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Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
Published on June 19, 2020 / Updated on November 2, 2026
Email: tomgurney1@gmail.com / Phone: +44 7429 011000

Mother and Child (Nude Dark-Eyed Little Girl with Mother in Patterned Wrapper): Introduction

A pale child turns towards us from the right, with an arm crossing the adult’s upper chest. The two heads are close, but the faces have different angles. Orange strokes describe the adult’s garment, while broad blue-green marks surround the pair. Below them, long dark curves remain open across the paper.

Sotheby’s offered this pastel as Mother and Child (Nude Dark-Eyed Little Girl with Mother in Patterned Wrapper) in 2010, dating it to about 1898–99. The catalogue records pastel on paper, measurements of 67.3 × 57.2 centimetres and signatures at both lower corners. It identifies the sitters as Reine Lefebvre and Margot Lux; those names are catalogue identifications rather than a new conclusion from their appearance. [1]

The unusually descriptive title helps distinguish this image from Cassatt’s many other adult-and-child subjects. It also names several things a viewer can test by looking: the child’s dark eyes, the exposed body, the enclosing adult and the patterned garment. The picture’s distinctive effect emerges from the different degrees of description given to those elements.

At a Glance

  • ArtistMary Cassatt [1]
  • DateAbout 1898–99, Sotheby’s catalogue [1]
  • MediumPastel on paper [1]
  • Dimensions67.3 × 57.2 cm, catalogue measurements [1]
  • SignaturesLower left and lower right, as recorded by Sotheby’s [1]
  • Catalogue sitter identificationReine Lefebvre and Margot Lux; attributed to the 2010 entry [1]
  • Current collectionNot established from the reviewed public auction record [1]

This work across Mary Cassatt’s career

Contents

  1. Two close heads, two kinds of attention
  2. The child’s arm and curved back
  3. Orange cloth against the surrounding blue
  4. The open lower drawing
  5. Pastel between line and colour
  6. What the catalogue establishes
  7. A comparison with Maternal Kiss

Two close heads, two kinds of attention

The child’s head occupies the upper right of the group. Dark eyes and a small parted mouth stand out against a pale face. Brown hair gathers around the forehead and curves behind the head, making a compact surround. The face turns more directly outward than the adult’s beside it.

The adult’s head sits slightly lower and farther left. A high mass of dark hair gives the upper silhouette an emphatic shape. Below it, the face inclines, with the gaze angled lower. Although the cheeks are close, the two faces do not form a simple mirror image of one another.

Their placement makes the small space between heads important. The child leans into the adult’s side while maintaining an outward presence. The adult’s face remains available to the viewer too, but at a different angle. Cassatt allows bodily closeness to coexist with separate directions of attention.

This is a useful distinction when describing the scene. We can observe contact, gaze and proximity without deciding what either sitter feels. The faces may appear calm or reserved, but no single emotional label exhausts their arrangement. The slight difference in direction prevents the pair from becoming an entirely closed exchange.

The child’s arm and curved back

The child’s arm crosses towards the adult’s neck and collar. Its pale line links the two upper bodies, providing a physical connection beneath the faces. The arm is relatively slender compared with the large area of the torso, so the gesture remains readable without dominating the whole image.

The child’s back curves down the right side. Pale greenish, cream and pink passages give it a rounded presence against the orange garment. A darker contour becomes more emphatic near the lower body, where the figure meets the open drawing of the lap.

That contour matters because the body is not shown in an isolated standing pose. It sits within an arrangement of enclosing arms and clothing. The reaching arm above and the curved outline below work together to explain its position. We understand a held child through a small number of relationships rather than through a complete inventory of every limb.

The plain skin also provides a contrast to the adult’s marked garment. It gives the eye a comparatively continuous passage between the heads and the lower curves. The figure therefore has a clear visual role beyond the face: it interrupts the orange field and makes a pale vertical form inside the group.

Orange cloth against the surrounding blue

The adult’s wrapper supplies the strongest warm area. Orange strokes run downward and at angles across the upper garment, broken by cooler and darker marks. A few broader light passages indicate the neckline and shoulder. The clothing is recognisable, yet its surface remains distinctly drawn.

At the left shoulder, a dark loop encloses a light passage beside the orange. At the right, longer lines turn down around the child. These variations stop the garment from becoming a single flat rectangle. Its edges and internal marks help describe both a body behind the child and an enclosure around it.

