Mary Cassatt Letters Archives of American Art Smithsonian Institution

American painter and printmaker

Mary Cassatt
Cassatt seated in a chair with an umbrella, 1913. Verso reads "The only photograph for which she ever posed."
Born	Mary Stevenson Cassatt (1844-05-22)May 22, 1844 Allegheny City, Pennsylvania, U.S.
Died	June 14, 1926(1926-06-14) (anile 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 xiv, 1926)^[one] was an American painter and printmaker. She was born in Allegheny City, Pennsylvania (at present part of Pittsburgh's North Side), but lived much of her developed life in French republic where she befriended Edgar Degas and exhibited with the Impressionists. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children.

She was described by Gustave Geffroy every bit one of "les trois grandes dames" (the three great ladies) of Impressionism alongside Marie Bracquemond and Berthe Morisot.^[ii] In 1879, Diego Martelli compared her to Degas, as they both sought to draw motion, lite, and blueprint in the virtually modernistic sense.^[3]

Early life [edit]

Cassatt was born in Allegheny City, Pennsylvania, which is now part of Pittsburgh.^[four] She was born into an upper-heart-class family:^[5] Her father, Robert Simpson Cassat (afterward 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.^{[half dozen] [seven]} Her mother, Katherine Kelso Johnston, came from a cyberbanking family. Katherine Cassatt, educated and well-read, had a profound influence on her daughter.^[8] To that effect, Cassatt's lifelong friend Louisine Havemeyer wrote in her memoirs: "Anyone who had the privilege of knowing Mary Cassatt'due south mother would know at once that it was from her and her alone that [Mary] inherited her ability."^[ix] A distant cousin of artist Robert Henri,^[10] Cassatt was ane of seven children, of whom two died in infancy. Ane brother, Alexander Johnston Cassatt, later became president of the Pennsylvania Railroad. The family unit moved e, first to Lancaster, Pennsylvania, and then to the Philadelphia area, where she started her schooling at the age of six.^[xi]

Cassatt grew up in an surroundings that viewed travel as integral to education; she spent v years in Europe and visited many of the capitals, including London, Paris, and Berlin. While abroad she learned German and French and had her first lessons in drawing and music.^[12] Information technology is likely that her offset 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.^[xiii]

Though her family objected to her condign a professional artist, Cassatt began studying painting at the Pennsylvania Academy of the Fine Arts in Philadelphia at the early age of fifteen.^[14] Part of her parents' business organisation may have been Cassatt's exposure to feminist ideas and the bohemian behavior of some of the male person students. As such, Cassatt and her network of friends were lifelong advocates of equal rights for the sexes.^[15] Although nigh twenty% of the students were female person, most viewed art as a socially valuable skill; few of them were determined, every bit Cassatt was, to make fine art their career.^[16] She continued her studies from 1861 through 1865, the duration of the American Civil War.^[4] Thomas Eakins was amongst her fellow students; later Eakins was forced to resign as director of the Academy.^[11]

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

Cassatt decided to terminate her studies: At that time, no degree was granted. Afterward overcoming her father'south objections, she moved to Paris in 1866, with her mother and family friends interim every bit chaperones.^[xviii] Since women could not still attend the École des Beaux-Arts, Cassatt practical to study privately with masters from the school^[19] and was accustomed 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 on Gérôme also accepted Eakins equally a educatee.^[19]) Cassatt augmented her artistic training with daily copying in the Louvre, obtaining the required permit, which was necessary to control the "copyists", unremarkably 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, like Cassatt, were not immune 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.^[twenty]

Toward the terminate of 1866, she joined a painting class taught past Charles Joshua Chaplin, a genre artist. In 1868, Cassatt also studied with artist 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 nearly their daily activities. In 1868, one of her paintings, A Mandoline Histrion, was accepted for the first time by the selection jury for the Paris Salon. With Elizabeth Jane Gardner, whose work was too accepted past the jury that year, Cassatt was one of two American women to first showroom in the Salon.^[7] A Mandoline Player is in the Romantic style of Corot and Couture,^[22] and is 1 of only 2 paintings from the first decade of her career that is documented today.^[23]

The French art scene was in a process of change, as radical artists such equally Courbet and Édouard Manet tried to break away from accustomed Academic tradition and the Impressionists were in their determinative years. Cassatt'southward friend Eliza Haldeman wrote dwelling house that artists "are leaving the University mode and each seeking a new manner, consequently just now everything is Chaos."^[20] Cassatt, on the other hand, continued to piece of work in the traditional fashion, submitting works to the Salon for over 10 years, with increasing frustration.

