What Style of Art Is Mary Cassatt Known for

American painter and printmaker

Mary Cassatt
Cassatt seated in a chair with an umbrella, 1913. Verso reads "The simply photograph for which she always posed."
Born	Mary Stevenson Cassatt (1844-05-22)May 22, 1844 Allegheny Urban center, Pennsylvania, U.S.
Died	June 14, 1926(1926-06-14) (aged 82) Château de Beaufresne, near Paris, France
Nationality	American
Education	Pennsylvania Academy of the Fine Arts, Jean-Léon Gérôme, Charles Chaplin, Thomas Couture
Known for	Painting
Movement	Impressionism
Signature

Mary Stevenson Cassatt (; May 22, 1844 – June 14, 1926)^[1] was an American painter and printmaker. She was built-in in Allegheny City, Pennsylvania (now function of Pittsburgh'due south N Side), just lived much of her adult life in France where she befriended Edgar Degas and exhibited with the Impressionists. Cassatt frequently created images of the social and individual lives of women, with particular emphasis on the intimate bonds between mothers and children.

She was described past Gustave Geffroy as one of "les trois grandes dames" (the three swell ladies) of Impressionism alongside Marie Bracquemond and Berthe Morisot.^[2] In 1879, Diego Martelli compared her to Degas, equally they both sought to draw movement, calorie-free, and design in the most modern sense.^[three]

Early life [edit]

Cassatt was born in Allegheny Metropolis, Pennsylvania, which is at present function of Pittsburgh.^[iv] She was born into an upper-middle-class family:^[5] Her male parent, Robert Simpson Cassat (subsequently Cassatt), was a successful stockbroker and land speculator. The bequeathed proper noun had been Cossart, with the family descended from French Huguenot Jacques Cossart, who came to New Amsterdam in 1662.^{[half dozen] [7]} Her mother, Katherine Kelso Johnston, came from a banking family unit. Katherine Cassatt, educated and well-read, had a profound influence on her daughter.^[viii] To that effect, Cassatt's lifelong friend Louisine Havemeyer wrote in her memoirs: "Anyone who had the privilege of knowing Mary Cassatt's mother would know at once that it was from her and her lonely that [Mary] inherited her ability."^[nine] A distant cousin of creative person Robert Henri,^[x] Cassatt was one of vii children, of whom two died in infancy. One brother, Alexander Johnston Cassatt, afterward became president of the Pennsylvania Railroad. The family unit moved due east, start to Lancaster, Pennsylvania, so to the Philadelphia area, where she started her schooling at the age of six.^[eleven]

Cassatt grew upwards in an environs that viewed travel as integral to education; she spent five years in Europe and visited many of the capitals, including London, Paris, and Berlin. While abroad she learned German language and French and had her beginning lessons in drawing and music.^[12] It is probable that her first exposure to French artists Jean Auguste Dominique Ingres, Eugène Delacroix, Camille Corot, and Gustave Courbet was at the Paris World's Fair of 1855. Also in the exhibition were Edgar Degas and Camille Pissarro, both of whom were after her colleagues and mentors.^[13]

Though her family objected to her becoming a professional creative person, Cassatt began studying painting at the Pennsylvania University of the Fine Arts in Philadelphia at the early historic period of 15.^[14] Office of her parents' concern may have been Cassatt'southward exposure to feminist ideas and the bohemian behavior of some of the male students. Every bit such, Cassatt and her network of friends were lifelong advocates of equal rights for the sexes.^[15] Although well-nigh 20% of the students were female, about viewed art as a socially valuable skill; few of them were determined, as Cassatt was, to make art their career.^[sixteen] She continued her studies from 1861 through 1865, the elapsing of the American Ceremonious State of war.^[4] Thomas Eakins was among her fellow students; afterwards Eakins was forced to resign as manager of the Academy.^[xi]

Impatient with the slow pace of instruction and the patronizing attitude of the male students and teachers, she decided to study the old masters on her own. She later said: "There was no teaching" at the University. Female students could not use live models, until somewhat subsequently, and the chief training was primarily drawing from casts.^[17]

Cassatt decided to finish her studies: At that time, no degree was granted. Subsequently overcoming her father'southward objections, she moved to Paris in 1866, with her female parent and family friends acting as chaperones.^[18] Since women could not yet attend the École des Beaux-Arts, Cassatt applied to report privately with masters from the school^[19] and was accepted to study with Jean-Léon Gérôme, a highly regarded teacher known for his hyper-realistic technique and his depiction of exotic subjects. (A few months later Gérôme likewise accustomed Eakins as a student.^[nineteen]) Cassatt augmented her artistic training with daily copying in the Louvre, obtaining the required let, which was necessary to control the "copyists", usually depression-paid women, who daily filled the museum to paint copies for sale. The museum also served equally a social place for Frenchmen and American female students, who, like Cassatt, were not allowed to attend cafes where the avant-garde socialized. In this way, fellow creative person and friend Elizabeth Jane Gardner met and married famed academic painter William-Adolphe Bouguereau.^[twenty]

