by Tom Gurney
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
Sara in a Green Bonnet by Mary Cassatt: Introduction
The bonnet seems almost to surround the entire small face. Green fabric rises above the head, pale flowers gather at the right, and broad ribbons descend beneath the chin. Warm golden sleeves provide a strong contrast below. Cassatt makes the clothing conspicuous while keeping the child’s eyes and mouth distinct within it.
The Smithsonian American Art Museum dates Sara in a Green Bonnet to about 1901. It is an oil on canvas, measuring 42 × 34.5 centimetres, and belongs to the museum as the gift of John Gellatly, accession 1929.6.11. The museum spells the sitter’s first name Sara. [1]
The picture is a compact study of unequal scales. A small face occupies the opening of a large piece of headwear, and long ribbons extend its green colour down the torso. The costume frames the portrait, but also becomes a major subject of the painting’s colour and brushwork.
At a Glance
- ArtistMary Cassatt [1]
- Museum titleSara in a Green Bonnet [1]
- DateAbout 1901 [1]
- MediumOil on canvas [1]
- Dimensions42 × 34.5 cm [1]
- CollectionSmithsonian American Art Museum [1]
- Accession1929.6.11 [1]
- CreditGift of John Gellatly [1]
- SitterSara, fuller identity unconfirmed [1]
This work across Mary Cassatt’s career
The Letter
1890–91 [6]Modern Woman
1892–93; displayed in 1893 [7] [8] [9]The Boating Party
1893–94 [10]The Child's Bath
1893 [11]Sarah in a Green Bonnet (current article)
About 1901 [1]Woman with a Sunflower
About 1905 [13]Young Woman in Green Outdoors in the Sun
About 1914 [14]Contents
- A small face within a large opening
- The bonnet’s height and floral decoration
- Ribbons that extend the green downward
- Golden sleeves and a pale collar
- An oil painting against a muted field
- Sara’s name and the collection credit
- Simone’s green bonnet: another sitter and medium
A small face within a large opening
The face turns almost frontally, while the eyes glance towards the left. That slight difference between head and gaze gives the child a presence beyond a simple symmetrical pose. The bonnet’s opening remains broadly rounded, but the eyes introduce a small sideways direction within it.
Warm pink passages shape cheeks and nose. Cooler and paler notes distinguish forehead, chin and the area around the mouth. The modelling is relatively concentrated, especially beside the broader marks in the hat. The face remains legible without needing the strongest colours in the picture.
Reddish-brown hair curves across the forehead and down the sides. It supplies a warm boundary between skin and green headwear. The hair is a smaller intermediate shape within the much larger bonnet, helping the viewer move from broad silhouette to individual features.
The expression can sustain different responses, but it does not establish a temperament. A slight glance and a small closed mouth are visible facts of the pose; a story about shyness, obedience or an exact incident would require something more. Cassatt gives the sitter specificity through the relationship between these features and the surrounding costume.
The bonnet’s height and floral decoration
The upper part of the bonnet rises well beyond the head. Its broad green surface contains lighter edges, darker folds and short angular strokes. The crown has its own volume rather than functioning as a flat patch behind the face.
At the right, pale flowers interrupt the green. Their petals are indicated through light, loose marks, with deeper green accents between them. The cluster changes the silhouette of the headwear and gives one side more activity than the other. It also introduces a small repetition of pale colour above the collar.
The brim curves closely around the face. Its inner light edge separates the child’s hair from the more saturated green outside. This makes the opening clear even where individual marks remain visible. The hat’s size is emphatic, but its construction still helps direct attention inward.
The floral decoration need not be assigned a botanical species to perform this role. Its main visible contribution is a change in colour, texture and outline. Nor does an elaborate bonnet establish ownership, social rank or a recorded outing. Those are different questions from how the costume operates in the image.
Ribbons that extend the green downward
The ribbons beneath the chin are unusually broad. One crosses the upper chest while the other descends farther along the torso. Their shapes carry the bonnet’s colour into the lower part of the portrait, creating a continuous relationship between headwear and body.
Light and dark strokes describe the folds. Some curve around a bulge in the fabric; others run along a longer hanging edge. The green changes in value and temperature, so the ribbons remain active surfaces rather than two identical strips.
Their scale matters to the composition. The child’s face is small, but the costume spreads through much of the available canvas. Following the ribbons down allows the eye to leave the head without losing connection to it. They bind the upper and lower colour areas together.
The ribbons also divide the warm clothing below. Green interrupts gold and orange, making strong neighbouring contrasts. This arrangement gives the portrait much of its immediate force before a viewer examines a flower petal or a small facial transition.