Blue-green strokes fill much of the field above and around the heads. Their diagonal movement contrasts with the more rounded contours of hair and cheek. Near the left, some lighter marks create a narrow, upright interruption. They suggest surrounding structure without establishing a detailed room or a particular piece of household furniture beyond doubt.

The colour relationship is clear even though individual edges vary in sharpness. Warm clothing advances within a cooler surround, while the child’s pale body links the two. Repeated cool notes in the skin and orange garment prevent the colours from separating into entirely independent zones.

The open lower drawing

The largest change in handling occurs below the child’s torso. Long black, pale and coloured lines sweep across the lower part of the sheet. Several turn back on themselves or cross neighbouring marks. Much of the surrounding paper remains exposed, so the drawing’s paths are easier to follow than in the more densely worked faces.

A strong curve rises at the right and turns beneath the group. Other loops spread across the adult’s lap. These lines suggest an enclosing arrangement of arms, garment and seat, but do not provide an equally detailed account of every part. Their visual task is to hold the larger shape together and lead the eye across it.

The transition from modelled face to open contour gives the image a changing pace. We recognise the heads quickly, then encounter more provisional-looking paths below. That appearance alone does not prove the work was abandoned or prepared for a later oil. It tells us that description is distributed unevenly across the surface.

The exposed support also participates in the image’s colour. It forms a broad surrounding field through which the darker curves remain visible. A photograph cannot establish the paper’s original hue, but it can show how the present relationship between open support and deposited pastel affects the composition.

Watch: Mary Cassatt

Choose a film to explore the artist’s work, its interpretation and its wider setting.

Demonstrating Mary Cassatt's Color Printmaking Techniques

Philadelphia Museum of Art

The Philadelphia Museum of Art demonstrates techniques used to make Cassatt’s colour prints.

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Pastel between line and colour

Marjorie Shelley’s technical discussion of pastel describes its capacity for separate strokes as well as blended modelling. Those general possibilities are particularly easy to recognise here. The faces have small transitions around eyes, nose and cheeks, while the lower part retains long visible lines and open areas. [15]

This variation is more informative than describing the whole picture as soft. Some marks are delicate, but others are emphatic and angular. A black curve can establish an enclosing shape while a light passage models the child’s shoulder. Pastel performs several different kinds of work within the same image.

The contrast also gives a reason to look again after identifying the subject. A first glance may settle on a mother-and-child scene; a longer look reveals how that scene is made from distinct densities and directions of mark. Cassatt’s drawings and pastels explores that wider relationship between a drawn surface and a developed figure composition.

What the catalogue establishes

The 2010 entry’s provenance lists a French private collection until 2004, followed by Berry-Hill Galleries in New York. Its literature entry cites a 2005 Berry-Hill publication. This history does not identify a present owner, and the earlier publication is not a substitute for an independently examined sitting record. [1]

The names Reine and Margot are useful when following the auction’s account, but the picture itself cannot certify their genealogy. The visible arm and close heads show how the figures are arranged. A broader account of who they were requires documentary evidence beyond the intimacy of the pose.

Likewise, the word wrapper describes the adult’s garment in the published title; it does not establish a precise occasion or social division. The pastel gives us a particular arrangement of bodies and clothing, rather than evidence for a universal contrast between mothers of different classes.

A comparison with Maternal Kiss

The Philadelphia Museum of Art’s Mother and Child (Maternal Kiss) is a pastel dated 1896. It shows a child looking outward over an adult’s shoulder, with the adult seen largely from behind. A large ochre sleeve encloses the pair below. Its museum record and unnamed sitters belong to that separate work. [16]

The comparison makes the current picture’s orientation clearer. Here, both faces remain substantially visible, and the child’s unclothed body forms a pale shape at the right. The adult’s orange upper garment and the open curves below give a different structure to the act of holding.

In the Philadelphia pastel, the turned head and broad back make the adult’s face less accessible. The child’s frontal gaze becomes the main outward connection. Here, the two available faces divide that connection, while the child’s arm draws them back together physically. Related subjects can therefore produce quite different relations between viewer and sitter.

The open lower drawing is the final distinguishing feature. It lets a few sweeping lines carry the enclosure that a broader warm sleeve supplies in Maternal Kiss. Cassatt joins a carefully modelled pair of heads to a more exposed account of bodily support, making the difference in handling central to the picture’s character.

Mother and Child (Maternal Kiss), 1896, pastel. Philadelphia Museum of Art, 1952-82-11.
Mother and Child (Maternal Kiss), 1896, pastel. Philadelphia Museum of Art, 1952-82-11.