Toward the finish of 1866, she joined a painting class taught by Charles Joshua Chaplin, a genre artist. In 1868, Cassatt also studied with creative person Thomas Couture, whose subjects were by and large romantic and urban.^[21] On trips to the countryside, the students drew from life, particularly the peasants going about their daily activities. In 1868, ane of her paintings, A Mandoline Player, was accepted for the commencement time by the option jury for the Paris Salon. With Elizabeth Jane Gardner, whose work was also accepted by the jury that year, Cassatt was 1 of two American women to first exhibit in the Salon.^[7] A Mandoline Player is in the Romantic manner of Corot and Couture,^[22] and is i of simply two paintings from the first decade of her career that is documented today.^[23]

The French art scene was in a process of change, equally radical artists such as Courbet and Édouard Manet tried to break away from accepted Bookish tradition and the Impressionists were in their formative years. Cassatt'due south friend Eliza Haldeman wrote home that artists "are leaving the Academy fashion and each seeking a new way, consequently just now everything is Chaos."^[twenty] Cassatt, on the other hand, continued to work in the traditional manner, submitting works to the Salon for over ten years, with increasing frustration.

Returning to the United States in the tardily summer of 1870—every bit the Franco-Prussian State of war was starting—Cassatt lived with her family in Altoona. Her father connected to resist her chosen vocation, and paid for her basic needs, just non her fine art supplies.^[24] Cassatt placed ii of her paintings in a New York gallery and found many admirers but no purchasers. She was also dismayed at the lack of paintings to written report while staying at her summer residence. Cassatt even considered giving up fine art, as she was adamant to make an independent living. She wrote in a letter of July 1871, "I have given up my studio & torn up my father'due south portrait, & have not touched a brush for six weeks nor ever will again until I run across some prospect of getting back to Europe. I am very anxious to go out west adjacent fall & become some employment, only I have not yet decided where."^[25]

Cassatt traveled to Chicago to attempt her luck, only lost some of her early paintings in the Nifty Chicago Fire of 1871.^[26] Soon later on, her work attracted the attention of Roman Catholic Bishop Michael Domenec of Pittsburgh, who commissioned her to paint 2 copies of paintings by Correggio in Parma, Italian republic, advancing her enough money to embrace her travel expenses and part of her stay.^[27] In her excitement she wrote, "O how wild I am to become to piece of work, my fingers farely itch & my optics water to see a fine picture again".^[28] With Emily Sartain, a fellow creative person from a well-regarded artistic family unit from Philadelphia, Cassatt prepare out for Europe again.

Impressionism [edit]

Within months of her return to Europe in the autumn of 1871, Cassatt's prospects had brightened. Her painting Ii Women Throwing Flowers During Funfair was well received in the Salon of 1872, and was purchased. She attracted much favorable observe in Parma and was supported and encouraged by the art community there: "All Parma is talking of Miss Cassatt and her picture, and everyone is anxious to know her".^[29]

Oil, c. 1871, private collection. Mrs. Currey had worked for the Cassatt family unit. When Mary Cassatt returned dwelling house from Paris at the outbreak of the Franco-Prussian war, she asked Mrs. Currey to pose for her and gave her the sketch. Superimposed (the canvas turned upside down) is a sketch of her begetter.

Later completing her commission for the bishop, Cassatt traveled to Madrid and Seville, where she painted a grouping of paintings of Spanish subjects, including Spanish Dancer Wearing a Lace Mantilla (1873, in the National Museum of American Art, Smithsonian Institution). In 1874, she made the decision to take upwards residence in France. She was joined by her sister Lydia who shared an apartment with her. Cassatt opened a studio in Paris. Louisa May Alcott's sister, Abigail May Alcott, was then an art student in Paris and visited Cassatt.^[vii] Cassatt connected to express criticism of the politics of the Salon and the conventional sense of taste that prevailed in that location. She was edgeless in her comments, as reported by Sartain, who wrote: "she is entirely too slashing, snubs all modern art, disdains the Salon pictures of Cabanel, Bonnat, all the names we are used to revere".^[30]

Cassatt saw that works by female artists were often dismissed with contempt unless the creative person had a friend or protector on the jury, and she would not flirt with jurors to curry favor.^[31] Her cynicism grew when one of the ii pictures she submitted in 1875 was refused by the jury, only to be accepted the following year afterward she darkened the background. She had quarrels with Sartain, who thought Cassatt too outspoken and cocky-centered, and somewhen they parted. Out of her distress and self-criticism, Cassatt decided that she needed to move away from genre paintings and onto more stylish subjects, in order to attract portrait commissions from American socialites abroad, but that attempt bore piddling fruit at showtime.^[32]

In 1877, both her entries were rejected, and for the start time in seven years she had no works in the Salon.^[33] At this depression point in her career she was invited past Edgar Degas to show her works with the Impressionists, a group that had begun their own serial of independent exhibitions in 1874 with much attendant notoriety. The Impressionists (likewise known as the "Independents" or "Intransigents") had no formal manifesto and varied considerably in discipline matter and technique. They tended to prefer plein air painting and the application of vibrant color in separate strokes with little pre-mixing, which allows the eye to merge the results in an "impressionistic" manner. The Impressionists had been receiving the wrath of the critics for several years. Henry Bacon, a friend of the Cassatts, idea that the Impressionists were so radical that they were "afflicted with some hitherto unknown disease of the heart".^[34] They already had one female member, artist Berthe Morisot, who became Cassatt's friend and colleague.

