Street Scene With Family Raymond Howell Analysis Art Work

American painter and printmaker

Mary Cassatt
Cassatt seated in a chair with an umbrella, 1913. Verso reads "The only photograph for which she e'er posed."
Born	Mary Stevenson Cassatt (1844-05-22)May 22, 1844 Allegheny City, Pennsylvania, U.S.
Died	June fourteen, 1926(1926-06-fourteen) (aged 82) Château de Beaufresne, near Paris, France
Nationality	American
Education	Pennsylvania University 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 built-in in Allegheny Metropolis, Pennsylvania (at present part 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 often created images of the social and private lives of women, with item accent on the intimate bonds between mothers and children.

She was described by Gustave Geffroy as one of "les trois grandes dames" (the iii peachy ladies) of Impressionism aslope Marie Bracquemond and Berthe Morisot.^[2] In 1879, Diego Martelli compared her to Degas, as they both sought to depict movement, calorie-free, and design in the nearly modern sense.^[3]

Early life [edit]

Cassatt was built-in in Allegheny City, Pennsylvania, which is now part of Pittsburgh.^[4] She was born into an upper-heart-course family:^[five] Her father, Robert Simpson Cassat (later on Cassatt), was a successful stockbroker and land speculator. The ancestral name had been Cossart, with the family unit descended from French Huguenot Jacques Cossart, who came to New Amsterdam in 1662.^{[6] [7]} Her female parent, Katherine Kelso Johnston, came from a cyberbanking family. Katherine Cassatt, educated and well-read, had a profound influence on her girl.^[eight] To that effect, Cassatt's lifelong friend Louisine Havemeyer wrote in her memoirs: "Anyone who had the privilege of knowing Mary Cassatt's female parent would know at once that it was from her and her alone that [Mary] inherited her power."^[ix] A distant cousin of creative person Robert Henri,^[ten] Cassatt was one of seven children, of whom two died in infancy. One brother, Alexander Johnston Cassatt, later on became president of the Pennsylvania Railroad. The family unit moved eastward, first to Lancaster, Pennsylvania, then to the Philadelphia area, where she started her schooling at the age of six.^[xi]

Cassatt grew up in an environment that viewed travel equally integral to instruction; 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 first lessons in cartoon and music.^[12] It is probable that her showtime exposure to French artists Jean Auguste Dominique Ingres, Eugène Delacroix, Camille Corot, and Gustave Courbet was at the Paris Globe'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 unit objected to her condign a professional artist, Cassatt began studying painting at the Pennsylvania Academy of the Fine Arts in Philadelphia at the early on age of fifteen.^[xiv] Office of her parents' concern may take been Cassatt's 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.^[fifteen] Although about 20% of the students were female, nigh viewed art as a socially valuable skill; few of them were determined, every bit Cassatt was, to brand art their career.^[16] She continued her studies from 1861 through 1865, the duration of the American Civil State of war.^[four] Thomas Eakins was among her beau students; later Eakins was forced to resign as director of the University.^[11]

Impatient with the tiresome pace of educational activity and the patronizing attitude of the male students and teachers, she decided to study the erstwhile masters on her own. She later said: "There was no teaching" at the Academy. Female person students could not use live models, until somewhat later on, and the principal preparation was primarily cartoon from casts.^[17]

Cassatt decided to end her studies: At that time, no degree was granted. After overcoming her father's objections, she moved to Paris in 1866, with her mother and family friends acting as chaperones.^[18] Since women could not yet nourish the École des Beaux-Arts, Cassatt applied to written report privately with masters from the school^[nineteen] and was accepted 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 on Gérôme also accepted Eakins as a educatee.^[19]) Cassatt augmented her creative 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 as a social place for Frenchmen and American female students, who, like Cassatt, were not allowed to attend cafes where the advanced socialized. In this style, fellow artist and friend Elizabeth Jane Gardner met and married famed academic painter William-Adolphe Bouguereau.^[xx]

Toward the terminate of 1866, she joined a painting class taught past Charles Joshua Chaplin, a genre artist. In 1868, Cassatt likewise studied with creative person Thomas Couture, whose subjects were more often than not 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 first time past the selection jury for the Paris Salon. With Elizabeth Jane Gardner, whose work was also accepted past the jury that twelvemonth, Cassatt was one of two American women to starting time exhibit in the Salon.^[7] A Mandoline Actor is in the Romantic style of Corot and Couture,^[22] and is i of only ii paintings from the first decade of her career that is documented today.^[23]

The French art scene was in a procedure of change, as radical artists such as Courbet and Édouard Manet tried to intermission away from accepted Academic tradition and the Impressionists were in their determinative years. Cassatt's friend Eliza Haldeman wrote home that artists "are leaving the Academy style and each seeking a new way, consequently just now everything is Chaos."^[20] Cassatt, on the other hand, continued to work in the traditional manner, submitting works to the Salon for over x years, with increasing frustration.

