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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

Two Sisters by Mary Cassatt: Introduction

One face turns in profile towards another seen more frontally. Below them, a large open fan spreads across the right-hand figure’s torso, its dark ribs leading down towards the cropped lower edge. Pink fabric and two rounded masses of dark hair connect the pair within a compact horizontal image. Cassatt gives their different directions of looking a clear compositional form.

Sotheby’s catalogued Two Sisters in its 2005 sale as a pastel on paper executed in 1896, measuring 37.5 × 53.3 centimetres. The entry identifies Breeskin number 259 and records the signature at the upper left. These details belong to the fan composition discussed here. [1]

At a Glance

  • ArtistMary Cassatt [1]
  • TitleTwo Sisters [1]
  • Date1896 [1]
  • MediumPastel on paper [1]
  • Catalogue dimensions37.5 × 53.3 cm [1]
  • Catalogue referenceBreeskin 259, reported by Sotheby’s [1]
  • Historical saleSotheby’s, 2005, lot 44 [1]
  • ModelsUnnamed in the cited catalogue [1]

This work across Mary Cassatt’s career

Contents

  1. Profile and a more frontal face
  2. The fan across the lower right
  3. Dark hair and pink clothing
  4. A close horizontal crop
  5. What the title establishes
  6. Children Playing on the Beach
  7. The Gaillard pair at Reynolda
  8. Historical collections and exhibitions

Profile and a more frontal face

The left-hand figure’s head turns towards the right. The forehead, nose, lips and chin create a clear profile, while the neck and shoulder continue into the lower left. The face projects towards the small interval separating the two heads.

The other figure is seen more frontally, with both eyes visible. Her attention appears directed towards the left-hand side rather than straight out of the picture. The difference makes the group feel internally connected without requiring identical poses.

The heads are close, but their outlines do not merge. A narrow region of background and changing tones separates profile from face. That interval is important: it permits the figures to remain two distinct presences within a tightly gathered arrangement.

A viewer may read the poses as an exchange, but the pastel does not record words or identify a particular conversation. The visible relation between two face directions is already enough to organise the upper half. It need not become evidence of a private event.

The fan across the lower right

The fan is the largest accessory and one of the strongest shapes. Its curved upper edge passes below the more frontal face, leaving that head visible while covering much of the torso. The lower figure is therefore encountered partly through an object set across it.

Dark ribs radiate across pink, muted red and lighter areas. Their repeated directions differ from the more concentrated tonal changes within the faces. The fan gives the lower right a clear graphic rhythm beneath the less regular hair and features above.

Its upper arc also creates a second enclosing contour. The head has one boundary against the background; the fan supplies another below it. Together they concentrate attention on the exposed face between dark hair and patterned accessory.

The lower and right edges crop the fan, so the image does not offer a complete isolated view of its construction or grip. The visible part is enough to establish its role. It spreads outward, conceals some clothing and returns attention towards the close heads above.

Dark hair and pink clothing

The two dark hairstyles provide substantial rounded masses near the top. They are similar enough to connect the figures visually, yet different in outline and direction. The left follows the profile head towards a gathered form behind; the right rises in a broader dark enclosure above the forehead.

Pale faces interrupt those masses. Their warmer and cooler changes provide closer modelling than some of the surrounding garments and background. The contrast lets the likenesses remain specific within a surface where separate pastel marks are still conspicuous.

Pink clothing joins the lower foreground. At the left, a curved neckline and shoulder edge lead towards the fan, whose related warm colour extends across the right. Fabric and accessory form a visual connection without making the bodies identical.

The muted green-grey surround gives these warmer areas room to stand out. Some marks remain directional and open rather than describing an elaborate room. The setting contributes colour and contrast while providing little secure information about an exact location.

A close horizontal crop

The format holds heads, shoulders and fan close together. There is little space for a separate activity outside the pair, and the lower bodies continue beyond the boundary. The viewer encounters proximity through the amount of the sheet the figures occupy.

The two head directions create a movement across the width. The fan introduces a different set of diagonals below, while shoulders and clothing supply a broader lower connection. These related routes keep the eye circulating within the group.

Pastel on paper is the documented medium. The visible contrast between more closely described faces and separate surrounding marks does not identify particular pigments, fixative or the paper’s original colour. It also provides no measured account of how long the sitting took.

The open background can be considered as part of the composition without calling the work abandoned or preparatory. Its restraint keeps the attention near the faces and fan. The image has a clear arrangement even where the setting remains lightly specified.

Watch: Mary Cassatt

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Demonstrating Mary Cassatt's Color Printmaking Techniques

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What the title establishes

The title and auction account call the figures sisters, but do not name them or provide an independently established family history. Their closeness in the image is visible; their exact relationship cannot be reconstructed from resemblance alone. [1]

The auction also transmits Nancy Mowll Mathews’s interpretation of female companionship in Cassatt’s work. It offers a useful way to consider paired figures alongside her mother-and-child subjects, while remaining an attributed scholarly reading rather than proof of these sitters’ private bond. [1]

The distinction leaves the portrait’s particular qualities intact. A profile approaches a more frontal head, and the fan gives the shared lower area a strong pattern. Those relationships can convey proximity without a precise age difference, named household or recorded conversation.

