The Milliner

Prints and Drawings

c. 1877

Eva Gonzalès
French, 1849-1883

Eva Gonzalès’s subjects were most often women engaged in activities such as reading, knitting, or filling a vase with flowers. This pastel of a milliner, or hat-maker, shows the figure handling the trimmings that will eventually be used to decorate a hat. Millinery was a popular subject for the Impressionists, given their interest in fashion and scenes from modern life.

Status: Currently Off View
Department: Prints and Drawings

Artist: Eva Gonzalès
Title: The Milliner
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1872–1882
Medium: Pastel on canvas
Inscriptions: Signed upper right: "Eva Gonzalès"
Dimensions: 45 × 37 cm (17 3/4 × 14 5/8 in.)
Credit Line: Olivia Shaler Swan Memorial Collection
Reference Number: 1972.362
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/39068/manifest.json

H. E., “Dessins, Fusains, Pastels (Salon de 1883),” Journal des Artistes (June 1, 1883), no. 22.
Paul Leroi, “Le Salon de 1883, Aquarellistes Français et Étrangers,” L’Art (July-September 1883), p. 79.
Philippe Burty, Catalogue de l’Exposition des Peintures et Pastels d’Eva Gonzalès (Paris, 1885), p. 15.
Edmond Bazire, Catalogue de Ventes des Tableaux, Pastels-Aquarelles par Eva Gonzalès (Paris, 1885), p. 12.
L. Dimier, “Chronique des Arts,” L’Action Française (April 12, 1914), p. 4.
Francois Monod, “L’Impressioninisme Féminin,” Art et Décoration (May 1914), p. 3.
Paul Bayle, “Eva Gonzalès,” La Rénaissance (June 1932), p. 115.
Fabien Solar, “Expositions, Rétrospective Eva Gonzalès à la Galerie Marcel Bernheim,” Les Échos d’Art (August 1932), p. 4.
Jean Bouret, “Eva Gonzalès, Muse Inspirée de Manet,” Les Arts (March 3, 1950), p. 4.
Claude Roger-Marx, “Un Peintre du Bonheur: Eva Gonzalès,” Le Figaro Littéraire, 204 (March 18, 1950), p. 8.
Claude Roger-Marx, “Eva Gonzalès,” Arts (July 14, 1950), p. 8.
Claude Roger-Marx, Eva Gonzalès (Saint-Germain-en-Laye, 1950), pp. 19-20, and 25 (ill.).
“Recent Museum Acquisitions,” The Burlington Magazine, 115, (August 1973), p. 534 (ill.).
Sophie, Monneret, L’Impressionnisme et son Epoque, I (Paris, 1978), p. 251.
Richard Brettell and Suzanne Folds McCullagh, Degas in The Art Institute of Chicago (Chicago, 1984), p. 132 (ill.).
Tamar Garb, Women Impressionists (Oxford, 1986), p. 53 (ill.).
“An Intimate Vision: Women Impressionists,” exh. cat. (Bilbao, 2001).
Hollis Clayson, Painted love: Prostitution in French Art of the Impressionist Era, 2nd ed. (New Haven, 2003).

Paris, Cercle Artistique et Littéraire, “Exposition Spéciale des Artistes Femmes,” 1882, cat. 156.
Paris, Palais des Champs-Elysées, “Salon,” 1883, cat. 2852.
Paris, Salons de la Vie Moderne, “Eva Gonzalès,” 1885, cat. 86.
Paris, Bernheim-Jeune, “Eva Gonzalès,” 1914, cat. 24.
Paris, Galerie Marcel Bernheim, “Eva Gonzalès,” 1932, cat. 30.
Paris, Alfred Daber, “Eva Gonzalès” 1952, cat. 23.
Monte Carlo, Principauté de Monaco, Sporting, “Eva Gonzalès,” 1952, cat. 22.
Paris, Alfred Daber, “Eva Gonzalès,” 1959, cat. 31.
The Art Institute of Chicago, May 1, 1987-July 24, 1989.
The Art Institute of Chicago, “Impressionism, Fashion & Modernity”, June 26-September 22, 2013, pp. 224-225, fig. 6 (ill.), cat. by Gloria Groom et. al.

Estate of the artist; sold, Hôtel Drouot, Paris, February 20, 1885, lot 74, to Henri Guerard (died 1897) (the artist’s husband) [Sainsaulieu 1990]; by descent to his second wife, Jeanne Guerard-Gonzalès (died 1924) (the artist’s sister) [Sainsaulieu 1990]; by descent to the artist’s son, Jean-Raymond Guerard [Sainsaulieu 1990]. Sold by Paul Rosenberg, New York, to the Art Institute, 1972.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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