Cassatt admired Degas, whose pastels had made a powerful impression on her when she encountered them in an art dealer'south window in 1875. "I used to go and flatten my nose against that window and absorb all I could of his art," she later recalled. "It changed my life. I saw fine art then equally I wanted to encounter information technology."^[35] She accustomed Degas' invitation with enthusiasm and began preparing paintings for the adjacent Impressionist show, planned for 1878, which (after a postponement considering of the World'south Fair) took place on April x, 1879. She felt comfortable with the Impressionists and joined their cause enthusiastically, declaring: "we are carrying on a despairing fight & need all our forces".^[36] Unable to attend cafes with them without attracting unfavorable attention, she met with them privately and at exhibitions. She now hoped for commercial success selling paintings to the sophisticated Parisians who preferred the avant-garde. Her mode had gained a new spontaneity during the intervening two years. Previously a studio-bound artist, she had adopted the do of carrying a sketchbook with her while out-of-doors or at the theater, and recording the scenes she saw.^[37]

In 1877, Cassatt was joined in Paris by her begetter and female parent, who returned with her sister Lydia, all somewhen to share a big apartment on the fifth flooring of 13, Avenue Trudaine, ( 48°52′54″Northward ii°xx′41″E  /  48.8816°N 2.3446°E  / 48.8816; 2.3446 ). Mary valued their companionship, equally neither she nor Lydia had married. A case was made that Mary suffered from egotistic disturbance, never completing the recognition of herself as a person outside of the orbit of her female parent.^[38] Mary had decided early on in life that marriage would exist incompatible with her career. Lydia, who was often painted by her sister, suffered from recurrent bouts of illness, and her death in 1882 left Cassatt temporarily unable to work.^[39]

Cassatt'due south father insisted that her studio and supplies be covered by her sales, which were still meager. Afraid of having to paint "potboilers" to make ends meet, Cassatt practical herself to produce some quality paintings for the next Impressionist exhibition.^[11] Iii of her near accomplished works from 1878 were Portrait of the Creative person (self-portrait), Little Girl in a Blue Armchair, and Reading Le Figaro (portrait of her female parent).

Degas had considerable influence on Cassatt. Both were highly experimental in their use of materials, trying distemper and metallic paints in many works, such as Adult female Standing Holding a Fan, 1878–79 (Amon Carter Museum of American Art).^[40]

She became extremely practiced in the apply of pastels, eventually creating many of her nearly important works in this medium. Degas likewise introduced her to etching, of which he was a recognized main. The two worked side by side for a while, and her draftsmanship gained considerable strength under his tutelage. 1 example of her thoughtful arroyo to the medium of drypoint equally a mode for reflecting on her status equally an artist is 'Reflection' of 1889–ninety, which has recently been interpreted as a self-portrait.^[41] Degas in turn depicted Cassatt in a serial of etchings recording their trips to the Louvre. She treasured his friendship but learned not to look too much from his fickle and temperamental nature afterward a project they were collaborating on at the fourth dimension, a proposed journal devoted to prints, was abruptly dropped by him.^[42] The sophisticated and well-dressed Degas, then forty-v, was a welcome dinner guest at the Cassatt residence, and also they at his soirées.^[43]

The Impressionist exhibit of 1879 was the most successful to date, despite the absence of Renoir, Sisley, Manet and Cézanne, who were attempting in one case again to gain recognition at the Salon. Through the efforts of Gustave Caillebotte, who organized and underwrote the testify, the group made a profit and sold many works, although the criticism continued as harsh as ever. The Revue des Deux Mondes wrote, "M. Degas and Mlle. Cassatt are, nevertheless, the just artists who distinguish themselves... and who offer some attraction and some alibi in the pretentious show of window dressing and infantile daubing".^[44]

Cassatt displayed eleven works, including Lydia in a Loge, Wearing a Pearl Necklace, (Woman in a Loge). Although critics claimed that Cassatt'south colors were too bright and that her portraits were as well accurate to be flattering to the subjects, her work was not savaged as was Monet'south, whose circumstances were the virtually desperate of all the Impressionists at that time. She used her share of the profits to purchase a work past Degas and ane by Monet.^[45] She participated in the Impressionist Exhibitions that followed in 1880 and 1881, and she remained an agile member of the Impressionist circle until 1886. In 1886, Cassatt provided two paintings for the beginning Impressionist exhibition in the US, organized past fine art dealer Paul Durand-Ruel. Her friend Louisine Elder married Harry Havemeyer in 1883, and with Cassatt every bit advisor, the couple began collecting the Impressionists on a one thousand calibration. Much of their vast collection is now in the Metropolitan Museum of Art in New York City.^[46]

Cassatt besides made several portraits of family members during that period, of which Portrait of Alexander Cassatt and His Son Robert Kelso (1885) is one of her all-time regarded. Cassatt's style so evolved, and she moved away from Impressionism to a simpler, more straightforward arroyo. She began to exhibit her works in New York galleries as well. After 1886, Cassatt no longer identified herself with any art move and experimented with a variety of techniques.^[11]

Feminist Viewpoints and the "New Adult female" [edit]

