Somebody That Does Art by the Name of Mary

American painter and printmaker

Mary Cassatt
Cassatt seated in a chair with an umbrella, 1913. Verso reads "The only photo 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, nigh 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)^[one] was an American painter and printmaker. She was born in Allegheny City, Pennsylvania (now function of Pittsburgh'due south North Side), but lived much of her adult life in France where she befriended Edgar Degas and exhibited with the Impressionists. Cassatt ofttimes created images of the social and private lives of women, with detail accent on the intimate bonds between mothers and children.

She was described past Gustave Geffroy as one of "les trois grandes dames" (the three great ladies) of Impressionism alongside Marie Bracquemond and Berthe Morisot.^[2] In 1879, Diego Martelli compared her to Degas, as they both sought to depict movement, low-cal, and design in the almost modernistic sense.^[3]

Early life [edit]

Cassatt was born in Allegheny City, Pennsylvania, which is now part of Pittsburgh.^[4] She was built-in into an upper-middle-class family unit:^[5] Her father, Robert Simpson Cassat (later on Cassatt), was a successful stockbroker and land speculator. The ancestral name had been Cossart, with the family descended from French Huguenot Jacques Cossart, who came to New Amsterdam in 1662.^{[6] [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.^[8] To that consequence, Cassatt's lifelong friend Louisine Havemeyer wrote in her memoirs: "Anyone who had the privilege of knowing Mary Cassatt's mother would know at in one case that it was from her and her alone that [Mary] inherited her power."^[ix] A distant cousin of artist Robert Henri,^[10] Cassatt was ane of seven children, of whom two died in infancy. 1 brother, Alexander Johnston Cassatt, later became president of the Pennsylvania Railroad. The family moved e, offset to Lancaster, Pennsylvania, and so to the Philadelphia area, where she started her schooling at the age of six.^[11]

Cassatt grew up in an environment 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 showtime lessons in drawing and music.^[12] Information technology is likely that her first exposure to French artists Jean Auguste Dominique Ingres, Eugène Delacroix, Camille Corot, and Gustave Courbet was at the Paris Earth's Fair of 1855. Also in the exhibition were Edgar Degas and Camille Pissarro, both of whom were later her colleagues and mentors.^[13]

Though her family objected to her becoming a professional person artist, Cassatt began studying painting at the Pennsylvania Academy 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. As such, Cassatt and her network of friends were lifelong advocates of equal rights for the sexes.^[15] Although about twenty% of the students were female, most viewed art every bit a socially valuable skill; few of them were determined, as Cassatt was, to make art their career.^[xvi] She continued her studies from 1861 through 1865, the duration of the American Ceremonious State of war.^[4] Thomas Eakins was amidst her fellow students; later Eakins was forced to resign as director of the Academy.^[11]

Impatient with the slow pace of instruction and the patronizing attitude of the male students and teachers, she decided to report the old masters on her own. She afterwards said: "There was no teaching" at the Academy. Female students could not utilize alive models, until somewhat after, and the chief training was primarily cartoon from casts.^[17]

Cassatt decided to end her studies: At that time, no degree was granted. After overcoming her father'southward objections, she moved to Paris in 1866, with her female parent and family friends interim as chaperones.^[18] Since women could not still attend the École des Beaux-Arts, Cassatt applied to study privately with masters from the school^[xix] and was accustomed to report with Jean-Léon Gérôme, a highly regarded teacher known for his hyper-realistic technique and his delineation of exotic subjects. (A few months later Gérôme as well accepted Eakins as a student.^[19]) Cassatt augmented her artistic preparation with daily copying in the Louvre, obtaining the required permit, which was necessary to control the "copyists", usually low-paid women, who daily filled the museum to paint copies for sale. The museum also served as a social identify for Frenchmen and American female students, who, similar Cassatt, were not allowed to attend cafes where the avant-garde socialized. In this mode, fellow artist and friend Elizabeth Jane Gardner met and married famed academic painter William-Adolphe Bouguereau.^[20]

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

The French art scene was in a process of modify, every bit radical artists such as Courbet and Édouard Manet tried to break away from accepted Academic tradition and the Impressionists were in their formative years. Cassatt'due south friend Eliza Haldeman wrote home that artists "are leaving the Academy style and each seeking a new way, consequently but now everything is Chaos."^[20] Cassatt, on the other manus, continued to work in the traditional manner, submitting works to the Salon for over 10 years, with increasing frustration.

