies in the History of Art 2 (1997): 116n185, as Ballet Rehearsal.
Pamela A. Ivinski, “Mary Cassatt’s Young Mother, Daughter, and Son,” Impressionism in the Permanent Collection, 1994-1996, special issue, Porticus: Journal of the Memorial Art Gallery of the University of Rochester 17-19 (1997): 9.
Sylvie Patin and Gary Tinterow, La Collection Havemeyer: Quand l’Amérique découvrait l’Impressionnisme, exh. cat. (Paris: Éditions de la Réunion des musées nationaux, 1997), 16, 30, 107, (repro.), as Répétition de ballet.
Judith A. Barter, Mary Cassatt: Modern Woman, exh. cat. (New York: Art Institute of Chicago, 1998), 176-77, (repro.), as Rehearsal of the Ballet.
Trewin Copplestone, Mary Cassatt (New York: Gramercy Books, 1998), 49.
Suzanne Muchnic, Odd Man In: Norton Simon and the Pursuit of Culture (Berkeley, CA: University of California Press, 1998), 62, 195, as Répétition de ballet.
Griselda Pollock, Mary Cassatt: Painter of Modern Women (London: Thames and Hudson, 1998), 8, 11, 17, 27, 114-15, 129, 207, 211-212, 220, 223, (repro.), as The Ballet Rehearsal.
Alfred Werner, Degas Pastels (New York: Watson-Guptill Publications, 1998), 13, 18.
Ron Swoboda, “Coloring his World: Degas in New Orleans,” New Orleans Magazine 33, no. 3 (May 8, 1999): 41, as Ballet Rehearsal.
John A. Garraty and Mark C. Carnes, eds., American National Biography, vol. 10 (New York: Oxford University Press, 1999), 327.
Charlotte Gere and Marina Vaizey, Great Women Collectors (London: P. Wilson, 1999), 135.
Nancy Gondo, “Artist Mary Cassatt Perseverance Brought Success to this American Impressionist in Paris,” Investor’s Business Daily (August 23, 2000): https://search-proquest-com.proxy.library.umkc.edu/docview/1026807762/B99C622684854474PQ/1?accountid=14589
Russell T. Clement, Annick Houzé, and Christiane Erbolato-Ramsey, The Women Impressionists: A Sourcebook (Westport, CT: Greenwood Press, 2000), 24, as Rehearsal of the Ballet.
Ann Dumas and David A. Brenneman, Degas and America: The Early Collectors, exh. cat (Atlanta: High Museum of Art, 2000), 35-37, 44n1, 44n6, 44n9, (repro.), as Rehearsal of the Ballet.
Arnold L. Lehman et al., French and American Impressionist Works from the Collection of the Brooklyn Museum of Art, exh. cat. (Brooklyn: Brooklyn Museum of Art, 2000), 32, (repro.), as Rehearsal of the Ballet.
H. Barbara Weinberg and Susan G. Larkin, American Impressionists Abroad and at Home: Paintings from the Collection of the Metropolitan Museum of Art, exh. cat. (New York: American Federation of Arts, 2000), 17.
Phillips Sawyer Wilkin and et al., Degas to Matisse: Impressionist and Modern Masterworks, exh. cat. (London: Merrell Publishers, 2000), 13.
Zorzi Mamoli Rosella, Before Peggy Guggenheim: American Women Art Collectors (Venezia: Marsilio, 2001), 37, 99, 100-02, 104, as Répétition de ballet.
Hedi Haffner-Marti, “Mary Cassatt und die Havemeyers: Die geschichte einer grossartigen sammlung,” Weltkunst 72, no. 2 (February 2002): 185, (repro.), as Balletprobe.
Esmée Quodbach, “‘The Last of the American Versailles’: The Widener Collection at Lynnewood Hall,” Simiolus: Netherlands Quarterly for the History of Art 29, no. 1/2 (2002): 60, as Ballet Rehearsal.
Jill DeVonyar and Richard Kendall, Degas and the Dance, exh. cat. (New York: Harry N. Abrams, 2002), 206-07, (repro.), as Rehearsal of the Ballet.