Returning to the United states of america in the belatedly summertime of 1870—as 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 not her art supplies.^[24] Cassatt placed ii of her paintings in a New York gallery and found many admirers only no purchasers. She was also dismayed at the lack of paintings to report while staying at her summer residence. Cassatt even considered giving up art, as she was determined to brand an independent living. She wrote in a letter of July 1871, "I have given up my studio & torn upwardly my father's portrait, & have not touched a brush for six weeks nor ever volition once more until I run across some prospect of getting back to Europe. I am very broken-hearted to exit westward next autumn & get some employment, just I have not still decided where."^[25]

Cassatt traveled to Chicago to try her luck, merely lost some of her early paintings in the Great Chicago Burn down of 1871.^[26] Before long later, 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 role of her stay.^[27] In her excitement she wrote, "O how wild I am to get to work, my fingers farely itch & my eyes water to encounter a fine picture over again".^[28] With Emily Sartain, a boyfriend creative person from a well-regarded creative family unit from Philadelphia, Cassatt set out for Europe once again.

Impressionism [edit]

Within months of her return to Europe in the autumn of 1871, Cassatt's 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 observe in Parma and was supported and encouraged by the fine 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. When Mary Cassatt returned habitation 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 committee for the bishop, Cassatt traveled to Madrid and Seville, where she painted a group of paintings of Spanish subjects, including Castilian Dancer Wearing a Lace Mantilla (1873, in the National Museum of American Art, Smithsonian Institution). In 1874, she fabricated the decision to have up residence in French republic. 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 so an art student in Paris and visited Cassatt.^[7] Cassatt continued to express criticism of the politics of the Salon and the conventional gustation that prevailed there. She was edgeless in her comments, as reported by Sartain, who wrote: "she is entirely too slashing, snubs all modernistic art, disdains the Salon pictures of Cabanel, Bonnat, all the names nosotros are used to revere".^[30]

Cassatt saw that works by female person artists were frequently dismissed with contempt unless the creative person had a friend or protector on the jury, and she would non flirt with jurors to curry favor.^[31] Her pessimism grew when one of the 2 pictures she submitted in 1875 was refused by the jury, only to be accustomed the following year later on she darkened the background. She had quarrels with Sartain, who idea Cassatt too outspoken and cocky-centered, and eventually they parted. Out of her distress and self-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 away, but that attempt bore trivial fruit at first.^[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 low bespeak 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 (also known every bit the "Independents" or "Intransigents") had no formal manifesto and varied considerably in subject area affair and technique. They tended to prefer plein air painting and the application of vibrant color in separate strokes with footling 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 and then radical that they were "affected with some hitherto unknown illness of the eye".^[34] They already had one female fellow member, artist Berthe Morisot, who became Cassatt'due south friend and colleague.

Cassatt admired Degas, whose pastels had made a powerful impression on her when she encountered them in an fine art dealer's window in 1875. "I used to go and flatten my nose against that window and absorb all I could of his art," she after recalled. "It changed my life. I saw art so as I wanted to see it."^[35] She accepted Degas' invitation with enthusiasm and began preparing paintings for the next Impressionist show, planned for 1878, which (after a postponement because of the Earth's Fair) took place on April 10, 1879. She felt comfortable with the Impressionists and joined their crusade enthusiastically, declaring: "nosotros are carrying on a despairing fight & demand all our forces".^[36] Unable to nourish cafes with them without alluring unfavorable attending, she met with them privately and at exhibitions. She now hoped for commercial success selling paintings to the sophisticated Parisians who preferred the advanced. Her style had gained a new spontaneity during the intervening two years. Previously a studio-bound creative person, 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 father and female parent, who returned with her sister Lydia, all eventually to share a large flat on the fifth flooring of xiii, Avenue Trudaine, ( 48°52′54″N 2°xx′41″E  /  48.8816°N two.3446°Eastward  / 48.8816; ii.3446 ). Mary valued their companionship, every bit neither she nor Lydia had married. A case was fabricated that Mary suffered from narcissistic disturbance, never completing the recognition of herself as a person outside of the orbit of her female parent.^[38] Mary had decided early in life that wedlock would exist incompatible with her career. Lydia, who was ofttimes painted past her sis, suffered from recurrent bouts of illness, and her decease in 1882 left Cassatt temporarily unable to work.^[39]