Returning to the Us in the late summer of 1870—as the Franco-Prussian War was starting—Cassatt lived with her family unit in Altoona. Her begetter continued to resist her chosen vocation, and paid for her basic needs, merely not her art supplies.^[24] Cassatt placed 2 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 study while staying at her summer residence. Cassatt even considered giving upwards fine art, as she was adamant to brand an independent living. She wrote in a letter of July 1871, "I have given upward my studio & torn up my begetter'south portrait, & have non touched a castor for six weeks nor ever will once more until I see some prospect of getting back to Europe. I am very broken-hearted to go out westward next fall & get some employment, only I take not still decided where."^[25]

Cassatt traveled to Chicago to try her luck, but lost some of her early paintings in the Not bad Chicago Fire of 1871.^[26] Presently afterward, her work attracted the attention of Roman Catholic Bishop Michael Domenec of Pittsburgh, who commissioned her to pigment two copies of paintings by Correggio in Parma, Italy, advancing her enough money to cover her travel expenses and part of her stay.^[27] In her excitement she wrote, "O how wild I am to get to work, my fingers farely crawling & my optics water to see a fine film over again".^[28] With Emily Sartain, a young man artist from a well-regarded creative family unit from Philadelphia, Cassatt gear up out for Europe again.

Impressionism [edit]

Inside months of her return to Europe in the autumn of 1871, Cassatt'southward prospects had brightened. Her painting Ii Women Throwing Flowers During Carnival 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 in that location: "All Parma is talking of Miss Cassatt and her moving-picture show, and everyone is anxious to know her".^[29]

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

Afterwards completing her commission for the bishop, Cassatt traveled to Madrid and Seville, where she painted a grouping of paintings of Castilian subjects, including Spanish Dancer Wearing a Lace Mantilla (1873, in the National Museum of American Art, Smithsonian Establishment). In 1874, she fabricated the decision to take upward 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'southward sister, Abigail May Alcott, was then an art educatee in Paris and visited Cassatt.^[vii] Cassatt continued to express criticism of the politics of the Salon and the conventional gustatory modality that prevailed there. She was blunt in her comments, every bit reported by Sartain, who wrote: "she is entirely as well slashing, snubs all modern art, disdains the Salon pictures of Cabanel, Bonnat, all the names we are used to revere".^[xxx]

Cassatt saw that works by female artists were often dismissed with contempt unless the artist had a friend or protector on the jury, and she would not flirt with jurors to back-scratch favor.^[31] Her cynicism grew when 1 of the two pictures she submitted in 1875 was refused by the jury, only to exist accepted the following twelvemonth after she darkened the background. She had quarrels with Sartain, who thought Cassatt besides outspoken and self-centered, and somewhen they parted. Out of her distress and cocky-criticism, Cassatt decided that she needed to motility abroad from genre paintings and onto more fashionable subjects, in society to attract portrait commissions from American socialites abroad, but that attempt bore little fruit at showtime.^[32]

In 1877, both her entries were rejected, and for the first time in seven years she had no works in the Salon.^[33] At this depression indicate in her career she was invited by Edgar Degas to bear witness her works with the Impressionists, a grouping that had begun their own series of independent exhibitions in 1874 with much attendant notoriety. The Impressionists (likewise known every bit the "Independents" or "Intransigents") had no formal manifesto and varied considerably in bailiwick thing and technique. They tended to prefer plein air painting and the awarding of vibrant color in separate strokes with little pre-mixing, which allows the middle 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 and so radical that they were "affected with some hitherto unknown affliction of the heart".^[34] They already had ane 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's window in 1875. "I used to go and flatten my nose against that window and blot all I could of his art," she subsequently recalled. "It changed my life. I saw art then as I wanted to see information technology."^[35] She accepted Degas' invitation with enthusiasm and began preparing paintings for the next Impressionist show, planned for 1878, which (after a postponement considering of the Globe's Fair) took place on April 10, 1879. She felt comfy with the Impressionists and joined their crusade enthusiastically, declaring: "we are carrying on a despairing fight & need all our forces".^[36] Unable to attend cafes with them without alluring 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 style had gained a new spontaneity during the intervening two years. Previously a studio-bound artist, she had adopted the exercise 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 male parent and mother, who returned with her sister Lydia, all eventually to share a large apartment on the 5th flooring of thirteen, Avenue Trudaine, ( 48°52′54″North two°20′41″E  /  48.8816°N 2.3446°East  / 48.8816; 2.3446 ). Mary valued their companionship, as neither she nor Lydia had married. A case was fabricated that Mary suffered from narcissistic disturbance, never completing the recognition of herself equally a person exterior of the orbit of her mother.^[38] Mary had decided early in life that marriage would exist incompatible with her career. Lydia, who was oftentimes painted by her sister, suffered from recurrent bouts of illness, and her death in 1882 left Cassatt temporarily unable to work.^[39]