William Hauptman, L’Impressionnisme Américain, 1880-1915, exh. cat. (Lausanne: Fondation de l’Hermitage, 2002), 33-34, (repro.), as La répétition d’un ballet.
Laurence Madeline, Ultra-Sauvage: Gauguin Sculpteur (Paris: Éditions Adam Biro, 2002), 44, as Répétition d’un ballet sur la scène.
Richard Schechner, Performance Studies: An Introduction (2002; repr. London: Routledge, 2003), 101-02, (repro.), as Rehearsal of the Ballet.
Pierre Cabanne, Les grands collectionneurs, vol. 2, Être collectionneur au xxe siècle (Paris: Amateur, 2003), 127, 167 as Répétition de ballet, La Répétition de ballet à l'Opéra.
Gabriele Crepaldi and Tatjana Pauli, The Impressionists (London: Collins, 2003), 330.
Christopher Cuttle, Lighting by Design (Oxford: Architectural Press, 2003), 117, 119-21, (repro.), as The Ballet Rehearsal.
Eric Denker, Whistler and His Circle in Venice, exh. cat. (London: Merrell, 2003), 53, as Ballet Rehearsal.
William Gerdts, The Golden Age of American Impressionism, exh. cat. (New York: Watson-Guptill Publications, 2003), 17, as Rehearsal of the Ballet.
Gilles Plazy, L’Aventure des grands impressionnistes (Paris: Pygmalion, 2003), 138, as Répétition de ballet sur la scène de l’Opéra.
Constance Schwartz and Franklin Hill Perrell, Four Originals: Cassatt, O'Keeffe, Nevelson, Frankenthaler, exh. cat. (Roslyn Harbor, NY: Nassau County Museum of Art, 2003), 18, 30n13, as The Ballet.
Jeremy Wallis, Impressionist (Chicago: Heinemann Library, 2003), 21, as Ballet Rehearsal.
David Basford et al., Art in the Making: Degas, exh. cat. (London: National Gallery, 2004), 28-29, (repro.), as The Ballet Rehearsal.
Anne-Marie Peylhard, Degas en blanc et noir: Le Jour et la Nuit (Avignon, France: Fondation Angladon-Dubrujeaud, 2004), 46.
Alice Thorson, “Atkins speaker series will bring in best,” Kansas City Star (October 2, 2005): http://iw.newsbank.com.proxy.mcpl.lib.mo.us/resources/doc/nb/news/10D0495864FB3190?p=WORLDNEWS
Sophie Lévy, Mary Cassatt: Impressions, exh. cat. (Giverny: Musée d'Art Américain, 2005), 15, 86, as La Répétition de ballet and Rehearsal of the Ballet.
Kathleen Adler and et. al., Americans in Paris 1860-1900 (New Haven, CT: Yale University Press, 2006), 44, 216.
Kathleen Adler, Mary Cassatt: Prints (London: National Gallery Company, 2006), 6, as Rehearsal of the Ballet.
Jennifer A. Bailey and Lucinda H. Gedeon, Masters of Light: Selections of American Impressionism from the Manoogian Collection, exh. cat. (Vero Beach, FL: Vero Beach Museum of Art, 2006), 9, 12, 114n1, as Rehearsal of the Ballet.
Emmanuel Bénézit, Dictionary of Artists, vol. 4 (Paris: Éditions Gründ, 2006), 578, as Ballet Rehearsal.
Richard R. Brettell and Stephen F. Eisenman, Nineteenth-Century Art in the Norton Simon Museum, vol. 1 (New Haven, CT: Yale University Press, 2006), 15-17, (repro.), as Rehearsal of the Ballet.
Natalia Brodskai︠a, Cassatt: 1844-1926 (London: Sirrocco, 2006), 7.
Ann Dumas, Edgar Degas: The Last Landscapes, exh. cat. (London: Merrell, 2006), 107.