Cassatt's begetter insisted that her studio and supplies be covered past her sales, which were still meager. Agape of having to paint "potboilers" to brand ends run into, 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), Footling 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 utilise 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 good in the apply of pastels, eventually creating many of her well-nigh important works in this medium. Degas too introduced her to etching, of which he was a recognized master. The two worked side past side for a while, and her draftsmanship gained considerable strength under his tutelage. One example of her thoughtful approach to the medium of drypoint equally a mode for reflecting on her status equally an artist is 'Reflection' of 1889–90, which has recently been interpreted as a self-portrait.^[41] Degas in plough depicted Cassatt in a series of etchings recording their trips to the Louvre. She treasured his friendship but learned not to wait too much from his fickle and temperamental nature later on a projection 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 forty-five, was a welcome dinner invitee at the Cassatt residence, and likewise they at his soirées.^[43]

The Impressionist exhibit of 1879 was the nigh successful to appointment, despite the absence of Renoir, Sisley, Manet and Cézanne, who were attempting once more to gain recognition at the Salon. Through the efforts of Gustave Caillebotte, who organized and underwrote the show, the grouping fabricated a profit and sold many works, although the criticism connected as harsh as e'er. The Revue des Deux Mondes wrote, "M. Degas and Mlle. Cassatt are, even so, the only 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'southward colors were also brilliant and that her portraits were also accurate to be flattering to the subjects, her piece of work was not savaged as was Monet'south, whose circumstances were the about desperate of all the Impressionists at that time. She used her share of the profits to purchase a work by Degas and one by Monet.^[45] She participated in the Impressionist Exhibitions that followed in 1880 and 1881, and she remained an active member of the Impressionist circumvolve until 1886. In 1886, Cassatt provided ii paintings for the first Impressionist exhibition in the United states of america, organized by 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 also made several portraits of family members during that catamenia, of which Portrait of Alexander Cassatt and His Son Robert Kelso (1885) is 1 of her best regarded. Cassatt's style and then evolved, and she moved away from Impressionism to a simpler, more straightforward approach. She began to exhibit her works in New York galleries as well. Later on 1886, Cassatt no longer identified herself with whatever fine art move and experimented with a diversity of techniques.^[xi]

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 equally Vassar, Smith and Wellesley opened their doors during this fourth dimension. Cassat was an outspoken abet for women'south 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's perspective. As a successful, highly trained woman creative person who never married, Cassatt—like Ellen Solar day Unhurt, Elizabeth Coffin, Elizabeth Nourse and Cecilia Beaux—personified the "New Woman".^[47] She "initiated the profound beginnings in recreating the paradigm 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 active. She is depicted in Reading 'Le Figaro' (1878).^[48]

Although Cassatt did non explicitly brand political statements about women's rights in her work, her artistic portrayal of women was consistently done with nobility and the proposition of a deeper, meaningful inner life.^[15] Cassatt objected to beingness stereotyped as a "woman artist", she supported women'southward 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 disharmonize with her sis-in-law Eugenie Carter Cassatt, who was anti-suffrage and who boycotted the evidence along with Philadelphia club in full general. Cassatt responded by selling off her piece of work that was otherwise destined for her heirs. In particular The Boating Party, thought to have been inspired by the nascence of Eugenie's daughter Ellen Mary, was bought by the National Gallery, Washington DC.^{[fifty] [51]}

Human relationship with Degas [edit]

Edgar Degas, Mary Cassatt Seated, Holding Cards, c. 1880–1884, oil on canvas, 74 × 60 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 it."

Cassatt and Degas had a long period of collaboration. The two painters had studios close together, Cassatt at 19, rue Laval, ( 48°52′51″N 2°20′xviii″E  /  48.8808°North 2.3384°E  / 48.8808; 2.3384 ), Degas at iv, rue Frochot, ( 48°52′52″North ii°20′16″E  /  48.8811°North 2.3377°East  / 48.8811; 2.3377 ),^[52] less than a 5-infinitesimal stroll autonomously, 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 similar tastes in fine art and literature, came from affluent backgrounds, had studied painting in Italian republic, and both were independent, never marrying. The degree of intimacy between them cannot be assessed now, as no letters survive, but it is unlikely they were in a human relationship given their bourgeois social backgrounds and stiff moral principles. Several of Vincent van Gogh'south letters adjure Degas' sexual continence.^[53] Degas introduced Cassatt to pastel and engraving, both of which Cassatt rapidly 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'due south appeal in his pamphlet The New Painting for a revitalization in figure painting: "Let united states take get out of the stylized human body, 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 ten 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 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 journal planned past 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 Cocky-Portrait (c. 1880) by Cassatt depicts her in the identical lid and wearing apparel, leading 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 well-nigh closely together in the autumn and winter of 1879–80 when Cassatt was mastering her printmaking technique. Degas endemic a pocket-sized printing printing, and by solar day she worked at his studio using his tools and printing while in the evening she fabricated studies for the etching plate the adjacent 24-hour interval. However, 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 hard at preparing a impress, 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 final her entire life, she never once more worked with him equally closely every bit she had over the prints periodical. Mathews notes that she ceased executing her theater scenes at this time.^[lx]