Cassatt artworks and studies

A source-bounded directory of documented works and studies, including the works in the National Gallery’s 2026 checklist and one clearly marked former attribution. Different print impressions are grouped by design and remain searchable by their recorded accessions. This is not a complete catalogue raisonné. Unlinked titles have no individual article here.

99 records

NameDateMedium
A Child’s Bath — LACMA oil1880Oil on canvas
A Goodnight Hug1880Pastel
After the Bullfight1873Oil on canvas
Afternoon Tea Party1890–91Colour print
At the Theatre (Lydia Cassatt Leaning on Her Arms, Seated in a Loge)About 1879Pastel
Automne, portrait de Lydia Cassatt1880Oil on canvas
Breakfast in Bed1897Oil on canvas
Bust of Ellen with Bows in Her Hair1898Pastel
By the PondAbout 1896 in Met and Terra records; about 1898 at MoMANot established
Child Drinking Milk from a Bowl; provisionally identified composition (qualified identification)About 1890, following inventory and catalogue textPastel
Child in a Straw HatAbout 1886Oil on canvas
Child Picking a Fruit1893Oil on canvas
Children Playing on the Beach1884Oil on canvas
Clarissa, Turned Left, with Her Hand to Her EarAbout 1890–93 in Sotheby’s 2012 entry; about 1893 in GCMA noticePastel
Denise at her Dressing TableAbout 1908–09Oil on canvas
Driving1881Oil on canvas
Eddy Cassatt (Edward Buchanan Cassatt)1875Oil on canvas
Ellen Mary Cassatt in a White CoatAbout 1896Oil on canvas
Emmie and her ChildAbout 1890Oil on canvas
Gathering FruitAbout 1893Not established
Girl Arranging her Hair1886Oil on canvas
Head of a Child with a Red Hat1903, signed and datedPastel
Head of a Woman in a Large HatAbout 1909Pastel
Head of Simone in a Green Bonnet with Wavy BrimAbout 1904Pastel
In the Garden1903 or 1904Oil on canvas
In the Loge1878Oil on canvas
In the Omnibus1890–91Colour print
In the Omnibus [recto] — preparatory drawingc. 1891Chalk and graphite
In the Opera Box (No. 3) [recto] — preparatory drawing1880Graphite
In the Opera Box (No. 3) — printc. 1880Intaglio print
Jeune fille au jardin (Young Woman Sewing in a Garden)1880–82Oil on canvas
Jules Dried by His Mother; provisionally identified composition (qualified identification)1901, following catalogue textOil on canvas
Lady in Black, in a Loge, Facing Rightc. 1880Etching
Lilacs in a WindowAbout 1880–83Oil on canvas
Little Girl in a Blue Armchair1878Oil on canvas
Louise Nursing her Child1899 in Luxembourg caption; 1898–99 in loan and Arp recordsPastel
Madame Gaillard and Her Daughter Marie-Thérèse1897, Reynolda collection listingPastel
Maternal Caress1890–91Not established
Maternal Caress — preparatory drawingAbout 1891Charcoal and graphite
Mathilde Holding a Baby Who Reaches out to the RightAbout 1889, Christie’s cataloguePastel
Mimi as a Brunettec. 1889Drypoint
Mimi Holding a Japanese Fanc. 1889Drypoint
Modern Woman1892–93; displayed in 1893Not established