Griselda Pollock, Differencing the Canon: Feminist Desire and the Writing of Art's Histories (London: Routledge, 2006), 202, 236, 240, as Ballet Rehearsal.
Rebecca A. Rabinow, Cézanne to Picasso Ambroise Vollard, Patron of the Avant-Garde, exh. cat. (New York: Metropolitan Museum of Art, 2006), 158n5, as Ballet Rehearsal.
Susan Roe, The Private Lives of the Impressionists (New York: Harper Collins, 2006), 150, 183-84, 264, as The Ballet Rehearsal on Stage, Ballet Rehearsal and Répétition de Danse.
Françoise Cachin and Richard Brettell, L’impressionnisme, de France et d’Amérique: Monet, Renoir, Sisley, Degas, exh. cat. (Versailles: Éditions Artlys, 2007), 173.
Susan Behrends Frank, American Impressionists: Painters of Light and the Modern Landscape, exh. cat. (New York: Rizzoli International, 2007), 14, (repro.), as Rehearsal of the Ballet.
Ross King, The Judgement of Paris: The Revolutionary Decade That Gave the World Impressionism (London: Pimlico, 2007), 363.
James Stourton, Great Collectors of Our Time: Art Collecting since 1945 (London: Scala, 2007), 131, as Rehearsal of the Ballet.
Elisabeth Easton, “Pictures Properly Framed: Degas and Innovation in Impressionist Frames,” The Burlington Magazine 150, no. 1266 (September 2008): 608, 610, 611n19, as Rehearsal of the Ballet.
Ingrid Pfeiffer, Women Impressionists, exh. cat. (Ostfildern: Hatje Cantz Verlag, 2008), 156, 294 as The Ballet Rehearsal.
Cynthia Saltzman, Old Masters, New World: America’s Raid on Europe’s Great Pictures (New York: Penguin Books, 2008), 122-23, as Ballet Rehearsal.
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), 118, (repro.), as Rehearsal of the Ballet.
Theodore E. Stebbins and et al., American Paintings at Harvard, vol. 2, Paintings, Watercolors, Pastels, and Stained Glass by Artists Born 1826-1856 (Cambridge, MA: Harvard Art Museum, 2008), 59, 60n1.
Sally Webster, Eve’s Daughter/Modern Woman: A Mural by Mary Cassatt (Urbana, IL: University of Illinois Press, 2008), 12, 23, 24n28, as Rehearsal of the Ballet and Répétition de ballet.
John E. Bullard, Mary Cassatt: Oils and Pastels (New York: Watson-Guptill, 2009), 13, 18.
Sara Campbell et al., Degas in the Norton Simon Museum, vol. 2, Nineteenth-Century Art (New Haven, CT: Yale University Press, 2009), 12-13, 560, (repro.), as Rehearsal of the Ballet.
Claudia Däubler-Hauschke and Michael Brunner, Impressionismus und Japanmode: Edgar Degas, James McNeill Whistler, exh. cat. (Überlingen: Städtische Galerie, 2009), 78.
Philip Hook, The Ultimate Trophy: How the Impressionist Painting Conquered the World (Munich: Prestel, 2009), 64-65, 70.
Warren Adelson and et al., Mary Cassatt: Works on Paper, exh. cat. (Boca Raton, FL: Boca Raton Museum of Art, 2010), unpaginated.
Jiménez-Blanco and et al., Buscadores de belleza: historias de los grandes coleccionistas de arte (Barcelona: Ariel, 2010), 102, as Ensayo de Ballet.
Sara Campbell, Collector Without Walls: Norton Simon and His Hunt for the Best (New Haven, CT: Norton Simon Art Foundation, 2010), 77, 86, 88, 147, 278, (repro.), as Rehearsal of the Ballet.
Elizabeth Cowling and Richard Kendall, Picasso Looks at Degas, exh. cat. (Williamstown, MA: Sterling and Francine Clark Art Institute, 2010), 288-89, (repro.), as Rehearsal of the Ballet.
Judith A. Barter, The Age of American Impressionism: Masterpieces from the Art Institute of Chicago (Chicago: Art Institute of Chicago, 2011), 11, Rehearsal of the Ballet.