Degas was forthright in his views, equally was Cassatt.^[60] 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 center of the thing).^{[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 assist of women's suffrage, equally capable of affectionately repeating Degas' antifemale comments as being estranged past them (when viewing her Two Women Picking Fruit for the commencement time, he had commented "No woman has the right to describe like that").^[64] From the 1890s onwards their relationship took on a decidedly commercial aspect, as in general had Cassatt's other relations with the Impressionist circle;^{[63] [65]} nevertheless they continued to visit each other until Degas died in 1917.^[66]

Afterward life [edit]

Cassatt's reputation is based on an all-encompassing 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 draw her ain relatives, friends, or clients, although in her afterwards years she generally used professional person 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-child subjects, such as 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..."^[seventy]

The 1890s were Cassatt's busiest and most creative catamenia. She had matured considerably and became more diplomatic and less blunt in her opinions. She also became a office model for young American artists who sought her advice. Among them was Lucy A. Bacon, whom Cassatt introduced to Camille Pissarro. Though the Impressionist group disbanded, Cassatt nonetheless 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 series of highly original colored drypoint and aquatint prints, including Adult female Bathing and The Coiffure, inspired past the Japanese masters shown in Paris the year before. (Come across Japonism) Cassatt was attracted to the simplicity and clarity of Japanese pattern, and the skillful apply of blocks of color. In her estimation, she used primarily low-cal, delicate pastel colors and avoided black (a "forbidden" color among 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 near original contribution... adding a new chapter to the history of graphic arts...technically, equally color prints, they have never been surpassed".^[72]

Also in 1891, Chicago businesswoman Bertha Palmer approached Cassatt to paint a 12' × 58' mural virtually "Modernistic Woman" for the Women's Building for the World'due south Columbian Exposition to be held in 1893. Cassatt completed the project over the next two years while living in France with her mother. The mural 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 right console Arts, Music, Dancing. The mural displays a customs of women apart from their relation to men, as accomplished persons in their ain right. Palmer considered Cassatt to be an American treasure and could retrieve of no one better to paint a mural at an exposition that was to exercise and so much to focus the world'southward attention on the status of women.^[74] Unfortunately the mural did not survive post-obit the run of the exhibition when the edifice was torn down. Cassatt made several studies and paintings on themes similar to those in the mural, and so it is possible to see her development of those ideas and images.^[75] Cassatt also exhibited other paintings in the Exposition.

As the new century arrived, Cassatt served equally 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 fine art came more than slowly in the United States. Even among her family members back in America, she received piddling recognition and was totally overshadowed by her famous brother.^[76]

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

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

A trip to Egypt in 1910 impressed Cassatt with the dazzler of its aboriginal fine art, but was followed by a crunch of creativity; not only had the trip exhausted her, but she alleged herself "crushed past the forcefulness of this Art", saying, "I fought against it merely it conquered, it is surely the greatest Fine art the past has left usa ... how are my feeble hands to ever paint the effect on me."^[80] Diagnosed with diabetes, rheumatism, neuralgia, and cataracts in 1911, she did not boring down, but after 1914 she was forced to end painting equally she became almost blind.

Cassatt died on June fourteen, 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 death

• 

  Memorial on the facade of ten rue de Marignan

Legacy [edit]

• Mary Cassatt inspired many Canadian women artists who were members of the Beaver Hall Grouping.
• The SS Mary Cassatt was a Globe War II Liberty ship, launched May 16, 1943.^[81]
• A quartet of young Juilliard cord musicians formed the all-female person Cassatt Quartet in 1985, named in honour of the painter.^[82] In 2009, the honour-winning group recorded String Quartets Nos. 1–3 (Cassatt Cord Quartet) by composer Dan Welcher; the tertiary quartet on the anthology was written inspired by the work of Mary Cassatt as well.^[83]
• In 1966, Cassatt'southward painting The Canoeing Political party was reproduced on a U.s. postage. Later she was honored past the United states of america Postal service with a 23-cent Groovy Americans series postage.^[84]
• In 1973, Cassatt was inducted into the National Women'southward Hall of Fame.^[85]
• In 2003, four of her paintings – Young Female parent (1888), Children Playing on the Beach (1884), On a Balcony (1878/79) and Child in a Straw Chapeau (circa 1886) – were reproduced on the third issue in the American Treasures stamp series.^[86]
• On May 22, 2009, she was honored past a Google Doodle in recognition of her birthday.^[87]
• Cassatt'due south paintings have sold for every bit much as $four million, the record price of $4,072,500 being 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 retentiveness.^[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 Straw Hat (1886)