Reading "Le Figaro" by Mary Cassatt (1878), Collection Mrs. Eric de Spoelberch, Haverford, Pennsylvania

Cassatt and her contemporaries enjoyed the wave of feminism that occurred in the 1840s, allowing them access to educational institutions at newly coed colleges and universities, such as Oberlin and the University of Michigan. Likewise, women's colleges such as Vassar, Smith and Wellesley opened their doors during this fourth dimension. Cassat was an outspoken advocate for women'southward equality, campaigning with her friends for equal travel scholarships for students in the 1860s, and the right to vote in the 1910s.^[15]

Mary Cassatt depicted the "New Woman" of the 19th century from the woman'due south perspective. As a successful, highly trained woman artist who never married, Cassatt—like Ellen Day Hale, Elizabeth Coffin, Elizabeth Nourse and Cecilia Beaux—personified the "New Woman".^[47] She "initiated the profound beginnings in recreating the image of the 'new' women", drawn from the influence of her intelligent and agile mother, Katherine Cassatt, who believed in educating women to be knowledgeable and socially active. She is depicted in Reading 'Le Figaro' (1878).^[48]

Although Cassatt did not explicitly make political statements about women'due south rights in her work, her artistic portrayal of women was consistently washed with dignity and the proposition of a deeper, meaningful inner life.^[15] Cassatt objected to being stereotyped every bit a "woman artist", she supported women'due south suffrage, and in 1915 showed eighteen works in an exhibition supporting the movement organised by Louisine Havemeyer, a committed and active feminist.^[49] The exhibition brought her into disharmonize with her sister-in-law Eugenie Carter Cassatt, who was anti-suffrage and who boycotted the testify forth with Philadelphia society in general. Cassatt responded by selling off her work that was otherwise destined for her heirs. In item The Boating Party, thought to have been inspired by the birth of Eugenie'southward girl Ellen Mary, was bought by the National Gallery, Washington DC.^{[50] [51]}

Relationship with Degas [edit]

Edgar Degas, Mary Cassatt Seated, Belongings Cards, c. 1880–1884, oil on canvas, 74 × threescore cm, National Portrait Gallery, Washington DC. NPG.84.34 Cassatt hated information technology after and wrote to her dealer Paul Durand-Ruel in 1912 or 1913 that "I don't want anyone to know that I posed for information technology."

Cassatt and Degas had a long menses of collaboration. The two painters had studios close together, Cassatt at 19, rue Laval, ( 48°52′51″North two°20′18″E  /  48.8808°N ii.3384°E  / 48.8808; ii.3384 ), Degas at 4, rue Frochot, ( 48°52′52″N 2°20′xvi″East  /  48.8811°N 2.3377°Eastward  / 48.8811; 2.3377 ),^[52] less than a five-minute stroll apart, and Degas developed the habit of looking in at Cassatt's studio and offering her advice and helping her proceeds models.^[37]

They had much in common: they shared like tastes in art and literature, came from flush backgrounds, had studied painting in Italy, and both were independent, never marrying. The degree of intimacy between them cannot be assessed at present, as no messages survive, merely it is unlikely they were in a human relationship given their bourgeois social backgrounds and potent moral principles. Several of Vincent van Gogh's messages attest Degas' sexual continence.^[53] Degas introduced Cassatt to pastel and engraving, both of which Cassatt quickly mastered, while for her part Cassatt was instrumental in helping Degas sell his paintings and promoting his reputation in America.^[54]

Both regarded themselves as figure painters, and the art historian George Shackelford suggests they were influenced by the art critic Louis Edmond Duranty's appeal in his pamphlet The New Painting for a revitalization in figure painting: "Permit us take leave of the stylized human body, which is treated like a vase. What we demand is the feature modern person in his apparel, in the midst of his social environs, at dwelling or out in the street."^{[55] [56]}

Mary Cassatt, Cocky-Portrait, c. 1880, gouache and watercolor over graphite on paper, 32.7cm x 24.6cm, National Portrait Gallery, Washington DC. NPG.76.33^[57]

After Cassatt'south parents and sister Lydia joined Cassatt in Paris in 1877, Degas, Cassatt, and Lydia were oft to exist seen at the Louvre studying artworks together. Degas produced two prints, notable for their technical innovation, depicting Cassatt at the Louvre looking at artworks while Lydia reads a guidebook. These were destined for a prints journal planned by Degas (together with Camille Pissarro and others), which never came to fruition. Cassatt oftentimes posed for Degas, notably for his millinery series trying on hats.