R. Stanley Johnson, Mary Cassatt: Early Graphic Works 1878-1891, exh. cat. (Chicago: R. S. Johnson Fine Art, 2011), 117.
Richard Kendall and Jill DeVonyar, Degas and the Ballet: Picturing Movement, exh. cat. (London: Royal Academy of Arts, 2011), 51, 55-56, (repro.), as Ballet Rehearsal.
David McCullough, The Greater Journey: Americans in Paris (New York: Simon and Schuster, 2011), 342, as Répétition de ballet (Rehearsal of the Ballet).
Michel Strauss, Pictures, Passions and Eye: A Life at Sotheby’s (London: Halban, 2011), 234.
Jon Kear, Degas: His Life and Works in 500 Images: An Illustrated Exploration of the Artist, His Life and Context, with a Gallery of 500 of His Finest Paintings and Sculptures (London: Lorenz, 2012), 46, 70, 124, (repro.), as Ballet Lesson on Stage and Ballet Practice.
Françoise Barbe-Gall, How to Look at Impressionism, trans. Emily Read (London: Francis Lincoln, 2013), 77.
Beatrice von Bismarck et al., Impressionism 1860-1920, Part Two, Impressionism in Europe and North America, ed. Ingo F. Walther (Cologne: Taschen, 2013), 591, 601, as Ballet Rehearsal.
Possibly Jay A. Clarke and Mary Weaver Chapin, Impressionist Line from Degas to Toulouse-Lautrec: Drawings and Prints from the Clark, exh. cat. (Williamstown, MA: Sterling and Francine Clark Art Institute, 2013), 46.
Antonia Petrash, Long Island and the Woman Suffrage Movement (Charleston: The History Press, 2013), unpaginated, as Répétition de ballet.
Julie Verlaine, Femmes collectionneuses d'art et mécènes de 1880 à nos jours (Paris: Hazan, 2013), 65, as Répétition de ballet.
Christian Berger, Wiederholung und Experiment bei Edgar Degas (Berlin: Reimer, 2014), 78, 116, 210, (repro.), as La Répétition de ballet.
Kathryn Dixon, Mary Cassatt (Charlotte, NC: TAJ Books, 2014), 10.
Alexander B. Eiling, Degas: Klassik und Experiment, exh. cat. (Munich: Hirmer, 2014), 277.
Ruth E. Iskin, Modern Women and Parisian Consumer Culture in Impressionist Painting (Cambridge: Cambridge University Press, 2014), 22, 229n95, as Ballet Rehearsal.
Kimberly A. Jones, Degas, Cassatt, exh. cat. (Washington, D.C.: National Gallery of Art, 2014), 131, (repro.), Rehearsal of the Ballet.
Christopher Lloyd, Edgar Degas: Drawings and Pastels (Los Angeles: The J. Paul Getty Museum, 2014), 123, 158, (repro.), as Rehearsal of the Ballet.
Rosa Spinillo, I Bellelli e Degas: iconografia e storia di una famiglia italiana (Rome: Palombi, 2014), 14-15.
Diane Stafford, “Bloch Gift to Go for Nelson Upgrade,” Kansas City Star 135, no. 203 (April 8, 2015): A8.
Thea Burns and Philippe Saunier, The Art of the Pastel (New York: Abbeville Press, 2015), 240, 270.
Sylvie Patrie, ed., Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market, exh. cat. (London: National Gallery Company, 2015), 137.
A. K. Prakash, Impressionism in Canada: A Journey of Rediscovery (Stuttgart: Arnoldsche Art Publishers, 2015), 146, 148, (repro.), Rehearsal of the Ballet.
Dulce María Román and et. al., Monet and American Impressionism, exh. cat. (Gainesville, FL: Samuel P. Harn Museum of Art, 2015), 30.
René Brimo, The Evolution of Taste in American Collecting (University Park, PA: Pennsylvania State University Press, 2016), 183.