Golden sleeves and a pale collar
The short puffed sleeves form rounded warm shapes at both sides. Orange, gold and brown strokes turn around them, with darker marks indicating folds. Their breadth balances the bonnet’s large upper form and gives the shoulders a clear presence.
A pale collar lies between the green ribbons and warm sleeves. Its light, broken marks separate the child’s neck from the more saturated clothing. The collar also echoes the flowers above, so small areas of pale colour recur at different heights within the portrait.
The exposed upper arms appear at the lower sides. Their skin is described more continuously than some passages of the garment, helping distinguish body from costume. The crop keeps the emphasis on face, headwear and shoulders rather than on an entire standing figure.
Different kinds of mark coexist across these areas. The face has relatively small transitions; the sleeves retain stronger directional strokes; the flowers are built from loose pale accents. The image’s coherence depends on their relationship rather than on giving every surface the same degree of finish.
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
The Philadelphia Museum of Art demonstrates techniques used to make Cassatt’s colour prints.
Watch on YouTubeAn oil painting against a muted field
The background is comparatively quiet, with grey-green and brownish passages surrounding the bonnet and shoulders. It contains visible brushwork but little detailed setting. Its role is chiefly to distinguish the strong costume colours and make the outline readable.
That simplicity concentrates the portrait. There is no prominent object outside the figure that redirects attention into a separate narrative. The eye moves instead between face, flowers, ribbons and sleeves. The costume supplies most of the image’s internal variety.
The medium remains oil on canvas, as the owning museum records. Open or emphatic brushstrokes do not make it a pastel. Nor can the green surface be used to identify a particular pigment or conservation treatment from appearance alone. [1]
For a viewer, the useful distinction is between visible handling and a scientific account of materials. We can follow strokes and folds without diagnosing a recipe. The painting offers a specific combination of close facial description and broader costume marks in an oil medium.
Sara’s name and the collection credit
The museum’s subject index names Sara while leaving her fuller identity unidentified. Its first-name title therefore should not be expanded into a certain family history. The spelling Sarah, encountered in some reproductions, does not establish a different child or a second version of this particular portrait. [1]
The John Gellatly gift credit explains the painting’s museum acquisition. It does not identify an original commission or supply a complete sequence of earlier owners. A collector’s name and a sitter’s first name answer different questions about the object.
The portrait remains specific without those additions. The flowered bonnet, broad ribbons, warm sleeves and sideways glance distinguish it from other child portraits. Those visible features are a sound basis for identifying the image when titles or spellings vary.
Simone’s green bonnet: another sitter and medium
Head of Simone in a Green Bonnet with Wavy Brim provides a useful comparison. Sotheby’s 2005 catalogue, available in a syndicated entry on Invaluable, describes that separate work as pastel on paper, made about 1904. [15]
Its brim moves in a pronounced wave, hanging lower on one side and rising on the other. A dark neckband and lightly indicated torso give the head a different surround. More open paper remains below the face, so the balance between described head and surrounding surface is unlike the fuller costume here.
Sara’s oil uses floral decoration and long green ribbons to extend the headwear down into the body. Simone’s pastel makes the brim’s irregular silhouette more dominant. Similar green headwear therefore leads to different structures, in different media, around separately titled sitters.
The broader discussion of Cassatt’s drawings and pastels considers that range of handling on paper. It should not turn Sara’s oil into a pastel or import another sheet’s paper history. The comparison is clearest when each object keeps its own medium, support and identity.
Returning to the Smithsonian painting, the large bonnet does not overwhelm the face. It creates a coloured enclosure within which a small glance remains distinct. The long ribbons and warm sleeves carry that arrangement through the rest of the canvas, making costume and likeness work together.
Head of Simone in a Green Bonnet with Wavy Brim.
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.