Around 1884, Degas fabricated a portrait in oils of Cassatt, Mary Cassatt Seated, Holding Cards.^[a] A Self-Portrait (c. 1880) past Cassatt depicts her in the identical hat and wearing apparel, leading art historian Griselda Pollock to speculate they were executed in a articulation painting session in the early years of their associate.^[59]

Cassatt and Degas worked well-nigh closely together in the fall and winter of 1879–eighty when Cassatt was mastering her printmaking technique. Degas owned a small press press, and by day she worked at his studio using his tools and press while in the evening she made studies for the etching plate the adjacent twenty-four hours. Even so, in April 1880, Degas abruptly withdrew from the prints periodical they had been collaborating on, and without his back up the project folded. Degas' withdrawal piqued Cassatt who had worked hard at preparing a print, In the Opera Box, in a large edition of fifty impressions, no doubt destined for the journal. Although Cassatt's warm feelings for Degas were to last her entire life, she never again worked with him every bit closely equally she had over the prints journal. Mathews notes that she ceased executing her theater scenes at this time.^[threescore]

Degas was forthright in his views, as was Cassatt.^[threescore] They clashed over the Dreyfus thing (early in her career she had executed a portrait of the art collector Moyse Dreyfus, a relative of the courtroom-martialled lieutenant at the center of the affair).^{[b] [62] [63]} Cassatt subsequently expressed satisfaction at the irony of Lousine Havermeyer's 1915 joint exhibition of hers and Degas' work being held in aid of women's suffrage, equally capable of affectionately repeating Degas' antifemale comments equally being estranged past them (when viewing her Two Women Picking Fruit for the get-go time, he had commented "No adult female has the right to draw like that").^[64] From the 1890s onwards their relationship took on a incomparably commercial aspect, as in general had Cassatt'south other relations with the Impressionist circle;^{[63] [65]} all the same they continued to visit each other until Degas died in 1917.^[66]

Afterwards life [edit]

Cassatt's reputation is based on an extensive series of rigorously drawn and tenderly observed paintings and prints on the theme of the mother and kid. The earliest dated work on this subject is the drypoint Gardner Held by His Mother (an impression inscribed "Jan/88" is in the New York Public Library),^[68] although she had painted a few earlier works on the theme. Some of these works depict her own relatives, friends, or clients, although in her later years she generally used professional models in compositions that are often reminiscent of Italian Renaissance depictions of the Madonna and Kid. After 1900, she concentrated nigh exclusively on mother-and-kid subjects, such as Adult female with a Sunflower.^[69] Viewers may be surprised to discover that despite her focus on portraying female parent-child pairs in her portraits, "Cassatt rejected the idea of becoming a married woman and mother..."^[70]

The 1890s were Cassatt's busiest and most artistic period. She had matured considerably and became more than diplomatic and less blunt in her opinions. She besides became a part model for immature American artists who sought her advice. Among them was Lucy A. Bacon, whom Cassatt introduced to Camille Pissarro. Though the Impressionist group disbanded, Cassatt still had contact with some of the members, including Renoir, Monet, and Pissarro.^[71]

Mary Cassatt, Female parent and Kid Before a Pool, c. 1898. Drypoint and aquatint on laid paper, Brooklyn Museum

In 1891, she exhibited a series of highly original colored drypoint and aquatint prints, including Woman Bathing and The Coiffure, inspired by the Japanese masters shown in Paris the year earlier. (Run across Japonism) Cassatt was attracted to the simplicity and clarity of Japanese design, and the adept employ of blocks of color. In her interpretation, she used primarily light, delicate pastel colors and avoided blackness (a "forbidden" color amid the Impressionists). Adelyn D. Breeskin, the author of two catalogue raisonnés of Cassatt's work, comments that these colored prints, "now stand up as her most original contribution... adding a new chapter to the history of graphic arts...technically, as color prints, they take never been surpassed".^[72]

Also in 1891, Chicago businesswoman Bertha Palmer approached Cassatt to paint a 12' × 58' mural about "Modernistic Adult female" for the Women's Building for the Earth'due south Columbian Exposition to be held in 1893. Cassatt completed the projection over the next 2 years while living in France with her mother. The mural was designed as a triptych. The cardinal theme was titled Young Women Plucking the Fruits of Knowledge or Science. The left panel was Young Girls Pursuing Fame and the right console Arts, Music, Dancing. The mural displays a community of women apart from their relation to men, as accomplished persons in their own right. Palmer considered Cassatt to be an American treasure and could think of no ane better to paint a mural at an exposition that was to do and then much to focus the world's attention on the status of women.^[74] Unfortunately the mural did not survive post-obit the run of the exhibition when the building was torn downward. Cassatt made several studies and paintings on themes similar to those in the landscape, so it is possible to see her development of those ideas and images.^[75] Cassatt also exhibited other paintings in the Exposition.

Every bit the new century arrived, Cassatt served as an advisor to several major art collectors and stipulated that they eventually donate their purchases to American fine art museums. In recognition of her contributions to the arts, French republic awarded her the Légion d'honneur in 1904. Although instrumental in advising American collectors, recognition of her art came more slowly in the United States. Fifty-fifty among her family members back in America, she received niggling recognition and was totally overshadowed by her famous brother.^[76]

Mère et enfant (Reine Lefebre and Margot before a Window), c. 1902

Mary Cassatt's brother, Alexander Cassatt, was president of the Pennsylvania Railroad from 1899 until his death in 1906. She was shaken, as they had been close, simply she connected to be very productive in the years leading upwards to 1910.^[77] An increasing sentimentality is apparent in her work of the 1900s; her work was popular with the public and the critics, but she was no longer breaking new basis, and her Impressionist colleagues who once provided stimulation and criticism were dying. She was hostile to such new developments in art as postal service-Impressionism, Fauvism and Cubism. ^[78] Two of her works appeared in the Armory Prove of 1913, both images of a female parent and kid.^[79]

A trip to Egypt in 1910 impressed Cassatt with the beauty of its aboriginal art, simply was followed by a crisis of creativity; not only had the trip exhausted her, but she alleged herself "crushed by the force of this Art", saying, "I fought against information technology just it conquered, it is surely the greatest Art the past has left the states ... how are my feeble easily to e'er pigment the effect on me."^[80] Diagnosed with diabetes, rheumatism, neuralgia, and cataracts in 1911, she did non slow down, but afterward 1914 she was forced to stop painting as she became almost bullheaded.