Returning to the United States in the late summertime of 1870—equally the Franco-Prussian War was starting—Cassatt lived with her family in Altoona. Her father continued to resist her chosen vocation, and paid for her bones needs, but non her fine art supplies.^[24] Cassatt placed two of her paintings in a New York gallery and found many admirers but no purchasers. She was too dismayed at the lack of paintings to study while staying at her summer residence. Cassatt fifty-fifty considered giving upward fine art, as she was determined to make an independent living. She wrote in a letter of July 1871, "I have given up my studio & torn upward my father'due south portrait, & take not touched a brush for six weeks nor ever will again until I see some prospect of getting back to Europe. I am very anxious to go out west adjacent fall & get some employment, only I accept not yet decided where."^[25]

Cassatt traveled to Chicago to attempt her luck, just lost some of her early paintings in the Great Chicago Burn of 1871.^[26] Shortly later, her work attracted the attention of Roman Catholic Bishop Michael Domenec of Pittsburgh, who deputed her to paint two copies of paintings by Correggio in Parma, Italy, advancing her plenty money to cover her travel expenses and part of her stay.^[27] In her excitement she wrote, "O how wild I am to become to work, my fingers farely itch & my optics water to see a fine film again".^[28] With Emily Sartain, a fellow artist from a well-regarded artistic family from Philadelphia, Cassatt set out for Europe once again.

Impressionism [edit]

Inside months of her render to Europe in the autumn of 1871, Cassatt'due south prospects had brightened. Her painting Two Women Throwing Flowers During Carnival was well received in the Salon of 1872, and was purchased. She attracted much favorable discover in Parma and was supported and encouraged by the art community at that place: "All Parma is talking of Miss Cassatt and her picture, and anybody is broken-hearted to know her".^[29]

Oil, c. 1871, private collection. Mrs. Currey had worked for the Cassatt family unit. When Mary Cassatt returned home 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 father.

After completing her commission for the bishop, Cassatt traveled to Madrid and Seville, where she painted a grouping of paintings of Castilian subjects, including Castilian Dancer Wearing a Lace Mantilla (1873, in the National Museum of American Fine art, Smithsonian Institution). In 1874, she made the conclusion to take up residence in France. She was joined past her sister Lydia who shared an apartment with her. Cassatt opened a studio in Paris. Louisa May Alcott'due south sister, Abigail May Alcott, was then an art educatee in Paris and visited Cassatt.^[7] Cassatt connected to express criticism of the politics of the Salon and the conventional taste that prevailed at that place. She was blunt 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 past female artists were oftentimes dismissed with antipathy 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 i of the two pictures she submitted in 1875 was refused by the jury, only to be accepted the post-obit yr after she darkened the background. She had quarrels with Sartain, who thought Cassatt too outspoken and self-centered, and eventually they parted. Out of her distress and cocky-criticism, Cassatt decided that she needed to move away from genre paintings and onto more fashionable subjects, in order to attract portrait commissions from American socialites abroad, only that endeavor bore lilliputian fruit at outset.^[32]