Cassatt's father insisted that her studio and supplies be covered by her sales, which were nonetheless meager. Afraid of having to paint "potboilers" to make ends run into, Cassatt practical herself to produce some quality paintings for the next Impressionist exhibition.^[11] 3 of her most accomplished works from 1878 were Portrait of the Creative person (cocky-portrait), Trivial Girl in a Blue Armchair, and Reading Le Figaro (portrait of her mother).

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 Woman Continuing Holding a Fan, 1878–79 (Amon Carter Museum of American Art).^[twoscore]

She became extremely proficient in the use of pastels, somewhen creating many of her near of import works in this medium. Degas also introduced her to etching, of which he was a recognized master. The 2 worked side by side for a while, and her draftsmanship gained considerable strength nether his tutelage. Ane instance of her thoughtful approach to the medium of drypoint every bit a way for reflecting on her status equally an creative person is 'Reflection' of 1889–ninety, which has recently been interpreted every bit a self-portrait.^[41] Degas in plow depicted Cassatt in a series of etchings recording their trips to the Louvre. She treasured his friendship but learned not to expect too much from his fickle and temperamental nature subsequently a project they were collaborating on at the time, a proposed journal devoted to prints, was abruptly dropped by him.^[42] The sophisticated and well-dressed Degas, and so 40-five, was a welcome dinner invitee at the Cassatt residence, and also they at his soirées.^[43]

The Impressionist exhibit of 1879 was the most successful to engagement, despite the absence of Renoir, Sisley, Manet and Cézanne, who were attempting in one case again to proceeds recognition at the Salon. Through the efforts of Gustave Caillebotte, who organized and underwrote the show, the group made a turn a profit and sold many works, although the criticism continued every bit harsh as ever. The Revue des Deux Mondes wrote, "Thousand. Degas and Mlle. Cassatt are, nevertheless, the only 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 11 works, including Lydia in a Loge, Wearing a Pearl Necklace, (Woman in a Loge). Although critics claimed that Cassatt's colors were besides bright and that her portraits were too accurate to exist flattering to the subjects, her work was not savaged equally was Monet's, whose circumstances were the most drastic of all the Impressionists at that time. She used her share of the profits to purchase a work by Degas and i 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 outset Impressionist exhibition in the US, organized past art dealer Paul Durand-Ruel. Her friend Louisine Elderberry married Harry Havemeyer in 1883, and with Cassatt as counselor, the couple began collecting the Impressionists on a grand scale. Much of their vast collection is now in the Metropolitan Museum of Art in New York City.^[46]

Cassatt also fabricated several portraits of family unit members during that period, of which Portrait of Alexander Cassatt and His Son Robert Kelso (1885) is one of her best regarded. Cassatt'southward fashion then evolved, and she moved away from Impressionism to a simpler, more than straightforward approach. She began to exhibit her works in New York galleries also. Later on 1886, Cassatt no longer identified herself with any fine art movement and experimented with a multifariousness of techniques.^[xi]

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

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

Cassatt and her contemporaries enjoyed the wave of feminism that occurred in the 1840s, assuasive them admission to educational institutions at newly coed colleges and universities, such equally 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's equality, candidature with her friends for equal travel scholarships for students in the 1860s, and the right to vote in the 1910s.^[xv]

