Who painted Sara Wearing a Bonnet and Coat?

Sara Wearing a Bonnet and Coat was painted by Mary Cassatt in 1905.

Where can I see Sara Wearing a Bonnet and Coat?

Sara Wearing a Bonnet and Coat is held by National Gallery of Art.

Artwork

Sara Wearing a Bonnet and Coat

Mary Cassatt , 1905

Sara Wearing a Bonnet and Coat is a pastel drawing by Mary Cassatt. It dates from 1905 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created circa 1905, this work is a pastel drawing executed on a chine collé support, employing a counterproof technique that reproduces the original drawing’s tones. The composition presents a young girl, Sara, attired in a pink bonnet adorned with blue flowers and a light‑toned coat, rendered with the soft, blended quality characteristic of the medium.

Subject & Meaning

The figure of Sara is depicted in a moment of quiet confidence, her round face and gentle smile suggesting a private, everyday scene. Cassatt’s focus on a solitary child aligns with her broader interest in the domestic sphere and the nuanced relationships that define women’s and girls’ lives in the early twentieth century.

Technique & Style

Using pastel sticks on paper, Cassatt layered hues to model light and shadow, allowing colors to merge in a loose, sketch‑like manner. The chine collé base provides a smooth, slightly translucent surface that enhances the pastel’s luminosity, while the counterproof process yields a subtle tonal reversal that emphasizes the drawing’s immediacy.

History & Provenance

The drawing was produced during Cassatt’s mature period in France, where she had lived for most of her adult life. Though the work has changed hands several times, it remains documented as part of the artist’s oeuvre of intimate figure studies, reflecting her sustained engagement with pastel as a primary medium.

Context

Cassatin’s career intersected with the Impressionist circle; she was a close associate of Edgar Degas and exhibited alongside the group. Contemporary critic Gustave Geffroy placed her among the three leading women of Impressionism, alongside Marie Bracquemond and Berthe Morisot, recognizing her contributions to the movement’s exploration of modern life.