In 1877, both her entries were rejected, and for the get-go time in seven years she had no works in the Salon.^[33] At this low indicate in her career she was invited by Edgar Degas to show her works with the Impressionists, a group that had begun their own series of independent exhibitions in 1874 with much attendant notoriety. The Impressionists (also known as the "Independents" or "Intransigents") had no formal manifesto and varied considerably in subject matter and technique. They tended to prefer plein air painting and the application of vibrant color in separate strokes with piddling pre-mixing, which allows the eye to merge the results in an "impressionistic" mode. The Impressionists had been receiving the wrath of the critics for several years. Henry Bacon, a friend of the Cassatts, thought that the Impressionists were so radical that they were "afflicted with some hitherto unknown illness of the heart".^[34] They already had one female member, creative person 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 olfactory organ against that window and absorb all I could of his art," she later on 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 side by side Impressionist evidence, planned for 1878, which (after a postponement because of the Earth's Fair) took place on Apr 10, 1879. She felt comfy with the Impressionists and joined their cause enthusiastically, declaring: "we are carrying on a despairing fight & demand all our forces".^[36] Unable to nourish 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 style had gained a new spontaneity during the intervening two years. Previously a studio-bound creative person, she had adopted the practice of conveying 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 past her begetter and mother, who returned with her sister Lydia, all eventually to share a large apartment on the fifth flooring of 13, Avenue Trudaine, ( 48°52′54″Due north 2°20′41″E  /  48.8816°Northward 2.3446°East  / 48.8816; ii.3446 ). Mary valued their companionship, equally neither she nor Lydia had married. A instance was made that Mary suffered from narcissistic disturbance, never completing the recognition of herself as a person outside of the orbit of her mother.^[38] Mary had decided early in life that union would be incompatible with her career. Lydia, who was frequently painted by her sister, suffered from recurrent bouts of disease, 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. Agape of having to paint "potboilers" to make ends encounter, Cassatt applied herself to produce some quality paintings for the next Impressionist exhibition.^[11] Three of her most accomplished works from 1878 were Portrait of the Artist (self-portrait), Little 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 Belongings a Fan, 1878–79 (Amon Carter Museum of American Art).^[forty]

She became extremely adept in the apply of pastels, eventually creating many of her most important works in this medium. Degas as well introduced her to carving, of which he was a recognized main. The two worked side past side for a while, and her draftsmanship gained considerable strength under his tutelage. Ane case of her thoughtful approach to the medium of drypoint as a mode for reflecting on her status as an artist is 'Reflection' of 1889–ninety, which has recently been interpreted as a self-portrait.^[41] Degas in turn 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 after 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, then xl-five, was a welcome dinner guest at the Cassatt residence, and likewise they at his soirées.^[43]

The Impressionist exhibit of 1879 was the nearly successful to date, despite the absence of Renoir, Sisley, Manet and Cézanne, who were attempting again to gain recognition at the Salon. Through the efforts of Gustave Caillebotte, who organized and underwrote the show, the group made a profit and sold many works, although the criticism connected as harsh every bit e'er. The Revue des Deux Mondes wrote, "M. Degas and Mlle. Cassatt are, notwithstanding, the simply artists who distinguish themselves... and who offer some allure 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's colors were likewise bright and that her portraits were also accurate to be flattering to the subjects, her work was non savaged as was Monet's, whose circumstances were the most desperate of all the Impressionists at that time. She used her share of the profits to buy a piece of work past Degas and one 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 2 paintings for the beginning Impressionist exhibition in the U.s.a., organized by fine art dealer Paul Durand-Ruel. Her friend Louisine Elder 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 Urban center.^[46]

Cassatt too 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 best regarded. Cassatt's style then evolved, and she moved abroad from Impressionism to a simpler, more straightforward approach. She began to exhibit her works in New York galleries every bit well. Later on 1886, Cassatt no longer identified herself with any fine art motion and experimented with a multifariousness of techniques.^[11]

Feminist Viewpoints and the "New Woman" [edit]

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

Cassatt and her contemporaries enjoyed the moving ridge of feminism that occurred in the 1840s, assuasive them access to educational institutions at newly coed colleges and universities, such as Oberlin and the Academy of Michigan. Likewise, women'south colleges such equally Vassar, Smith and Wellesley opened their doors during this time. Cassat was an outspoken advocate for women's 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 Adult female" of the 19th century from the adult female'south perspective. As a successful, highly trained woman artist 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 epitome of the 'new' women", drawn from the influence of her intelligent and active mother, Katherine Cassatt, who believed in educating women to be knowledgeable and socially agile. She is depicted in Reading 'Le Figaro' (1878).^[48]

Although Cassatt did not explicitly make political statements nearly women's rights in her work, her creative 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 creative person", she supported women'southward suffrage, and in 1915 showed eighteen works in an exhibition supporting the motility organised by Louisine Havemeyer, a committed and active feminist.^[49] The exhibition brought her into conflict with her sister-in-constabulary Eugenie Carter Cassatt, who was anti-suffrage and who boycotted the prove forth with Philadelphia society in full general. Cassatt responded by selling off her work that was otherwise destined for her heirs. In item The Boating Party, idea to have been inspired past the nativity of Eugenie'south daughter Ellen Mary, was bought past the National Gallery, Washington DC.^{[fifty] [51]}