Mary Cassatt depicted the "New Woman" of the 19th century from the adult female'southward perspective. As a successful, highly trained woman creative person who never married, Cassatt—like Ellen Twenty-four hour period Hale, Elizabeth Coffin, Elizabeth Nourse and Cecilia Beaux—personified the "New Adult female".^[47] She "initiated the profound beginnings in recreating the paradigm 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 non explicitly make political statements about women's rights in her work, her artistic portrayal of women was consistently done with dignity and the suggestion of a deeper, meaningful inner life.^[15] Cassatt objected to being stereotyped equally a "woman artist", she supported women's suffrage, and in 1915 showed eighteen works in an exhibition supporting the move organised by Louisine Havemeyer, a committed and active feminist.^[49] The exhibition brought her into conflict with her sister-in-law Eugenie Carter Cassatt, who was anti-suffrage and who boycotted the show along with Philadelphia gild in general. Cassatt responded past selling off her work that was otherwise destined for her heirs. In item The Canoeing Party, thought to take been inspired by the birth of Eugenie'south daughter Ellen Mary, was bought by the National Gallery, Washington DC.^{[50] [51]}

Human relationship with Degas [edit]

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

Cassatt and Degas had a long period of collaboration. The 2 painters had studios close together, Cassatt at 19, rue Laval, ( 48°52′51″N ii°twenty′18″Due east  /  48.8808°N ii.3384°E  / 48.8808; 2.3384 ), Degas at 4, rue Frochot, ( 48°52′52″North 2°twenty′16″E  /  48.8811°N ii.3377°E  / 48.8811; 2.3377 ),^[52] less than a five-infinitesimal stroll apart, and Degas developed the addiction of looking in at Cassatt's studio and offering her advice and helping her gain 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 caste of intimacy between them cannot be assessed now, as no messages survive, but information technology is unlikely they were in a human relationship given their conservative social backgrounds and stiff moral principles. Several of Vincent van Gogh's letters attest Degas' sexual continence.^[53] Degas introduced Cassatt to pastel and engraving, both of which Cassatt quickly mastered, while for her office 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 entreatment in his pamphlet The New Painting for a revitalization in figure painting: "Let us take leave of the stylized human torso, which is treated like a vase. What we need is the characteristic modern person in his clothes, in the midst of his social surroundings, at home 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'southward parents and sis Lydia joined Cassatt in Paris in 1877, Degas, Cassatt, and Lydia were often to be 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 frequently posed for Degas, notably for his millinery series trying on hats.

Around 1884, Degas made a portrait in oils of Cassatt, Mary Cassatt Seated, Holding Cards.^[a] A Self-Portrait (c. 1880) by Cassatt depicts her in the identical hat and dress, leading fine art historian Griselda Pollock to speculate they were executed in a joint painting session in the early on years of their acquaintance.^[59]

Cassatt and Degas worked most closely together in the fall and winter of 1879–80 when Cassatt was mastering her printmaking technique. Degas owned a pocket-size printing press, and past solar day she worked at his studio using his tools and press while in the evening she fabricated studies for the carving plate the next day. Even so, in April 1880, Degas abruptly withdrew from the prints periodical they had been collaborating on, and without his support 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 uncertainty destined for the journal. Although Cassatt's warm feelings for Degas were to concluding her entire life, she never over again worked with him every bit closely as she had over the prints journal. Mathews notes that she ceased executing her theater scenes at this fourth dimension.^[60]

Degas was forthright in his views, as was Cassatt.^[threescore] They clashed over the Dreyfus affair (early in her career she had executed a portrait of the fine art collector Moyse Dreyfus, a relative of the court-martialled lieutenant at the centre 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'south suffrage, as capable of affectionately repeating Degas' antifemale comments equally beingness estranged by them (when viewing her Two Women Picking Fruit for the first time, he had commented "No woman has the right to draw like that").^[64] From the 1890s onwards their human relationship took on a decidedly commercial attribute, every bit in general had Cassatt'southward other relations with the Impressionist circumvolve;^{[63] [65]} nevertheless they continued to visit each other until Degas died in 1917.^[66]

Later 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 Female parent (an impression inscribed "January/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 ain relatives, friends, or clients, although in her later on years she mostly used professional models in compositions that are oftentimes reminiscent of Italian Renaissance depictions of the Madonna and Child. Later on 1900, she concentrated almost exclusively on mother-and-child subjects, such as Woman with a Sunflower.^[69] Viewers may be surprised to notice that despite her focus on portraying mother-child pairs in her portraits, "Cassatt rejected the idea of becoming a wife and mother..."^[70]

The 1890s were Cassatt'south busiest and well-nigh creative menstruation. She had matured considerably and became more diplomatic and less blunt in her opinions. She also became a role 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 even so had contact with some of the members, including Renoir, Monet, and Pissarro.^[71]