Cassatt died on June 14, 1926 at Château de Beaufresne, near Paris, and was buried in the family vault at Le Mesnil-Théribus, France.

• 

  House of rue de Marignan in Paris, where Mary Cassatt lived from 1887 until her expiry

• 

  Memorial on the facade of 10 rue de Marignan

Legacy [edit]

• Mary Cassatt inspired many Canadian women artists who were members of the Beaver Hall Group.
• The SS Mary Cassatt was a World War II Liberty transport, launched May sixteen, 1943.^[81]
• A quartet of immature Juilliard string musicians formed the all-female Cassatt Quartet in 1985, named in honor of the painter.^[82] In 2009, the award-winning group recorded String Quartets Nos. 1–3 (Cassatt String Quartet) by composer Dan Welcher; the 3rd quartet on the album was written inspired by the piece of work of Mary Cassatt as well.^[83]
• In 1966, Cassatt's painting The Boating Party was reproduced on a US postage postage stamp. Later she was honored by the Usa Post with a 23-cent Great Americans series postage postage stamp.^[84]
• In 1973, Cassatt was inducted into the National Women's Hall of Fame.^[85]
• In 2003, four of her paintings – Young Mother (1888), Children Playing on the Embankment (1884), On a Balcony (1878/79) and Kid in a Harbinger Hat (circa 1886) – were reproduced on the third issue in the American Treasures stamp serial.^[86]
• On May 22, 2009, she was honored by a Google Doodle in recognition of her altogether.^[87]
• Cassatt's paintings accept sold for every bit much as $4 million, the record price of $four,072,500 existence set in 1996 at Christie's, New York, for In the Box.^[88]
• A public garden in the twelfth arrondissement of Paris is named 'Jardin Mary Cassatt' in her memory.^[89]

Gallery [edit]

• 

  Portrait of Madame Sisley (1873)

• 

• 

  In the Box (1879)

• 

  Lydia Leaning on Her Arms, Seated in Loge (1879)

• 

  Miss Mary Ellison (1880)

• 

• 

  Children on the Embankment (1884)

• 

  Child in Straw Hat (1886)

• 

  Maternité (1890), pastel

• 

  Nurse Reading to a Lilliputian Girl (1895), pastel

• 

  The Pinkish Sash (1898), pastel

• 

  Jules Being Dried by His Female parent (1900)

• 

  Immature Woman in Green, Outdoors in the Lord's day (1914)

• 

  The Fitting (c. 1890), drypoint and aquatint, Brooklyn Museum

• 

  Offering the Panal to the Bullfighter (1873), oil on canvas, Clark Art Institute

Notes [edit]

1. ^ The cards are probably cartes de visite, used by artists and dealers at the fourth dimension to document their work. Stephanie Strasnick suggests that Degas used them as a device to stand for Cassatt every bit a peer and an artist in her own right, although Cassatt later took an aversion to the portrait and had it sold.^[58]
2. ^ Pro-Dreyfus included Camille Pissarro, Claude Monet, Paul Signac and Mary Cassatt. Anti-Dreyfus included Edgar Degas, Paul Cézanne, Auguste Rodin and Pierre-Auguste Renoir.^[61]

References [edit]