| Name | Date | Medium |
|---|---|---|
| A Child’s Bath — LACMA oil | 1880 | Oil on canvas |
| A Goodnight Hug | 1880 | Pastel |
| After the Bullfight | 1873 | Oil on canvas |
| Afternoon Tea Party | 1890–91 | Colour print |
| At the Theatre (Lydia Cassatt Leaning on Her Arms, Seated in a Loge) | About 1879 | Pastel |
| Automne, portrait de Lydia Cassatt | 1880 | Oil on canvas |
| Breakfast in Bed | 1897 | Oil on canvas |
| Bust of Ellen with Bows in Her Hair | 1898 | Pastel |
| By the Pond | About 1896 in Met and Terra records; about 1898 at MoMA | Not established |
| Child Drinking Milk from a Bowl; provisionally identified composition (qualified identification) | About 1890, following inventory and catalogue text | Pastel |
| Child in a Straw Hat | About 1886 | Oil on canvas |
| Child Picking a Fruit | 1893 | Oil on canvas |
| Children Playing on the Beach | 1884 | Oil on canvas |
| Clarissa, Turned Left, with Her Hand to Her Ear | About 1890–93 in Sotheby’s 2012 entry; about 1893 in GCMA notice | Pastel |
| Denise at her Dressing Table | About 1908–09 | Oil on canvas |
| Driving | 1881 | Oil on canvas |
| Eddy Cassatt (Edward Buchanan Cassatt) | 1875 | Oil on canvas |
| Ellen Mary Cassatt in a White Coat | About 1896 | Oil on canvas |
| Emmie and her Child | About 1890 | Oil on canvas |
| Gathering Fruit | About 1893 | Not established |
| Girl Arranging her Hair | 1886 | Oil on canvas |
| Head of a Child with a Red Hat | 1903, signed and dated | Pastel |
| Head of a Woman in a Large Hat | About 1909 | Pastel |
| Head of Simone in a Green Bonnet with Wavy Brim | About 1904 | Pastel |
| In the Garden | 1903 or 1904 | Oil on canvas |
| In the Loge | 1878 | Oil on canvas |
| In the Omnibus | 1890–91 | Colour print |
| In the Omnibus [recto] — preparatory drawing | c. 1891 | Chalk and graphite |
| In the Opera Box (No. 3) [recto] — preparatory drawing | 1880 | Graphite |
| In the Opera Box (No. 3) — print | c. 1880 | Intaglio print |
| Jeune fille au jardin (Young Woman Sewing in a Garden) | 1880–82 | Oil on canvas |
| Jules Dried by His Mother; provisionally identified composition (qualified identification) | 1901, following catalogue text | Oil on canvas |
| Lady in Black, in a Loge, Facing Right | c. 1880 | Etching |
| Lilacs in a Window | About 1880–83 | Oil on canvas |
| Little Girl in a Blue Armchair | 1878 | Oil on canvas |
| Louise Nursing her Child | 1899 in Luxembourg caption; 1898–99 in loan and Arp records | Pastel |
| Madame Gaillard and Her Daughter Marie-Thérèse | 1897, Reynolda collection listing | Pastel |
| Maternal Caress | 1890–91 | Not established |
| Maternal Caress — preparatory drawing | About 1891 | Charcoal and graphite |
| Mathilde Holding a Baby Who Reaches out to the Right | About 1889, Christie’s catalogue | Pastel |
| Mimi as a Brunette | c. 1889 | Drypoint |
| Mimi Holding a Japanese Fan | c. 1889 | Drypoint |
| Modern Woman | 1892–93; displayed in 1893 | Not established |
| Mother about to Wash her Sleepy Child | 1880 | Oil on canvas |
| Mother and Child (Maternal Kiss) | 1896 | Pastel |
| Mother and Child (Nude Dark-Eyed Little Girl with Mother in Patterned Wrapper) | About 1898–99, Sotheby’s catalogue | Pastel |
| Mother and Child (The Oval Mirror) | About 1899 | Oil on canvas |
| Mother Berthe Holding Her Nude Baby | 1898–99 | Pastel |
| Mother in Purple Holding her Child | About 1914, Christie’s catalogue | Pastel |
| Mother Playing with Child | About 1897 | Pastel |
| Mother’s Kiss | 1890–91 | Colour print |
| Nurse Reading to a Little Girl | 1895 | Pastel |
| Poppies in a Field (formerly Cassatt; attributed to Victor Gabriel Gilbert) | About 1880, current museum record | Oil on panel |
| Portrait of an Elderly Lady | c. 1887 | Oil on canvas |
| Portrait of Madame AF Aude and her Two Daughters | 1899, Breeskin 1970 exhibition catalogue | Pastel |
| Portrait of the Artist | 1878 | Watercolour and gouache |
| Reading Le Figaro | 1878, NGA 2026 checklist; about 1877–78 in SAAM’s 2015 caption | Oil on canvas |
| Reflection — drypoint | c. 1890 | Drypoint |
| Sara Holding a Cat | About 1907–08 | Oil on canvas |
| Sara in a Green Bonnet | About 1901 | Oil on canvas |
| Sara with Her Dog, in an Armchair, Wearing a Bonnet with a Plum Ornament | 1901 | Pastel |
| Self Portrait | About 1880 | Watercolour and gouache |
| Simone in Blue Plumed Hat | About 1903 | Pastel |
| Simone Seated on the Grass next to her Mother | 1901–02 | Pastel |
| Sketch of Master St. Pierre | Date not established | Pastel |
| Sleepy Baby | About 1910 | Pastel |
| Smiling Mother with Sober Faced Child | Date not established | Pastel |