Mary Cassatt, Mother and Child Before a Pool, c. 1898. Drypoint and aquatint on laid newspaper, Brooklyn Museum

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

Also in 1891, Chicago businesswoman Bertha Palmer approached Cassatt to paint a 12' × 58' mural well-nigh "Modernistic Woman" for the Women's Building for the World's Columbian Exposition to be held in 1893. Cassatt completed the projection over the adjacent two 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 Scientific discipline. The left console was Young Girls Pursuing Fame and the right panel Arts, Music, Dancing. The mural displays a community of women apart from their relation to men, every bit achieved persons in their own right. Palmer considered Cassatt to exist an American treasure and could recall of no one ameliorate to pigment a mural at an exposition that was to practice and then much to focus the world's attending on the status of women.^[74] Unfortunately the mural did not survive post-obit the run of the exhibition when the building was torn downwards. Cassatt made several studies and paintings on themes similar to those in the landscape, and then information technology is possible to see her development of those ideas and images.^[75] Cassatt likewise 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 art museums. In recognition of her contributions to the arts, France 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. Even amidst her family unit members back in America, she received lilliputian recognition and was totally overshadowed past her famous brother.^[76]

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

Mary Cassatt's blood brother, Alexander Cassatt, was president of the Pennsylvania Railroad from 1899 until his death in 1906. She was shaken, every bit they had been close, simply she continued to be very productive in the years leading upwards to 1910.^[77] An increasing sentimentality is apparent in her piece of work of the 1900s; her work was pop with the public and the critics, but she was no longer breaking new footing, and her Impressionist colleagues who one time provided stimulation and criticism were dying. She was hostile to such new developments in art equally post-Impressionism, Fauvism and Cubism. ^[78] Two of her works appeared in the Arsenal Show of 1913, both images of a mother and child.^[79]

A trip to Egypt in 1910 impressed Cassatt with the beauty of its ancient art, but was followed by a crisis of inventiveness; not simply had the trip exhausted her, simply she declared herself "crushed by the forcefulness of this Fine art", saying, "I fought against information technology just it conquered, it is surely the greatest Art the by has left us ... how are my feeble hands to ever paint the issue on me."^[fourscore] Diagnosed with diabetes, rheumatism, neuralgia, and cataracts in 1911, she did not slow down, only after 1914 she was forced to stop painting as she became near blind.

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

• 

  Business firm 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 young Juilliard string musicians formed the all-female Cassatt Quartet in 1985, named in honor of the painter.^[82] In 2009, the award-winning grouping recorded String Quartets Nos. 1–3 (Cassatt String Quartet) by composer Dan Welcher; the third quartet on the album was written inspired by the piece of work of Mary Cassatt equally well.^[83]
• In 1966, Cassatt's painting The Boating Party was reproduced on a U.s. postage stamp. Subsequently she was honored by the United states Postal Service with a 23-cent Great Americans series postage stamp.^[84]
• In 1973, Cassatt was inducted into the National Women'southward Hall of Fame.^[85]
• In 2003, four of her paintings – Immature Mother (1888), Children Playing on the Beach (1884), On a Balustrade (1878/79) and Child in a Straw Hat (circa 1886) – were reproduced on the 3rd issue in the American Treasures stamp series.^[86]
• On May 22, 2009, she was honored by a Google Doodle in recognition of her birthday.^[87]
• Cassatt'southward paintings have sold for as much as $4 million, the record toll of $iv,072,500 existence set in 1996 at Christie'south, 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 Beach (1884)

• 

  Child in Straw Lid (1886)

• 

  Maternité (1890), pastel

• 

  Nurse Reading to a Little Girl (1895), pastel

• 

  The Pink Sash (1898), pastel

• 

  Jules Being Dried by His Female parent (1900)