Mother about to Wash her Sleepy Child1880Oil on canvas
Mother and Child (Maternal Kiss)1896Pastel
Mother and Child (Nude Dark-Eyed Little Girl with Mother in Patterned Wrapper)About 1898–99, Sotheby’s cataloguePastel
Mother and Child (The Oval Mirror)About 1899Oil on canvas
Mother Berthe Holding Her Nude Baby1898–99Pastel
Mother in Purple Holding her ChildAbout 1914, Christie’s cataloguePastel
Mother Playing with ChildAbout 1897Pastel
Mother’s Kiss1890–91Colour print
Nurse Reading to a Little Girl1895Pastel
Poppies in a Field (formerly Cassatt; attributed to Victor Gabriel Gilbert)About 1880, current museum recordOil on panel
Portrait of an Elderly Ladyc. 1887Oil on canvas
Portrait of Madame AF Aude and her Two Daughters1899, Breeskin 1970 exhibition cataloguePastel
Portrait of the Artist1878Watercolour and gouache
Reading Le Figaro1878, NGA 2026 checklist; about 1877–78 in SAAM’s 2015 captionOil on canvas
Reflection — drypointc. 1890Drypoint
Sara Holding a CatAbout 1907–08Oil on canvas
Sara in a Green BonnetAbout 1901Oil on canvas
Sara with Her Dog, in an Armchair, Wearing a Bonnet with a Plum Ornament1901Pastel
Self PortraitAbout 1880Watercolour and gouache
Simone in Blue Plumed HatAbout 1903Pastel
Simone Seated on the Grass next to her Mother1901–02Pastel
Sketch of Master St. PierreDate not establishedPastel
Sleepy BabyAbout 1910Pastel
Smiling Mother with Sober Faced ChildDate not establishedPastel
Spanish Dancer Wearing a Lace Mantilla1873Oil on canvas
Summertime, horizontal painting1894–95, current Sotheby’s catalogueOil on canvas
Tea — printc. 1890Drypoint
The Bath1890–91Not established
The Boating Party1893–94Oil on canvas
The Caress1902Oil on canvas
The Child's Bath1893Oil on canvas
The Coiffure1890–91Colour print
The Cup of TeaAbout 1880–81Oil on canvas
The Fitting1890–91Colour print
The Lamp1890–91Colour print
The Letter1890–91Colour print
The LogeAbout 1878–1880Oil on canvas
The Mandolin Player1868Oil on canvas
The Manicure (Les Ongles; The Nails)About 1908Intaglio print
The Tea; Le ThéAbout 1880Oil on canvas
The Visitorc. 1880Intaglio print
Two Sisters1896Pastel
Two Women Seated by a Woodland StreamAbout 1869Oil on canvas
Two Women Throwing Flowers During Carnival1872Oil on canvas
Under the Horse-Chestnut Tree1896–97, National Gallery and MoMA recordsNot established
Woman Bathing (La Toilette)1890–91Colour print
Woman in a Loge (Woman with a Pearl Necklace)1879Oil on canvas
Woman Reading1878–79Oil on canvas
Woman Standing, Holding a Fan1878–79Distemper
Woman with a Fanc. 1878–1879Oil on canvas
Woman with a Red Zinnia1891Oil on canvas
Woman with a SunflowerAbout 1905Oil on canvas
Young Girl at a Windowc. 1883–1884Oil on canvas
Young Girl with Brown Hair, Looking LeftAbout 1913 (1997 summary catalogue)Pastel
Young Mother Sewing1900Oil on canvas
Young Woman in Green, Outdoors in the SunAbout 1914Oil on canvas

