Mary Cassatt at the Louvre: The Etruscan Gallery

Mary Cassatt at the Louvre: The Etruscan Gallery by Edgar Degas, created between 1879 and 1880, offers a rare, physical glimpse into the artist's meticulous printmaking practice. This specific object is not a finished impression, but the original technical material: a cancelled etched and aquatinted copper plate. The work depicts the American Impressionist Mary Cassatt, who was a close professional friend and colleague of Degas, viewing antiquities in the Louvre Museum's Etruscan collection. The portrayal captures the quiet concentration and intimacy of the museum environment, a characteristic subject for Degas that contrasted sharply with the outdoor themes favored by many of his contemporaries during the 1876 to 1900 period.

Degas was relentless in his experimentation with printing methods, often combining etching, drypoint, and aquatint to achieve diverse tonal effects. This combination allowed the French artist to move beyond the linear limitations of standard etching into rich, velvety textures and deep shadows. The technical classification of this object as a cancelled plate is significant. "Cancelled" signifies that the artist or printer intentionally scored the surface after the authorized edition of prints was pulled, ensuring that no subsequent unauthorized impressions could be made. This step preserved the integrity and limited nature of the original edition.

Studying the copper plate itself reveals the intricate physical labor involved in achieving the final printed image. Its survival as a technical material provides invaluable information about Degas’s working methodology and his demanding standards for the graphic arts. This piece offers direct insight into the collaborative relationship between Degas and Cassatt, showing her not only as a subject but as a serious student of art history. The cancelled etched and aquatinted copper plate resides in the collection of the National Gallery of Art, serving as a critical artifact for researchers interested in 19th-century French printmaking techniques.