About This Artwork

Edgar Degas
French, 1834-1917

Portrait after a Costume Ball (Portrait of Madame Dietz-Monnin), 1879

Distemper, with metallic paint and pastel, on fine-weave canvas, prepared with a glue size
33 3/4 x 29 5/8 in. (85.7 x 75.3 cm); overall: 39 in.
Inscribed at lower left: Degas

Joseph Winterbotham Collection, 1954.325

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, 4me Exposition de Peinture, April-May, 1879, cat. 59.

Cleveland Museum of Art, French Art Since 1800, November 7–December 8, 1929, no cat.

The Art Institute of Chicago, A Century of Progress, Exhibition of Painting and Sculpture, June 1–November 1, 1933, cat. 290.

The Arts Club of Chicago, Joseph Winterbotham Collection, December 9-31, 1936, cat. 11.

Boston, Museum of Fine Arts, Art in New England: Paintings, Drawings, Prints From Private Collections in New England, June 9-September 10, 1939, cat. 37.

The Art Institute of Chicago, Masterpieces in Memory of Chauncey McCormick, January 15–February 20, 1955, cat. 13.

The Art Institute of Chicago, Degas in The Art Institute Chicago, July 19–September 23, 1984, cat. 47 (ill.).

Washington, D.C., National Gallery of Art, Degas/Cassatt, May 11–October 5, 2014.

Publication History

Etienne Charles, “Les Mots de Degas,” La Renaissance 1 (April 1918), p. 4 (ill.).

Camille Mauclair, Degas (New York, 1937), p. 64 (ill.).

P. A. Lemoisne, Degas et son oeuvres, vol. 2 (Paris, 1946), no. 534 (ill.).

Marcel Guerin, ed., Degas Letters, trans. M. Kay (Oxford, 1947), pp. 60-61, no. 37.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 120.

Jean Sutherland Boggs, Portraits by Degas (Berkeley and Los Angeles, 1962), p. 52.

Theodore Reff, “Some Unpublished Letters of Degas,” Art Bulletin 50, 1 (1968), pp. 90-91.

Alfred Werner, Degas Pastels (New York, 1968), p. 22.

John Maxon, The Art Institute of Chicago (New York, 1970), pp. 267, 280 (ill.).

The Art Institute of Chicago: 100 Masterpieces (Chicago, 1978), no. 62.

Diane Kelder, The Great Book of French Impressionism (New York, 1980), p. 16 (ill.).

The Joseph Winterbotham Collection at the Art Institute of Chicago: The Art Institute of Chicago Museum Studies 20, 2 (1986), pp. 114–115 (ill.).

Charles S. Moffet, The New Painting: Impressionism 1874-1886, exh. cat. (The Fine Arts Museums of San Francisco and National Gallery of Art, Washington, 1986), p. 267.

Richard Kendall, ed., Degas by Himself: Drawings, Prints, Paintings, Writings (London, 1987), pp. 114-15 (ill.).

Felix Baumann and Marianne Karabelnik, eds., Degas Portraits, exh. cat. (Kunsthaus Zurich, 1994), pp. (ill.) 18, 105, 106.

Anthea Callen, “The Unvarnished Truth: Mattness, ‘Primitivism’ and Modernity in French Painting, c. 1870-1907,” The Burlington Magazine 136, 1100 (November 1994), p. 742.

Simon Kelly and Esther Bell, Degas, Impressionism, and the Paris Millinery Trade, exh. cat. (Fine Arts Museums of San Francisco/ Legion of Honor/ Delmonico Books/ Prestel, 2017), pp. 153, fig. 75 (ill).

Ownership History

Degas Sale, Paris, Georges Petit, May 4-5, 1918, lot 116 (ill.); sold to Jacques Seligmann, Paris [according to Charles Durand-Ruel’s letter to Richard Brettell, dated May 10, 1983, copy in curatorial file]; sale, New York, American Art Association, January 27, 1921, lot 34 (ill.). Henry D. Hughes, Philadelphia [according to Lemoisne 1946]. Sale, New York, American Art Association, January 28, 1926, lot 171 (ill.). Reinhardt Gallery, New York by at least 1933; sold to Joseph Winterbotham (died 1954), Burlington, Vt. by 1933 [see Chicago 1933 and an inventory of Joseph Winterbotham collection accompanying the exhibition at The Chicago Arts Club in 1936, copy in curatorial file]; bequeathed to the Art Institute, 1954.

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