Discussion

Look again at the images and ideas explored in Mother and Child (Nude Dark-Eyed Little Girl with Mother in Patterned Wrapper). These editorial prompts invite your observations.

Reader Insights

Editorial prompt · Look closely

A pale child turns towards us from the right, with an arm crossing the adult’s upper chest. What does this first detail make you notice?

Editorial prompt · Consider the evidence

The child’s head occupies the upper right of the group. How does it affect your reading of the whole work?

Editorial prompt · Your view

What changes as your eye moves from the faces to the long open curves below?

Join the Conversation

Share a detail, comparison or question about Mother and Child (Nude Dark-Eyed Little Girl with Mother in Patterned Wrapper) below.

References

  1. Sotheby’s, Mother and Child (Nude Dark-Eyed Little Girl with Mother in Patterned Wrapper), lot 31, 19 May 2010, public description, provenance and catalogue note. Sitter names are attributed to this entry; the cited Berry-Hill 2005 publication and transmitted scholarly quotations are not independently used as original sources. View source.
  2. Denver Art Museum, Whistler to Cassatt Access Guide, The Salon, stop 104. View source.
  3. Denver Art Museum, Whistler to Cassatt:American Painters in France, bilingual exhibition livret,The Salon,no2. View source.
  4. National Gallery of Art, Little Girl in a Blue Armchair, 1983.1.18. View source.
  5. Philadelphia Museum of Art, Driving, 1881. View source.
  6. National Gallery of Art, The Letter,1943.3.2763. View source.
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  9. MaudHoweElliott(ed.) / UniversityofIllinoisUrbanaChampaign scan, Art and Handicraft in the Woman’s Building of the World’s Columbian Exposition,Chicago,1893,Chicago:RandMcNally,1894. View source.
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  11. Art Institute of Chicago, The Child’s Bath,1910.2,current expanded collection entry. View source.
  12. Metropolitan Museum of Art, Young Mother Sewing, 29.100.48. View source.
  13. National Gallery of Art, Woman with a Sunflower, 1963.10.98. View source.
  14. Sotheby’s, Young Woman in Green Outdoors in the Sun, Modern Day. View source.
  15. Marjorie Shelley, technical essay in Doreen Bolger, ed., American Pastels in the Metropolitan Museum of Art, 1989, especially pp. 39–41; general account, not a technical study of this sheet. View source.
  16. Philadelphia Museum of Art, Mother and Child (Maternal Kiss), 1952-82-11, current record and image of the separate 1896 pastel. View source.
  17. Art Gallery of Ontario, Cassatt–McNicoll:ImpressionistsBetweenWorlds. View source.
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  19. National Gallery of Art, Children Playing on the Beach, 1970.17.19. View source.
  20. Colby College Museum of Art, Explore Inside Out: The Prints of Mary Cassatt; Mother Berthe Holding Her Nude Baby,2013.549. View source.
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  32. Sotheby’s, Clarissa Turned Left with Her Hand to Her Ear, 2012 lot 51. View source.
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  34. Metropolitan Museum of Art, The Coiffure,16.2.3. View source.
  35. Metropolitan Museum of Art, The Cup of Tea, 22.16.17. View source.
  36. Metropolitan Museum of Art, Denise at Her Dressing Table, 2005.129. View source.
  37. Denver Art Museum, Whistler to Cassatt exhibition guide, stop 112: Bust of Ellen with Bows in Her Hair. View source.
  38. Museum of Fine Arts, Boston, Ellen Mary in a White Coat, 1982.630. View source.
  39. Amon Carter Museum of American Art, Woman Standing Holding a Fan, 2011.20. View source.
  40. Smithsonian American Art Museum, Special Installation of Nineteen American Masterworks, 2015. View source.
  41. Metropolitan Museum of Art, The Fitting, 16.2.8 final state. View source.
  42. Reynolda House Museum of American Art, Mary Cassatt collection listing: Madame Gaillard and Her Daughter Marie-Thérèse, 1897. View source.
  43. Wake Forest University, Wake Women 2023 schedule, Highlighting the Art of Women at Reynolda, captioned Cassatt image. View source.
  44. Detroit Institute of Arts, In the Garden, 36629. View source.
  45. National Gallery of Art, Gathering Fruit,1943.3.2757. View source.
  46. Sotheby’s, A Goodnight Hug,N09860lot11,14May2018. View source.
  47. Sotheby’s, syndicated auction catalogue hosted by Invaluable, Head of Simone in a Green Bonnet with Wavy Brim, Watson collection,18May2005,lot39. View source.
  48. National Gallery of Art, Girl Arranging Her Hair, 1963.10.97. View source.
  49. Joslyn Art Museum, Art Break:Woman Reading,1943.38,program object caption. View source.
  50. Los Angeles County Museum of Art, A Child’s Bath, M.62.8.14. View source.
  51. National Gallery of Art, The Lamp, 5937. View source.
  52. Sotheby’s, Tête de Femme au Grand Chapeau, 2008 N08449 lot135. View source.
  53. Metropolitan Museum of Art, Lilacs in a Window, 1997.207. View source.
  54. National Gallery of Art, The Loge,1963.10.96. View source.
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  58. Petit Palais / Paris Musées, Automne, portrait de Lydia Cassatt, PPP706; IIIF manifest 160008392. View source. (in French).
  59. Metropolitan Museum of Art, Maternal Caress, 16.2.5. View source.
  60. Metropolitan Museum of Art, Maternal Caress, preparatory drawing64.123.3, c1891. View source.
  61. Christie’s, Mathilde Holding Baby who Reaches out to Right, lot 5459369. View source.
  62. National Portrait Gallery / Catalog of American Portraits, Madame Meerson and her Daughter, SSSA2282. View source.
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  71. National Gallery of Art, In the Omnibus, 46725. View source.
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  88. Sotheby’s, Simone Seated on the Grass Next to Her Mother, 30 September 2020, lot 33. View source.
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  90. Sotheby’s, Smiling Mother with Sober Faced Child, 2022. View source.
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  96. National Gallery of Art, Afternoon Tea Party, 46731. View source.
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  98. The Nelson-Atkins Museum of Art, At the Theater,F77-33;French Paintings and Pastels appendixII. View source.
  99. Metropolitan Museum of Art, Woman Bathing La Toilette, 16.2.2. View source.
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  101. Wichita Art Museum, Mother and Child, M109.53. View source.
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