1. ^ "Mary Cassatt Self-Portrait". National Portrait Gallery. Smithsonian Institution. Retrieved June 12, 2018.
2. ^ Geffroy, Gustave (1894), "Histoire de 50'Impressionnisme", La Vie Artistique: 268 .
3. ^ Moffett, Charles S. (1986). The New Painting: IMpressionism 1874–1886. San Francisco: The Fine Arts Museums of San Francisco. pp. 276. ISBN0-88401-047-three.
4. ^ ^{a b} Roberts, Norma J. (1988). The American Collections. Columbus: Columbus Museum of Art. p. 36. ISBN978-0-918881-20-5.
5. ^ Pollock 1998, p. 280.
6. ^ Mathews 1998, p. three.
7. ^ ^{a b c} Rubinstein, Charlotte Streifer (1982). American women artists: from early Indian times to the present . Boston, Mass.: Hall. ISBN978-0816185351.
8. ^ Pollock 1998, pp. 281–82.
9. ^ Havemeyer, Louisine (1961). Xvi to Sixty: Memoirs of a Collector. New York: Priv. Impress. for the family unit of Mrs. H.O. Havemeyer and the Metropolitan Museum of Fine art. p. 272.
10. ^ Perlman, Bennard B. (1991). Robert Henri: His Life and Art . New York: Dover Publications. p. 1. ISBN978-0-486-26722-7.
11. ^ ^{a b c d} "Mary Cassatt - The Complete Works - Biography - marycassatt.org". www.marycassatt.org . Retrieved November 19, 2019.
12. ^ Mathews 1998, p. xi.
13. ^ McKown 1972, pp. 10–12.
14. ^ Mathews 1998, p. fifteen.
15. ^ ^{a b c} Dictionary of women artists. Gaze, Delia. London: Fitzroy Dearborn Publishers. 1997. ISBN978-1884964213. OCLC 37693713. {{cite book}}: CS1 maint: others (link)
16. ^ Mathews 1994, p. eighteen.
17. ^ McKown 1972, p. 16.
18. ^ Mathews 1994, p. 29.
19. ^ ^{a b} Mathews 1994, p. 31.
20. ^ ^{a b} Mathews 1994, p. 32.
21. ^ Mathews 1994, p. 54.
22. ^ Mathews 1998, p. 47.
23. ^ Mathews 1998, p. 54.
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25. ^ Mathews 1994, p. 74.
26. ^ McKown 1972, p. 36.
27. ^ MacPherson, Karen (June twenty, 1999). "Lasting impressions: National Gallery exhibition displays different hues of Mary Cassatt". Post-gazette.com. Retrieved June 23, 2020.
28. ^ Mathews 1994, p. 76.
29. ^ Mathews 1994, p. 79.
30. ^ Mathews 1994, p. 87.
31. ^ Mathews 1998, pp. 104–105.
32. ^ Mathews 1994, p. 96.
33. ^ Mathews 1998, p. 100.
34. ^ Mathews 1994, p. 107.
35. ^ Mathews 1998, p. 114.
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37. ^ ^{a b} Mathews 1994, p. 125.
38. ^ Zerbe, Kathryn J. "Essential Others and Spontaneous Recovery in the Life and Piece of work of Emily Carr: Implications for Understanding Remission of Disease and Resilience." International Periodical of Psychoanalytic Self Psychology 11.one (2016): 28–49. PMC. Web. October 26, 2016.
39. ^ Mathews 1998, p. 163.
40. ^ Jones, Kimberly A. (2014). Degas Cassatt. National Gallery of Art, Washington. p. 122.
41. ^ Georgopulos, Nicole M. (Dec 2019). "Rethinking Mary Cassatt's 'Reflection' every bit a Cocky-Portrait". Print Quarterly. xxxvi (4): 425–38.
42. ^ Mathews 1994, pp. 146–50.
43. ^ Mathews 1994, pp. 128–31, 147.
44. ^ McKown 1972, p. 73.
45. ^ McKown 1972, pp. 72–73.
46. ^ Mathews 1994, p. 167.
47. ^ Holly Pyne Connor; Newark Museum; Frick Art & Historical Heart. Off the Pedestal: New Women in the Art of Homer, Chase, and Sargent. Rutgers University Press; 2006. ISBN 978-0-8135-3697-two. p. 25.
48. ^ New Perspectives on Analogy: Gibson and Cassatt: Depicting the New Woman by Seo Kim. Norman Rockwell Museum. Retrieved March eighteen, 2014.
49. ^ Quinn, Bridget (August 17, 2020). "Mary Cassatt'southward Independent, Feminist Spirit". Hyperalergic. Retrieved August 30, 2020.
50. ^ Mathews 1994, pp. 306–x.
51. ^ Mary Cassatt: A Life, p. 306, at Google Books
52. ^ Barter, pp. 354–355 "Mary Cassatt's Paris" (map). sfn mistake: no target: CITEREFBarter (aid)
53. ^ "To Theo van Gogh. Arles, Fri, 4 May 1888". Vincent van Gogh: The Letters. Van Gogh Museum.
54. ^ Bullard, p. 14.
55. ^ Duranty 1876.
56. ^ MoMA Highlights: 350 Works from The Museum of Mod Art, New York, p. 31, at Google Books
57. ^ "The Portraits | National Portrait Gallery".
58. ^ Strasnick, Stephanie (March 27, 2014). "Degas and Cassatt: The Untold Story of Their Artistic Friendship". ARTnews. Archived from the original on March 27, 2014.
59. ^ Pollock 1998, p. 118.
60. ^ ^{a b} Mathews 1994, p. 149.
61. ^ Meiseler, Stanley (July ix, 2006). "History's new verdict on the Dreyfus case". Los Angeles Times. Archived from the original on January nine, 2014.
62. ^ Mathews 1994, p. 275.
63. ^ ^{a b} Shackelford, p. 137.
64. ^ Mathews 1994, pp. 303, 308.
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66. ^ Mathews 1994, pp. 312–xiii.
67. ^ "The Child'due south Bath" Archived May 16, 2012, at the Wayback Motorcar. The Fine art Constitute of Chicago. Retrieved April 9, 2012.
68. ^ Mathews 1998, p. 182 and note on p. 346.
69. ^ Kloss 1985, p. 106.
70. ^ "Women Impressionists: Berthe Morisot, Mary Cassatt, Eva Gonzalès, Marie Bracquemond". FAMSF. October 10, 2009. Retrieved October vii, 2021.
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Bibliography [edit]

