Mary Cassatt: 12 works

A slideshow of artworks auto-selected from multiple collections

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'In the late 1870s, when she first exhibited with the Impressionists, Cassatt painted several images of the theater, a popular entertainment in Paris. Unlike her friend Edgar Degas, Cassatt focused on the spectators rather than the performers, exposing the dramas in the audience.'

Source: Museum of Fine Arts, Boston

In the Loge by Mary Stevenson CassattMuseum of Fine Arts, Boston

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'This work, showing a woman (often said to be her sister Lydia) seated in front of a mirror with the balconies of the Paris Opéra House reflected behind her, demonstrates the influence of Cassatt's friend Edgar Degas, particularly in the attention paid to the effects of artificial lighting on flesh tones.'

Source: Philadelphia Museum of Art

Woman with a Pearl Necklace in a Loge by Mary Stevenson Cassatt, American, 1844 - 1926Philadelphia Museum of Art

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'The bold strokes of Cassatt's drawing, emphasizing color, mood, and motion, celebrate her rapid touch and the modernity of her style.'

Source: Smithsonian's National Portrait Gallery

Mary Cassatt Self-Portrait by Mary Stevenson CassattSmithsonian's National Portrait Gallery

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'A prolific and innovative printmaker, Mary Cassatt created this work as one of a series of 10 color prints intended for an 1891 exhibition at the influential Galerie Durand-Ruel in Paris. Cassatt had challenged herself to imitate the methods of Japanese prints that she had seen on view in Paris the year before.'

Source: National Museum of Women in the Arts

Maternal Caress by Mary CassattNational Museum of Women in the Arts

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'"Mother's Kiss" is one of many mother and child images for which Cassatt earned international renown. She initially experimented with the mother and child theme in the 1880s, inspired by the relationship between her sister-in-law and nephew.'

Source: National Museum of Women in the Arts

Mother’s Kiss by Mary CassattNational Museum of Women in the Arts

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'Free brushstrokes, broad areas of flat color, and tight cropping all reflect her involvement with the Impressionists. Cassatt was one of the few women and the only American who worked and exhibited with the French artists.'

Source: Chrysler Museum of Art

The Family by Mary CassattChrysler Museum of Art

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'"The Child's Bath," with its striking and unorthodox composition, is one of Cassatt's masterworks. In it she employed unconventional devices such as cropped forms, bold patterns and outlines, and a flattened perspective, all of which derived from her study of Japanese woodblock prints.'

Source: The Art Institute of Chicago

The Child's Bath by Mary Cassatt (American, 1844–1926)The Art Institute of Chicago

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'The intimate relationship of mother and child is the theme most closely identified with Cassatt. She portrayed this particular pair, about whom we know very little, in six pastels, adopting her French colleagues' practice of working in a series.'

Source: High Museum of Art

Sketch of a Mother Looking Down at Thomas by Mary CassattHigh Museum of Art

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'Mary Cassatt, the most daring of the American Impressionists, came from a well-to-do Pittsburgh family and studied at the Pennsylvania Academy of the Fine Arts. An independent spirit, Cassatt moved permanently to France and eventually cast aside her training, which she found stifling to creativity.'

Source: Cincinnati Art Museum

Mother and Child by Mary Cassatt (American, b.1844, d.1926)Cincinnati Art Museum

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'Working first in black and white, Cassatt began incorporating color into her prints after viewing the 1890 exhibition of Japanese ukiyo-e prints at the école des Beaux-Arts. No other artist succeeded in adapting the spirit of the Japanese color woodcut to the Western medium of etching as effectively as Cassatt.'

Source: The Museum of Fine Arts, Houston

Under the Horse-Chestnut Tree by Mary CassattThe Museum of Fine Arts, Houston

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'Mary Cassatt, the daughter of a wealthy Pennsylvania banker, traveled extensively through Italy, Belgium and Spain and trained in Paris with several notable teachers including Gérôme and Couture. She met Degas in 1877, and though their friendship would be fitful and end in total estrangement, the encounter proved meaningful for both artists.'

Source: The Walters Art Museum

Margot (Lefebvre) in Blue by Mary Cassatt (American, 1844-1926)The Walters Art Museum

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'Mary Cassatt=92s fame rests on her images of young mothers and children, subjects the American expatriate and Francophile depicted in many media, including drypoint.'

Source: The Nelson-Atkins Museum of Art

Kneeling in an Armchair by Mary CassattThe Nelson-Atkins Museum of Art

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The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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