Jodi Hauptman, Degas: A Strange New Beauty, exh. cat. (New York: Museum of Modern Art, 2016), 24-25, (repro.), as Rehearsal of the Ballet (Répétition de ballet).
Gregory Hedberg, Degas’ Little Dancer, Aged Fourteen: The earlier version that helped spark the birth of modern art (Stuttgart: Arnoldsche Art, 2016), 64, 95n159, as Ballet Rehearsal.
Michael Robinson, Edgar Degas (London: Flame Tree, 2016), 36, (repro.), as Ballet Rehearsal.
Richard Kendall, “Degas and Difficulty,” Facture: Conservation, Science, Art History, vol. 3, Degas (2017): 14-15, (repro.), as The Ballet Rehearsal.
Gérard Bonal, Des Américaines à Paris (Paris: Tallandier Editions, 2017), 28.
Kathryn Brown, Perspectives on Degas (London: Routledge, 2017), 216-17, 223.
Lynn Catterson, Dealing Art on Both Sides of the Atlantic, 1860-1940, vol. 2 (Boston: Brill, 2017), 41, as Rehearsal of the Ballet.
Sarah Lees, Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers, exh. cat (Tulsa, OK: Philbrook Museum of Art, 2018), 27, 118n28, (repro.), as The Rehearsal of the Ballet.
Possibly Leïla Jarbouai and Marine Kisiel, Degas, Danse, Dessin: A tribute to Degas with Paul Valéry, exh. cat. (Paris: Musée d'Orsay, 2017).
Jan Munro, Degas: A Passion for Perfection, exh. cat. (Denver: Denver Art Museum, 2017), 73, 230, as The Rehearsal of the Ballet (Répétition de ballet).
Lilit Sadoyan, A Short Biography of Mary Cassatt (Carlisle, MA: Applewood Books, 2017), 13, as Ballet Rehearsal.
Nancy Mowll Mathews, Mary Cassatt: An American in Paris, exh. cat. (Brussels: Mercatorfonds, 2018), 48, 50, (repro.), as Rehearsal of the Ballet.
Henri Loyrette et al., Degas à l’Opéra, exh. cat. (Paris: Musée d'Orsay, 2019), 238-39, (repro.), as Répétition de ballet.
Aimee Marcereau DeGalan, “A Refuge of Peaceful Meditation,” KC Studio 12, no. 5 (September/October 2020): 74, (repro.).
Frances Fowle, “A Woman of No Importance?: Elizabeth Workman’s Collection of Impressionist and Post-Impressionist Art in Context,” 19: Interdisciplinary Studies in the Long Nineteenth Century (January 5, 2021): https://doi.org/10.16995/ntn.3001.
Aimee Marcereau DeGalan, “Edgar Degas, Rehearsal of the Ballet, ca. 1876,” catalogue entry, and Rachel Freeman, “Edgar Degas, Rehearsal of the Ballet, ca. 1876,” technical entry in Aimee Marcereau DeGalan, ed., French Paintings, 1600–1945: The Collections of the Nelson-Atkins Museum of Art (Kansas City: The Nelson-Atkins Museum of Art, 2021), doi: 10.37764/78973.7.738.
“Nelson-Atkins begins serial release of French paintings catalogue,” ArtDaily (February 27, 2021): https://artdaily.cc/news/133409/Nelson-Atkins-begins-serial-release-of-French-paintings-catalogue#.YD0gmXlMGUk, (repro.), as Rehearsal of the Ballet.
Dana Self, “Arts News: Nelson-Atkins Digital French Paintings Catalogue,” KC Studio (June 1, 2021): http://kcstudio.org/nelson-atkins-digital-french-paintings-catalogue/ .
Julian Zugazagoitia and Laura Spencer. Director's Highlights: The Nelson-Atkins Museum of Art Celebrating 90 Years, ed. Kaitlyn Bunch (The Nelson-Atkins Museum of Art, 2024), 93, (repro.).
![Seated Nude (Study for the “Legend of Giotto” [unrealized work])](/internal/media/dispatcher/35960/thumbnail)