• Barter, Judith A. (October 15, 1998). Mary Cassatt, modern woman (1st ed.). Fine art Institute of Chicago in association with H.Due north. Abrams. ISBN978-0810940895.
• Bullard, John E. (1972). Mary Cassatt: Oils and Pastels. Watson-Guptill Publications. ISBN0-8230-0569-0. LCCN lxx-190524.
• Duranty, Louis Edmund (1990) [1876]. La Nouvelle peinture : À propos du groupe d'artistes qui expose dans les galeries Durand-Ruel, 1876 (in French). Paris: Echoppe. ISBN978-2905657374. LCCN 21010788.
• Mathews, Nancy Mowll (1994). Mary Cassatt: A Life. New York: Villard Books. ISBN978-0-394-58497-three.
• Mathews, Nancy Mowll (1998). Mary Cassatt: A Life. New Oasis: Yale University Press. ISBN978-0-585-36794-1.
• McKown, Robin (1972). The World of Mary Cassatt. New York: Thomas Y. Crowell Co. ISBN978-0-690-90274-seven.
• Kloss, William (1985). Treasures from the National Museum of American Art. Washington: National Museum of American Fine art. ISBN978-0-87474-594-8.
• Pollock, Griselda; Florence, Penny (2001). Looking back to the Future . Amsterdam: G+B Arts International. ISBN978-xc-5701-122-1.
• Pollock, Griselda (1998). "Mary Cassatt: Painter of Women and Children". In Milroy, Elizabeth; Doezema, Marianne (eds.). Reading American Art. New Haven. ISBN978-0-300-07348-5.
• Shackelford, George T.Thou. (1998). "Pas de Deux: Mary Cassatt and Edgar Degas". In Barter, Judith A.. (ed.). Mary Cassatt, modern woman / with contributions by Erica E. Hirshler ... [et al.] New York: Harry N. Abrams, Inc. pp. 109–43. ISBN978-0810940895. LCCN 98007306.
• White, John H. Jr. (Spring 1986). "America's Nearly Noteworthy Railroaders". Railroad History. 154: 9–15. ISSN 0090-7847. JSTOR 43523785. OCLC 1785797. (mentions family relationship to Alexander Cassatt)

Further reading [edit]

• Adelson, Warren; Bertalan, Sarah; Mathews, Nancy Mowll; Pinsky, Susan; Rosen, Marc (2008). Mary Cassatt: Prints and Drawings from the Collection of Ambroise Vollard. New York: Adelson Galleries. ISBN 0-9815801-0-6.
• Barter, Judith A., et al. Mary Cassatt: Modern Woman. Exhibition catalogue. New York: Art Institute of Chicago in association with Harry Due north. Abrams, Inc., 1998.
• Breeskin, Adelyn D. Mary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors, and Drawings. Washington, DC: Smithsonian Institution Press, 1970.
• Conrads, Margaret C. American Paintings and Sculpture at the Sterling and Francine Clark Art Institute. New York: Hudson Hills Press, 1990.
• Pinsky, Susan; Rosen, Marc; Adelson, Warren; Cantor, Jay Eastward.; Shapiro, Barbara Stern (2000). Mary Cassatt: Prints and Drawings from the Artist's Studio. Princeton, NJ: Princeton Academy Printing. ISBN 0-691-08887-X.
• Pollock, Griselda. Mary Cassatt: Painter of Modernistic Women. World of Art. London: Thames and Hudson, 1998.
• Stratton, Suzanne Fifty. Kingdom of spain, Espagne, Spanien: Foreign Artists Find Spain 1800–1900. Exhibition catalogue. New York: The Castilian Found in clan with the Equitable Gallery, 1993.
• Weinberg, H Barbara (2009). American impressionism and realism . New York: The Metropolitan Museum of Art. ISBN 0300085699 (meet index)

External links [edit]

External video
Cassatt's The Child's Bathroom
Cassatt's In the Loge
Cassatt'due south Woman with a Pearl Necklace in a Loge
Cassatt's The Loge All from Smarthistory

• Jennifer A. Thompson, "On the Balustrade past Mary Stevenson Cassatt (W1906-1-seven)" ^{[ permanent dead link ]} in The John Thou. Johnson Drove: A History and Selected Works ^{[ permanent expressionless link ]} , a Philadelphia Museum of Art free digital publication.
• Mary Cassatt's True cat Paintings
• A finding assistance to the Mary Cassatt messages, 1882–1926 at the Archives of Art, Smithsonian Institution
• Mary Cassatt at the National Gallery of Art
• Mary Cassatt Gallery at MuseumSyndicate.com Archived May 27, 2009, at the Wayback Machine
• Mary Cassatt at the WebMuseum.
• Mary Cassatt at Loma-Stead Museum, Farmington, Connecticut at the Wayback Machine (archived January xix, 2012)
• Mary Cassatt prints at the National Art History Institut (INHA) in Paris (in French)
• The Havemeyer Family Papers relating to Art Collecting Mary Cassatt was a shut personal friend of Louisine Havemeyer and acted as an art collecting advisor and buying agent for the Havemeyer family. This archival collection includes original letters from Mary Cassatt to Louisine and Henry Osborne Havemeyer.
• The foundation in French republic for the remembrance of Mary Cassatt, located in the hamlet of Mesnil-Theribus, where Cassatt lived and is cached
• Bibliothèque numérique de l'INHA – Estampes de Mary Cassatt (in French)

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Source: https://en.wikipedia.org/wiki/Mary_Cassatt

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