In the Omnibus

In the Omnibus by Mary Cassatt (American, 1844-1926) printed with Leroy (French, active 1876-1900) is a masterful color print executed between 1890 and 1891. This complex work, classified as a print, utilizes color aquatint and drypoint from three separate plates, achieving its varied tones through the careful technique of à la poupée, where ink is applied locally to the plate surface. This period marks the height of Cassatt’s serious engagement with printmaking, an endeavor that often paralleled the formal concerns of Japanese woodblock prints, which she deeply admired and helped popularize among her fellow Impressionists.

Cassatt was a key American figure associated with French Impressionism, known for her intimate depictions of modern women in domestic and public spaces. The work exemplifies her stylistic transition toward the flattening of forms and graphic outlines characteristic of her print series from this decade. While the exact setting implied by the title, In the Omnibus, suggests a moment of shared, public transit, Cassatt focuses on the private introspection and often isolated connection between the figures. The precision of the drypoint lines provides necessary structure to the otherwise soft coloration achieved by the aquatint process, balancing graphic strength with painterly nuance.

This piece is recognized as one of the finest examples of late 19th-century color prints produced by an artist aligned with the Impressionism movement. Cassatt’s sophisticated use of color and innovative print techniques significantly elevated the status of the print medium both in the United States and Europe. As an important example of her graphic production, the original work resides in the distinguished collection of the Art Institute of Chicago. The widespread appreciation for Cassatt’s technical mastery ensures that high-quality prints and historical references to this canonical work are often found available through public domain collections today.