Relationship with Degas [edit]

Edgar Degas, Mary Cassatt Seated, Holding Cards, c. 1880–1884, oil on sail, 74 × sixty cm, National Portrait Gallery, Washington DC. NPG.84.34 Cassatt hated it later 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 period of collaboration. The two painters had studios close together, Cassatt at 19, rue Laval, ( 48°52′51″Northward two°xx′eighteen″E  /  48.8808°N 2.3384°Eastward  / 48.8808; 2.3384 ), Degas at four, rue Frochot, ( 48°52′52″Due north 2°xx′16″E  /  48.8811°N two.3377°East  / 48.8811; 2.3377 ),^[52] less than a 5-infinitesimal stroll apart, and Degas developed the addiction of looking in at Cassatt'due south studio and offering her advice and helping her gain models.^[37]

They had much in mutual: they shared similar tastes in art and literature, came from affluent backgrounds, had studied painting in Italy, and both were independent, never marrying. The degree of intimacy betwixt them cannot be assessed now, as no letters survive, but information technology is unlikely they were in a relationship given their conservative social backgrounds and potent moral principles. Several of Vincent van Gogh's letters adjure 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 every bit effigy painters, and the fine art historian George Shackelford suggests they were influenced past the art critic Louis Edmond Duranty'south entreatment in his pamphlet The New Painting for a revitalization in figure painting: "Let us have leave of the stylized human body, which is treated like a vase. What we demand is the feature mod person in his clothes, in the midst of his social surroundings, at abode or out in the street."^{[55] [56]}

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

Later Cassatt'due south parents and sister Lydia joined Cassatt in Paris in 1877, Degas, Cassatt, and Lydia were often to be seen at the Louvre studying artworks together. Degas produced 2 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 periodical 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 made a portrait in oils of Cassatt, Mary Cassatt Seated, Holding Cards.^[a] A Self-Portrait (c. 1880) past Cassatt depicts her in the identical lid and wearing apparel, leading fine art historian Griselda Pollock to speculate they were executed in a joint painting session in the early years of their acquaintance.^[59]

Cassatt and Degas worked most closely together in the autumn and wintertime of 1879–lxxx when Cassatt was mastering her printmaking technique. Degas owned a small printing printing, 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 next day. Nonetheless, in April 1880, Degas abruptly withdrew from the prints journal they had been collaborating on, and without his support the project folded. Degas' withdrawal piqued Cassatt who had worked difficult at preparing a print, In the Opera Box, in a big edition of fifty impressions, no dubiousness destined for the journal. Although Cassatt's warm feelings for Degas were to last her entire life, she never once more worked with him as closely equally she had over the prints journal. Mathews notes that she ceased executing her theater scenes at this time.^[60]

Degas was forthright in his views, every bit was Cassatt.^[sixty] They clashed over the Dreyfus matter (early in her career she had executed a portrait of the art collector Moyse Dreyfus, a relative of the court-martialled lieutenant at the centre of the affair).^{[b] [62] [63]} Cassatt later expressed satisfaction at the irony of Lousine Havermeyer's 1915 joint exhibition of hers and Degas' work beingness held in aid of women's suffrage, equally capable of affectionately repeating Degas' antifemale comments every bit being estranged by them (when viewing her Two Women Picking Fruit for the first fourth dimension, he had commented "No adult female has the right to draw like that").^[64] From the 1890s onwards their relationship took on a decidedly commercial aspect, equally in full general had Cassatt's other relations with the Impressionist circle;^{[63] [65]} withal they continued to visit each other until Degas died in 1917.^[66]

Subsequently life [edit]

Cassatt'due south reputation is based on an extensive series of rigorously drawn and tenderly observed paintings and prints on the theme of the female parent and child. The primeval dated work on this subject field 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 draw her own relatives, friends, or clients, although in her after years she by and large used professional models in compositions that are often reminiscent of Italian Renaissance depictions of the Madonna and Kid. After 1900, she concentrated almost exclusively on mother-and-kid subjects, such every bit Woman with a Sunflower.^[69] Viewers may be surprised to find 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'southward busiest and near creative period. She had matured considerably and became more diplomatic and less blunt in her opinions. She also became a role model for young American artists who sought her advice. Amidst them was Lucy A. Salary, 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, Mother and Kid Earlier a Puddle, c. 1898. Drypoint and aquatint on laid newspaper, 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 before. (See Japonism) Cassatt was attracted to the simplicity and clarity of Japanese design, and the skillful use of blocks of color. In her estimation, she used primarily light, frail pastel colors and avoided blackness (a "forbidden" colour amongst the Impressionists). Adelyn D. Breeskin, the author of two catalogue raisonnés of Cassatt's work, comments that these colored prints, "at present stand as her virtually original contribution... adding a new chapter to the history of graphic arts...technically, every bit colour prints, they accept never been surpassed".^[72]