• 

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

• 

  The Plumbing equipment (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 piece of work. Stephanie Strasnick suggests that Degas used them as a device to represent Cassatt as a peer and an artist in her ain correct, although Cassatt afterwards took an aversion to the portrait and had information technology 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. ISBN0-88401-047-3.
4. ^ ^{a b} Roberts, Norma J. (1988). The American Collections. Columbus: Columbus Museum of Art. p. 36. ISBN978-0-918881-xx-5.
5. ^ Pollock 1998, p. 280.
6. ^ Mathews 1998, p. 3.
7. ^ ^{a b c} Rubinstein, Charlotte Streifer (1982). American women artists: from early Indian times to the nowadays . 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. Print. for the family of Mrs. H.O. Havemeyer and the Metropolitan Museum of Art. p. 272.
10. ^ Perlman, Bennard B. (1991). Robert Henri: His Life and Fine art . New York: Dover Publications. p. ane. ISBN978-0-486-26722-7.
11. ^ ^{a b c d} "Mary Cassatt - The Complete Works - Biography - marycassatt.org". www.marycassatt.org . Retrieved November nineteen, 2019.
12. ^ Mathews 1998, p. 11.
13. ^ McKown 1972, pp. 10–12.
14. ^ Mathews 1998, p. xv.
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. 18.
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.
24. ^ Mathews 1998, p. 75.
25. ^ Mathews 1994, p. 74.
26. ^ McKown 1972, p. 36.
27. ^ MacPherson, Karen (June 20, 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.
36. ^ Mathews 1994, p. 118.
37. ^ ^{a b} Mathews 1994, p. 125.
38. ^ Zerbe, Kathryn J. "Essential Others and Spontaneous Recovery in the Life and Work of Emily Carr: Implications for Understanding Remission of Illness and Resilience." International Journal 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 K. (December 2019). "Rethinking Mary Cassatt'southward 'Reflection' as a Self-Portrait". Print Quarterly. xxxvi (four): 425–38.
42. ^ Mathews 1994, pp. 146–l.
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 Center. Off the Pedestal: New Women in the Art of Homer, Chase, and Sargent. Rutgers University Printing; 2006. ISBN 978-0-8135-3697-2. p. 25.
48. ^ New Perspectives on Illustration: Gibson and Cassatt: Depicting the New Woman past Seo Kim. Norman Rockwell Museum. Retrieved March xviii, 2014.
49. ^ Quinn, Bridget (Baronial 17, 2020). "Mary Cassatt's Contained, 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 error: no target: CITEREFBarter (help)
53. ^ "To Theo van Gogh. Arles, Friday, 4 May 1888". Vincent van Gogh: The Letters. Van Gogh Museum.
54. ^ Bullard, p. xiv.
55. ^ Duranty 1876.
56. ^ MoMA Highlights: 350 Works from The Museum of Modern 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 Creative 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 9, 2006). "History'south new verdict on the Dreyfus example". Los Angeles Times. Archived from the original on Jan ix, 2014.
62. ^ Mathews 1994, p. 275.
63. ^ ^{a b} Shackelford, p. 137.
64. ^ Mathews 1994, pp. 303, 308.
65. ^ Mathews 1994, pp. 189–ninety.
66. ^ Mathews 1994, pp. 312–xiii.
67. ^ "The Kid's Bath" Archived May sixteen, 2012, at the Wayback Car. The Art Institute of Chicago. Retrieved Apr 9, 2012.
68. ^ Mathews 1998, p. 182 and notation on p. 346.
69. ^ Kloss 1985, p. 106.
70. ^ "Women Impressionists: Berthe Morisot, Mary Cassatt, Eva Gonzalès, Marie Bracquemond". FAMSF. October 10, 2009. Retrieved Oct 7, 2021.
71. ^ McKown 1972, p. 155.
72. ^ McKown 1972, pp. 124–126.
73. ^ "Woman Bathing (La Toilette)". www.metmuseum.org . Retrieved January 25, 2020.
74. ^ Lunardini, Christine A. (1997). What every American Should Know Near Women'southward History. Holbrook, Mass.: Adams Media Corporation. p. 129. ISBN978-1-55850-687-nine.
75. ^ Mary Cassatt's Lost Mural and Other Exhibits at the 1893 Exposition Archived September 28, 2009, at the Wayback Auto by G. 50. Nichols
76. ^ McKown 1972, p. 182.
77. ^ Mathews 1998, p. 281.
78. ^ Mathews 1998, p. 284.
79. ^ "1913 Arsenal Show List past Gallery". New York Historical Lodge. Retrieved Feb 1, 2014.
80. ^ Mathews 1998, p. 291.
81. ^ "Freedom Ships". Shipbuilding History. Apr 8, 2008. Retrieved May 20, 2018.
82. ^ Berman, Greta. "A Blockbuster Duet at the Met". Juilliard School. Archived from the original on May 31, 2010. Retrieved May 20, 2018.
83. ^ Welcher: Cord Quartets Nos. 1–3 Mary Cassatt at AllMusic
84. ^ "The Boating Party, Mary Cassatt". US Stamp Gallery . Retrieved May 20, 2018.
85. ^ National Women's Hall of Fame, Mary Cassatt
86. ^ Carr, Rchard. "'American Treasures' Series Honors Cassatt". tribunedigital-sunsentinel. Archived from the original on May 20, 2018. Retrieved May xx, 2018.
87. ^ "Mary Cassatt's Birthday". Google. Retrieved April 9, 2012.
88. ^ "Sale 8408 | Lot 70". Christie'due south. May 23, 1996. Archived from the original on February 2, 2014.
89. ^ "Jardin Mary-Cassatt – Equipements – Paris.fr". www.paris.fr . Retrieved Jan 31, 2019.

