Mary Stevenson Cassatt (1844 – 1926) was an American painter and printmaker. She was born in Allegheny City, Pennsylvania, but lived much of her adult life in France, where she first befriended Edgar Degas and later exhibited among 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 in 1894 as one of "les trois grandes dames" of Impressionism alongside Marie Bracquemond and Berthe Morisot.
Mary Cassatt started formal training as a painter in 1861. In 1865, she took her first trip to Europe, where she would remain for the next four years, traveling and studying in Paris, Rome, and Madrid. In 1868, her painting A Mandolin Player became her first work to be accepted by the Paris Salon, the official art exhibition of the Académie des Beaux-Arts.
Edgar Degas saw Cassatt’s work at the Salon, and in 1877 he asked her to exhibit with the Impressionists. Cassatt’s painting style and subject matter changed greatly because of her association with Impressionism. She abandoned colorful costume genre depictions in favor of scenes from contemporary life.
Two years later, Cassatt and other artists, including Degas, Félix Braquemond, and Camille Pissarro, experimented with graphic techniques in the hopes of creating a new print journal. Although the journal never came to fruition, this work became very important to Cassatt in her development as a printmaker and a painter.
Cassatt's work combined the light color palette and loose brushwork of Impressionism with compositions influenced by Japanese art as well as by European Old Masters, and she worked in a variety of media throughout her career. This versatility helped to establish her professional success at a time when very few women were regarded as serious artists.
Cassatt's art typically depicted domestic settings, the world to which she herself (as a respectable woman) was restricted, rather than the more public spaces that her male contemporaries were free to inhabit. Her material was occasionally dismissed as quintessentially "feminine," yet most critics realized that she brought considerable technical skill and psychological insight to her subject matter. Through her business acumen and her friendships and professional relationships with artists, dealers, and collectors on both sides of the Atlantic, Cassatt became a key figure in the turn-of-the-century art world and helped to establish the taste for Impressionist art in her native United States.
Throughout the latter half of the 1880s, Cassatt produced etchings and drypoints of members of her family. Her failing eyesight prevented her from working for the last 15 years of her life, but because she had been an exceptionally prolific printmaker, she produced more than 220 prints during the course of her career.
She was described by Gustave Geffroy in 1894 as one of "les trois grandes dames" of Impressionism alongside Marie Bracquemond and Berthe Morisot.
Mary Cassatt started formal training as a painter in 1861. In 1865, she took her first trip to Europe, where she would remain for the next four years, traveling and studying in Paris, Rome, and Madrid. In 1868, her painting A Mandolin Player became her first work to be accepted by the Paris Salon, the official art exhibition of the Académie des Beaux-Arts.
Edgar Degas saw Cassatt’s work at the Salon, and in 1877 he asked her to exhibit with the Impressionists. Cassatt’s painting style and subject matter changed greatly because of her association with Impressionism. She abandoned colorful costume genre depictions in favor of scenes from contemporary life.
Two years later, Cassatt and other artists, including Degas, Félix Braquemond, and Camille Pissarro, experimented with graphic techniques in the hopes of creating a new print journal. Although the journal never came to fruition, this work became very important to Cassatt in her development as a printmaker and a painter.
Cassatt's work combined the light color palette and loose brushwork of Impressionism with compositions influenced by Japanese art as well as by European Old Masters, and she worked in a variety of media throughout her career. This versatility helped to establish her professional success at a time when very few women were regarded as serious artists.
Cassatt's art typically depicted domestic settings, the world to which she herself (as a respectable woman) was restricted, rather than the more public spaces that her male contemporaries were free to inhabit. Her material was occasionally dismissed as quintessentially "feminine," yet most critics realized that she brought considerable technical skill and psychological insight to her subject matter. Through her business acumen and her friendships and professional relationships with artists, dealers, and collectors on both sides of the Atlantic, Cassatt became a key figure in the turn-of-the-century art world and helped to establish the taste for Impressionist art in her native United States.
Throughout the latter half of the 1880s, Cassatt produced etchings and drypoints of members of her family. Her failing eyesight prevented her from working for the last 15 years of her life, but because she had been an exceptionally prolific printmaker, she produced more than 220 prints during the course of her career.
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| Mrs Mary Cassatt self-portrait |
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| Memorial on the facade of 10 rue de Marignan |
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| 1868, A Mandolin Player |
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| 1868, Child Drinking Milk |
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| 1869, Two Seated Women |
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| 1871, Sketch of Mrs. Currey Sketch of Mr. Cassatt |
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| 1872, During Carnival |
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| 1872, Portrait Of A Woman |
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| 1873, Offering the Panal to the Bullfighter |
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| 1873, Spanish Dancer Wearing a Lace Mantilla |
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| 1873, Toreador |
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| 1874, Musical Party |
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| 1875, Peasant Woman Peeling an Orange |
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| 1876, Portrait of Miss Cassatt, holding the cards |
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| 1877, Portrait of a Lady (Miss Ellison) |
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| 1877, The Reader |
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| 1878, In the Loge |
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| 1878, Portrait of the artist, Mary Cassatt |
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| 1878, The Reader |
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| 1879, Mother Combing Her Child's Hair |
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| 1879, Woman with a Pearl Necklace in a Loge |
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| 1880, Elsie Cassatt Holding a Big Dog |
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| 1880, Miss Mary Ellison |
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| 1880, The Cup of Tea |
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| 1881, Susan Seated Outdoors Wearing a Purple Hat |
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| 1882, Woman in Black |
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| 1883, Young Girl at a Window |
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| 1884, Children on the Beach |
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| 1885, Lady at the Tea Table |
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| 1886, Child in Straw Hat |
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| 1887-88, Lady and child |
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| 1889, Baby in His Mother`s arms, sucking his finger |
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| 1890, Maternité |
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| 1890, Young Woman in a Black and Green Bonnet |
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| 1891, Baby`s First Cess |
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| 1892-93, Impression, Sunrise (Impression, soleil levant) |
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| 1893, The Child's Bath |
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| 1894, Summertime |
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| 1895, Nurse Reading to a Little Girl |
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| 1896, Maternal Caress |
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| 1896, Maternal kiss |
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| 1897, Breakfast in Bed |
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| 1898, Mother and Child Before a Pool |
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| 1898, The Pink Sash |
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| 1899, Madame Meerson and Her Daughter |
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| 1900, Jules Being Dried by His Mother |
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| 1900, Young Mother Sewing |
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| 1901, Head of Sara in a Bonnet Looking Left |
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| 1902, Mère et enfant (Reine Lefebre and Margot before a Window) |
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| 1903, Head of Simone in a Large Plumes Hat, Looking Left |
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| 1903, Margot in Blue |
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| 1904, Dorothy in a Very Large Bonnet and a Dark Coat |
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| 1905, Sketch of Ellen My Cassatt in a Big Blue Hat |
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| 1906, Mother and Two Children |
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| 1908, Bust of Francoise Looking Down |
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| 1908, Francoise Wearing a Big White Hat |
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| 1909, Woman at Her Toilette |
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| 1910, Auguste Reading to Her Daughter |
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| 1911, Portrait of Mie Louise Durand Ruel |
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| 1913, The Chrochet Lesson |
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| 1914, Young Woman in Green, Outdoors in the Sun |
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