Too in 1891, Chicago businesswoman Bertha Palmer approached Cassatt to paint a 12' × 58' landscape about "Modern Woman" for the Women's Edifice for the Earth's Columbian Exposition to be held in 1893. Cassatt completed the project over the next ii years while living in French republic with her mother. The landscape was designed as a triptych. The central theme was titled Young Women Plucking the Fruits of Knowledge or Science. The left panel was Young Girls Pursuing Fame and the correct 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 exist an American treasure and could think of no 1 better to paint a mural at an exposition that was to do so much to focus the world's attention on the status of women.^[74] Unfortunately the mural did not survive following the run of the exhibition when the building was torn down. Cassatt made several studies and paintings on themes similar to those in the mural, so it is possible to see her evolution of those ideas and images.^[75] Cassatt as well exhibited other paintings in the Exposition.

As the new century arrived, Cassatt served as an counselor to several major fine 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 than slowly in the United States. Even amidst her family members dorsum in America, she received little recognition and was totally overshadowed past her famous brother.^[76]

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

Mary Cassatt'due south brother, Alexander Cassatt, was president of the Pennsylvania Railroad from 1899 until his death in 1906. She was shaken, as they had been close, only she continued to exist very productive in the years leading upwardly to 1910.^[77] An increasing sentimentality is apparent in her piece of work of the 1900s; her piece of work was pop with the public and the critics, but she was no longer breaking new ground, 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] Ii of her works appeared in the Armory Prove 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, only was followed by a crisis of creativity; not merely had the trip exhausted her, but she declared herself "crushed by the forcefulness of this Art", saying, "I fought against it but it conquered, information technology is surely the greatest Art the past has left us ... how are my feeble hands to ever paint the consequence on me."^[lxxx] Diagnosed with diabetes, rheumatism, neuralgia, and cataracts in 1911, she did not slow down, but after 1914 she was forced to stop painting as she became nearly blind.

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

• 

  Business firm of rue de Marignan in Paris, where Mary Cassatt lived from 1887 until her death

• 

  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 ship, launched May 16, 1943.^[81]
• A quartet of young Juilliard string musicians formed the all-female Cassatt Quartet in 1985, named in laurels 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 past the work of Mary Cassatt as well.^[83]
• In 1966, Cassatt's painting The Boating Party was reproduced on a US postage postage. Later she was honored by the United states Postal Service with a 23-cent Great Americans series postage stamp 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 Beach (1884), On a Balcony (1878/79) and Child in a Straw Hat (circa 1886) – were reproduced on the third result in the American Treasures stamp series.^[86]
• On May 22, 2009, she was honored by a Google Doodle in recognition of her altogether.^[87]
• Cassatt'southward paintings take sold for every bit much as $4 million, the tape price of $four,072,500 being set in 1996 at Christie's, New York, for In the Box.^[88]
• A public garden in the 12th arrondissement of Paris is named 'Jardin Mary Cassatt' in her retentivity.^[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)

• 

  Kid in Harbinger Hat (1886)

• 

  Maternité (1890), pastel

• 

  Nurse Reading to a Little Girl (1895), pastel

• 

  The Pink Sash (1898), pastel

• 

  Jules Being Dried past His Mother (1900)

• 

  Immature Woman in Light-green, Outdoors in the Sun (1914)