Bibliography [edit]

• Barter, Judith A. (Oct 15, 1998). Mary Cassatt, modern adult female (1st ed.). Fine art Constitute of Chicago in association with H.N. Abrams. ISBN978-0810940895.
• Bullard, John E. (1972). Mary Cassatt: Oils and Pastels. Watson-Guptill Publications. ISBN0-8230-0569-0. LCCN 70-190524.
• Duranty, Louis Edmund (1990) [1876]. La Nouvelle peinture : À propos du groupe d'artistes qui betrayal 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. ISBN978-0-394-58497-3.
• Mathews, Nancy Mowll (1998). Mary Cassatt: A Life. New Haven: Yale University Press. ISBN978-0-585-36794-1.
• McKown, Robin (1972). The Globe of Mary Cassatt. New York: Thomas Y. Crowell Co. ISBN978-0-690-90274-7.
• Kloss, William (1985). Treasures from the National Museum of American Art. Washington: National Museum of American Art. ISBN978-0-87474-594-8.
• Pollock, Griselda; Florence, Penny (2001). Looking back to the Future . Amsterdam: 1000+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 Fine art. New Oasis. ISBN978-0-300-07348-five.
• Shackelford, George T.M. (1998). "Pas de Deux: Mary Cassatt and Edgar Degas". In Barter, Judith A.. (ed.). Mary Cassatt, modern adult female / with contributions past 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 Most 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-six.
• Barter, Judith A., et al. Mary Cassatt: Modern Woman. Exhibition catalogue. New York: Fine art Institute of Chicago in clan with Harry N. 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 Establish. New York: Hudson Hills Printing, 1990.
• Pinsky, Susan; Rosen, Marc; Adelson, Warren; Cantor, Jay Due east.; Shapiro, Barbara Stern (2000). Mary Cassatt: Prints and Drawings from the Creative person'southward Studio. Princeton, NJ: Princeton University Press. ISBN 0-691-08887-Ten.
• Pollock, Griselda. Mary Cassatt: Painter of Modern Women. World of Fine art. London: Thames and Hudson, 1998.
• Stratton, Suzanne L. Spain, Espagne, Spanien: Strange Artists Discover Spain 1800–1900. Exhibition catalogue. New York: The Spanish Establish in association with the Equitable Gallery, 1993.
• Weinberg, H Barbara (2009). American impressionism and realism . New York: The Metropolitan Museum of Fine art. ISBN 0300085699 (see index)

External links [edit]

External video
Cassatt's The Kid'south Bath
Cassatt's In the Loge
Cassatt's Woman with a Pearl Necklace in a Loge
Cassatt's The Loge All from Smarthistory

• Jennifer A. Thompson, "On the Balustrade by Mary Stevenson Cassatt (W1906-1-seven)" ^{[ permanent dead link ]} in The John G. Johnson Collection: A History and Selected Works ^{[ permanent dead link ]} , a Philadelphia Museum of Art free digital publication.
• Mary Cassatt'south Cat Paintings
• A finding aid to the Mary Cassatt letters, 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 Automobile
• Mary Cassatt at the WebMuseum.
• Mary Cassatt at Hill-Stead Museum, Farmington, Connecticut at the Wayback Automobile (archived January 19, 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 close personal friend of Louisine Havemeyer and acted every bit an art collecting advisor and buying agent for the Havemeyer family unit. This archival collection includes original messages 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 buried
• 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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