Children Playing on the Beach

Children Playing on the Beach, an oil of 1884 in the National Gallery of Art, presents a different paired arrangement. The figures are close, but occupied separately with beach tools and play. [15]

Their attention turns downward towards pails and a shovel rather than towards each other’s faces. Clothing connects them through related light and blue areas, while the beach gives more space around their lower bodies. Their activities provide the main routes through the composition.

In Two Sisters, the close heads and large fan gather attention higher and more compactly. The accessory interrupts a torso rather than extending an activity down into a wide play area. Neither physical closeness nor similar clothing independently proves siblings in the beach painting.

Children Playing on the Beach.
Children Playing on the Beach.

The Gaillard pair at Reynolda

Reynolda’s current collection listing calls another paired pastel Madame Gaillard and Her Daughter Marie-Thérèse and dates it to 1897. The composition has also circulated under the older title Madame Meerson and Her Daughter. Its institutional image provides a distinct comparison. [16] [17]

There, the two faces look more outward, and the younger figure’s arm passes across the adult’s shoulder. Dark clothing forms a broader shared mass beneath the heads. Physical contact supplies a connection different from the fan composition’s inward profile and neighbouring frontal face.

The contrast shows two ways of holding a pair together. An arm can link bodies while faces retain separate outward directions; a closely turned profile can organise an exchange without the same shoulder-embracing gesture. The current names, date and ownership of the Gaillard work remain its own.

Madame Gaillard and Her Daughter Marie-Thérèse.
Madame Gaillard and Her Daughter Marie-Thérèse.

Historical collections and exhibitions

The 2005 catalogue reports a chain including Mrs. J. Cameron Bradley, a 1947 Parke-Bernet sale, Albert Otten, Edward A. Bragaline, the Avnets by 1969 and Kennedy Galleries. These are auction-reported stages, not a verified present collection. [1]

It also lists Pasadena Art Institute in 1951 and Joslyn Art Museum in 1969 among the work’s exhibition appearances. The later catalogue supplies those references; their original essays are not needed to recognise the exact fan composition. No current owner or sale outcome follows from the 2005 offering alone. [1]

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 Two Sisters by Mary Cassatt. These editorial prompts invite your observations.

Reader Insights

Editorial prompt · Look closely

One face turns in profile towards another seen more frontally. What does this first detail make you notice?

Editorial prompt · Consider the evidence

The left-hand figure’s head turns towards the right. How does it affect your reading of the whole work?

Editorial prompt · Your view

Does the fan connect the two faces visually, or does it make the right-hand figure seem more separate?

Join the Conversation

Share a detail, comparison or question about Two Sisters by Mary Cassatt below.

References

  1. Sotheby’s, Two Sisters, 2005, lot 44; exact pastel, dimensions, reported history and auction-transmitted Mathews interpretation. 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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  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. National Gallery of Art, Children Playing on the Beach, 1884, accession 1970.17.19; separate oil painting. View source.
  16. Reynolda House Museum of American Art, Mary Cassatt: collection listing; current title Madame Gaillard and Her Daughter Marie-Thérèse, 1897. 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.
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  37. Metropolitan Museum of Art, Denise at Her Dressing Table, 2005.129. View source.
  38. Denver Art Museum, Whistler to Cassatt exhibition guide, stop 112: Bust of Ellen with Bows in Her Hair. View source.
  39. Museum of Fine Arts, Boston, Ellen Mary in a White Coat, 1982.630. View source.
  40. Amon Carter Museum of American Art, Woman Standing Holding a Fan, 2011.20. View source.
  41. Smithsonian American Art Museum, Special Installation of Nineteen American Masterworks, 2015. View source.
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  43. Detroit Institute of Arts, In the Garden, 36629. View source.
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  48. Joslyn Art Museum, Art Break:Woman Reading,1943.38,program object caption. View source.
  49. Los Angeles County Museum of Art, A Child’s Bath, M.62.8.14. View source.
  50. National Gallery of Art, The Lamp, 5937. View source.
  51. Sotheby’s, Tête de Femme au Grand Chapeau, 2008 N08449 lot135. View source.
  52. Metropolitan Museum of Art, Lilacs in a Window, 1997.207. View source.
  53. National Gallery of Art, The Loge,1963.10.96. View source.
  54. Arp Museum Bahnhof Rolandseck, Maestras: Malerinnen1500–1900,25February–16June2024,official five-page flyer. View source.
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  57. Petit Palais / Paris Musées, Automne, portrait de Lydia Cassatt, PPP706; IIIF manifest 160008392. View source. (in French).
  58. Metropolitan Museum of Art, Maternal Caress, 16.2.5. View source.
  59. Philadelphia Museum of Art, Mother and Child Maternal Kiss, object 54049. View source.
  60. Metropolitan Museum of Art, Maternal Caress, preparatory drawing64.123.3, c1891. View source.
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  71. National Gallery of Art, In the Omnibus, 46725. View source.
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  90. Sotheby’s, Smiling Mother with Sober Faced Child, 2022. View source.
  91. Smithsonian American Art Museum, Spanish Dancer Wearing a Lace Mantilla, 1967.40. View source.
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  96. National Gallery of Art, Afternoon Tea Party, 46731. View source.
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  102. Tacoma Art Museum / David Setford, Impressionist Painting: From Pleasure Gardens to the Palais Garnier, 22 October 2019. View source.
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