• 

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

• 

  Offer 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 time to certificate their work. Stephanie Strasnick suggests that Degas used them as a device to represent Cassatt every bit a peer and an artist in her ain correct, 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 l'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-iii.
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. 3.
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). 16 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 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 Nov 19, 2019.
12. ^ Mathews 1998, p. 11.
13. ^ McKown 1972, pp. 10–12.
14. ^ Mathews 1998, p. 15.
15. ^ ^{a b c} Lexicon 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. sixteen.
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 xx, 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.
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38. ^ Zerbe, Kathryn J. "Essential Others and Spontaneous Recovery in the Life and Work of Emily Carr: Implications for Understanding Remission of Disease and Resilience." International Journal of Psychoanalytic Self Psychology 11.i (2016): 28–49. PMC. Web. Oct 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' as 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.
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47. ^ Holly Pyne Connor; Newark Museum; Frick Art & Historical Eye. Off the Pedestal: New Women in the Art of Homer, Chase, and Sargent. Rutgers University Press; 2006. ISBN 978-0-8135-3697-2. p. 25.
48. ^ New Perspectives on Illustration: Gibson and Cassatt: Depicting the New Woman by Seo Kim. Norman Rockwell Museum. Retrieved March 18, 2014.
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50. ^ Mathews 1994, pp. 306–10.
51. ^ Mary Cassatt: A Life, p. 306, at Google Books
52. ^ Castling, pp. 354–355 "Mary Cassatt's Paris" (map). sfn error: no target: CITEREFBarter (assist)
53. ^ "To Theo van Gogh. Arles, Friday, iv 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 Modernistic 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 9, 2006). "History'southward new verdict on the Dreyfus case". Los Angeles Times. Archived from the original on January 9, 2014.
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67. ^ "The Kid's Bath" Archived May xvi, 2012, at the Wayback Machine. The Art Found of Chicago. Retrieved Apr ix, 2012.
68. ^ Mathews 1998, p. 182 and annotation on p. 346.
69. ^ Kloss 1985, p. 106.
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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 East. (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 Oasis: Yale University Press. ISBN978-0-585-36794-i.
• McKown, Robin (1972). The World of Mary Cassatt. New York: Thomas Y. Crowell Co. ISBN978-0-690-90274-vii.
• Kloss, William (1985). Treasures from the National Museum of American Fine art. Washington: National Museum of American Art. ISBN978-0-87474-594-viii.
• Pollock, Griselda; Florence, Penny (2001). Looking back to the Future . Amsterdam: G+B Arts International. ISBN978-90-5701-122-1.
• Pollock, Griselda (1998). "Mary Cassatt: Painter of Women and Children". In Milroy, Elizabeth; Doezema, Marianne (eds.). Reading American Art. New Oasis. ISBN978-0-300-07348-5.
• Shackelford, George T.M. (1998). "Pas de Deux: Mary Cassatt and Edgar Degas". In Castling, Judith A.. (ed.). Mary Cassatt, modern adult female / 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 Most Noteworthy Railroaders". Railroad History. 154: 9–15. ISSN 0090-7847. JSTOR 43523785. OCLC 1785797. (mentions family human 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-vi.
• Barter, Judith A., et al. Mary Cassatt: Modern Woman. Exhibition catalogue. New York: Art Found 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 Establishment Printing, 1970.
• Conrads, Margaret C. American Paintings and Sculpture at the Sterling and Francine Clark Art Plant. 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 University Press. ISBN 0-691-08887-X.
• Pollock, Griselda. Mary Cassatt: Painter of Modern Women. Globe of Art. London: Thames and Hudson, 1998.
• Stratton, Suzanne L. Spain, Espagne, Spanien: Foreign Artists Detect Kingdom of spain 1800–1900. Exhibition catalogue. New York: The Castilian Institute 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 Child's Bath
Cassatt'southward In the Loge
Cassatt'south Woman with a Pearl Necklace in a Loge
Cassatt's The Loge All from Smarthistory

• Jennifer A. Thompson, "On the Balcony past Mary Stevenson Cassatt (W1906-1-vii)" ^{[ permanent dead link ]} in The John M. Johnson Collection: A History and Selected Works ^{[ permanent expressionless link ]} , a Philadelphia Museum of Art free digital publication.
• Mary Cassatt'southward True cat Paintings
• A finding help to the Mary Cassatt letters, 1882–1926 at the Athenaeum of Art, Smithsonian Establishment
• Mary Cassatt at the National Gallery of Art
• Mary Cassatt Gallery at MuseumSyndicate.com Archived May 27, 2009, at the Wayback Motorcar
• Mary Cassatt at the WebMuseum.
• Mary Cassatt at Hill-Stead Museum, Farmington, Connecticut at the Wayback Machine (archived January xix, 2012)
• Mary Cassatt prints at the National Fine art History Institut (INHA) in Paris (in French)
• The Havemeyer Family Papers relating to Fine art Collecting Mary Cassatt was a close personal friend of Louisine Havemeyer and acted as an fine 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 France 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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