| Spanish Dancer Wearing a Lace Mantilla | 1873 | Oil on canvas |
| Summertime, horizontal painting | 1894–95, current Sotheby’s catalogue | Oil on canvas |
| Tea — print | c. 1890 | Drypoint |
| The Bath | 1890–91 | Not established |
| The Boating Party | 1893–94 | Oil on canvas |
| The Caress | 1902 | Oil on canvas |
| The Child's Bath | 1893 | Oil on canvas |
| The Coiffure | 1890–91 | Colour print |
| The Cup of Tea | About 1880–81 | Oil on canvas |
| The Fitting | 1890–91 | Colour print |
| The Lamp | 1890–91 | Colour print |
| The Letter | 1890–91 | Colour print |
| The Loge | About 1878–1880 | Oil on canvas |
| The Mandolin Player | 1868 | Oil on canvas |
| The Manicure (Les Ongles; The Nails) | About 1908 | Intaglio print |
| The Tea; Le Thé | About 1880 | Oil on canvas |
| The Visitor | c. 1880 | Intaglio print |
| Two Sisters | 1896 | Pastel |
| Two Women Seated by a Woodland Stream | About 1869 | Oil on canvas |
| Two Women Throwing Flowers During Carnival | 1872 | Oil on canvas |
| Under the Horse-Chestnut Tree | 1896–97, National Gallery and MoMA records | Not established |
| Woman Bathing (La Toilette) | 1890–91 | Colour print |
| Woman in a Loge (Woman with a Pearl Necklace) | 1879 | Oil on canvas |
| Woman Reading | 1878–79 | Oil on canvas |
| Woman Standing, Holding a Fan | 1878–79 | Distemper |
| Woman with a Fan | c. 1878–1879 | Oil on canvas |
| Woman with a Red Zinnia | 1891 | Oil on canvas |
| Woman with a Sunflower | About 1905 | Oil on canvas |
| Young Girl at a Window | c. 1883–1884 | Oil on canvas |
| Young Girl with Brown Hair, Looking Left | About 1913 (1997 summary catalogue) | Pastel |
| Young Mother Sewing | 1900 | Oil on canvas |
| Young Woman in Green, Outdoors in the Sun | About 1914 | Oil on canvas |
Discussion
Look again at the images and ideas explored in Sara in a Green Bonnet by Mary Cassatt. These editorial prompts invite your observations.
Reader Insights
The bonnet seems almost to surround the entire small face. What does this first detail make you notice?
The face turns almost frontally, while the eyes glance towards the left. How does it affect your reading of the whole work?
How do the long ribbons make the bonnet part of the whole portrait rather than only a frame around the face?
Join the Conversation
Share a detail, comparison or question about Sara in a Green Bonnet by Mary Cassatt below.
References
- Smithsonian American Art Museum, Sara in a Green Bonnet, 1929.6.11, current object record and image, about 1901, oil on canvas, gift of John Gellatly. The subject index names Sara without a fuller identification. View source.
- Denver Art Museum, Whistler to Cassatt Access Guide, The Salon, stop 104. View source.
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- Sotheby’s, Young Woman in Green Outdoors in the Sun, Modern Day. View source.
- Sotheby’s, 18 May 2005, lot 39, Head of Simone in a Green Bonnet with Wavy Brim, syndicated on Invaluable, public description and image; about 1904, pastel on paper. The original Sotheby’s-domain catalogue and gated result are not the sources used. View source.
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- Metropolitan Museum of Art, Denise at Her Dressing Table, 2005.129. View source.
- Denver Art Museum, Whistler to Cassatt exhibition guide, stop 112: Bust of Ellen with Bows in Her Hair. View source.
- Museum of Fine Arts, Boston, Ellen Mary in a White Coat, 1982.630. View source.
- Amon Carter Museum of American Art, Woman Standing Holding a Fan, 2011.20. View source.
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- Metropolitan Museum of Art, The Fitting, 16.2.8 final state. View source.
- Reynolda House Museum of American Art, Mary Cassatt collection listing: Madame Gaillard and Her Daughter Marie-Thérèse, 1897. View source.
- Wake Forest University, Wake Women 2023 schedule, Highlighting the Art of Women at Reynolda, captioned Cassatt image. View source.
- Detroit Institute of Arts, In the Garden, 36629. View source.
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- Sotheby’s, A Goodnight Hug,N09860lot11,14May2018. View source.
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- Joslyn Art Museum, Art Break:Woman Reading,1943.38,program object caption. View source.
- Los Angeles County Museum of Art, A Child’s Bath, M.62.8.14. View source.
- National Gallery of Art, The Lamp, 5937. View source.
- Sotheby’s, Tête de Femme au Grand Chapeau, 2008 N08449 lot135. View source.
- Metropolitan Museum of Art, Lilacs in a Window, 1997.207. View source.
- National Gallery of Art, The Loge,1963.10.96. View source.
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