• 

  Maternité (1890), pastel

• 

  Nurse Reading to a Piffling Girl (1895), pastel

• 

  The Pink Sash (1898), pastel

• 

  Jules Beingness Dried by His Mother (1900)

• 

  Young Woman in Green, Outdoors in the Sun (1914)

• 

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

• 

  Offer the Panal to the Bullfighter (1873), oil on sheet, 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 equally a peer and an artist in her own right, although Cassatt later took an disfavor 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 Due south. (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-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 present . Boston, Mass.: Hall. ISBN978-0816185351.
8. ^ Pollock 1998, pp. 281–82.
9. ^ Havemeyer, Louisine (1961). Sixteen 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. i. ISBN978-0-486-26722-7.
11. ^ ^{a b c d} "Mary Cassatt - The Consummate Works - Biography - marycassatt.org". world wide web.marycassatt.org . Retrieved November 19, 2019.
12. ^ Mathews 1998, p. 11.
13. ^ McKown 1972, pp. 10–12.
14. ^ Mathews 1998, p. 15.
15. ^ ^{a b c} Dictionary of women artists. Gaze, Delia. London: Fitzroy Dearborn Publishers. 1997. ISBN978-1884964213. OCLC 37693713. {{cite volume}}: 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.
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40. ^ Jones, Kimberly A. (2014). Degas Cassatt. National Gallery of Art, Washington. p. 122.
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47. ^ Holly Pyne Connor; Newark Museum; Frick Fine art & Historical Center. Off the Pedestal: New Women in the Art of Homer, Hunt, and Sargent. Rutgers Academy Printing; 2006. ISBN 978-0-8135-3697-ii. p. 25.
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52. ^ Barter, pp. 354–355 "Mary Cassatt'south Paris" (map). sfn mistake: no target: CITEREFBarter (assistance)
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54. ^ Bullard, p. 14.
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57. ^ "The Portraits | National Portrait Gallery".
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Bibliography [edit]

• Barter, Judith A. (October 15, 1998). Mary Cassatt, mod adult female (1st ed.). Art Establish of Chicago in association with H.N. Abrams. ISBN978-0810940895.
• Bullard, John Eastward. (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. ISBN978-0-394-58497-3.
• Mathews, Nancy Mowll (1998). Mary Cassatt: A Life. New Haven: Yale University Press. ISBN978-0-585-36794-1.
• McKown, Robin (1972). The World of Mary Cassatt. New York: Thomas Y. Crowell Co. ISBN978-0-690-90274-7.
• 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 Hereafter . Amsterdam: 1000+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 Fine art. New Haven. ISBN978-0-300-07348-5.
• Shackelford, George T.M. (1998). "Pas de Deux: Mary Cassatt and Edgar Degas". In Barter, Judith A.. (ed.). Mary Cassatt, modern woman / with contributions past Erica East. Hirshler ... [et al.] New York: Harry N. Abrams, Inc. pp. 109–43. ISBN978-0810940895. LCCN 98007306.
• White, John H. Jr. (Spring 1986). "America's Well-nigh 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.
• Castling, Judith A., et al. Mary Cassatt: Mod Adult female. Exhibition catalogue. New York: 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 Institute. New York: Hudson Hills Press, 1990.
• Pinsky, Susan; Rosen, Marc; Adelson, Warren; Cantor, Jay E.; 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 Modern Women. World of Art. London: Thames and Hudson, 1998.
• Stratton, Suzanne 50. Spain, Espagne, Spanien: Foreign Artists Notice 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 Art. ISBN 0300085699 (come across index)

External links [edit]

External video
Cassatt'southward The Child's Bath
Cassatt'south 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 Balcony past Mary Stevenson Cassatt (W1906-1-vii)" ^{[ permanent expressionless link ]} in The John M. Johnson Drove: A History and Selected Works ^{[ permanent dead link ]} , a Philadelphia Museum of Art free digital publication.
• Mary Cassatt's Cat Paintings
• A finding aid to the Mary Cassatt messages, 1882–1926 at the Archives 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 19, 2012)
• Mary Cassatt prints at the National 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 equally an art collecting counselor and ownership 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 village of Mesnil-Theribus, where Cassatt lived and is buried
• Bibliothèque numérique de 50'INHA – Estampes de Mary Cassatt (in French)

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

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