Mary Cassatt is famous for her paintings of the social as well as personal lives of women, with special stress on the intimate ties between mothers and their children.
Cassatt was born in Allegheny City, Pennsylvania, today a part of Pittsburgh. She was born into prosperous conditions: her father, Robert Simpson Cassat (later Cassatt), was a flourishing stockbroker and land speculator, and her mother, Katherine Kelso Johnston, descended out of a banking family. The ancestral family name had been Cossart. Mary was a remote cousin of painter Robert Henri. She was among seven children, two died in as infants. Her family relocated east, originally to Lancaster, Pennsylvania, later to the Philadelphia region, where she started schooling by the age six.
Cassatt was raised in an atmosphere where traveling was considered as important as education; therefore she passed five years in Europe where she visited several of the capitals, including London, Paris, as well as Berlin. She obtained her initial instructions in drawing and music when overseas, as well as being instructed in the German and French languages. Her initial exposure to French artists Ingres, Delacroix, Corot, as well as Courbet was likely at the Paris World's Fair in 1855. Also presented at the showing were Degas and Pissarro, two artist who would later be Mary's future friends as well as mentors.
Cassatt was born in Allegheny City, Pennsylvania, today a part of Pittsburgh. She was born into prosperous conditions: her father, Robert Simpson Cassat (later Cassatt), was a flourishing stockbroker and land speculator, and her mother, Katherine Kelso Johnston, descended out of a banking family. The ancestral family name had been Cossart. Mary was a remote cousin of painter Robert Henri. She was among seven children, two died in as infants. Her family relocated east, originally to Lancaster, Pennsylvania, later to the Philadelphia region, where she started schooling by the age six.
Cassatt was raised in an atmosphere where traveling was considered as important as education; therefore she passed five years in Europe where she visited several of the capitals, including London, Paris, as well as Berlin. She obtained her initial instructions in drawing and music when overseas, as well as being instructed in the German and French languages. Her initial exposure to French artists Ingres, Delacroix, Corot, as well as Courbet was likely at the Paris World's Fair in 1855. Also presented at the showing were Degas and Pissarro, two artist who would later be Mary's future friends as well as mentors.
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Biography
Although her family objected to her being a professional painter, Cassatt started her art training at the Pennsylvania Academy of the Fine Arts in Philadelphia, Pennsylvania, by the young age of 15, and so had been receiving lessons in the time of the American Civil War. Some of the worry her family expressed might have been Cassatt's exposure to feminist thoughts she might encounter with the school, and also the unconventional conduct of a few of the male pupils, of them the renowned painter Thomas Eakins, who afterward would become the controversial director of the Academy. There were fare more men enrolled at the Academy, only about twenty percent of the pupils had been female. Although many of the women students were not inclined on building a serious vocation on painting, they regarded art as a sound method of accomplishment and credit, and a socially useful talent. Cassatt, alternatively, had her mind set to be a professional painter.
Bored with the sluggish rate of teaching and the superior posture of both the male pupils as well as instructors, Cassatt resolved to learn the old masters on her own. She afterward stated, "There was no teaching" at the Academy. Female pupils could not utilize live models at the time and the primary learning tool was chiefly drawing out of casts.
Cassatt selected to leave her classes and at that period, no degree was awarded to her. She at length gave in to her father's protests, and so in 1866, she relocated to Paris, accompanied by her mother and family friends who would function as her chaperons while in France. Because women may not at the time go to the École des Beaux-Arts, she applied to learn in private with masters of the school. Obviously talented, she was able to take lessons with Jean-Léon Gérôme, the extremely renowned instructor famed for his hyper-realistic style and his portrayal of exotic figures. Months later Gérôme would as well take on Thomas Eakins as a pupil. Cassatt increased her arts training with daily sessions at the Louvre where she had received a permit. Such permits were issued by the Louvre in order to moderate the large number "copyists" who might show up daily, typically low-paid women, who occupied the museum in order paint replicates which they might sell. The museum as well became a social gathering place for Frenchmen and American female pupils, who, as in the case of Cassatt, were not permitted to go to cafes which the avant-garde artists met. In a similar situation, painter and friend Elizabeth Gardner had encountered and wed celebrated academic artist William Bouguereau.
Bored with the sluggish rate of teaching and the superior posture of both the male pupils as well as instructors, Cassatt resolved to learn the old masters on her own. She afterward stated, "There was no teaching" at the Academy. Female pupils could not utilize live models at the time and the primary learning tool was chiefly drawing out of casts.
Cassatt selected to leave her classes and at that period, no degree was awarded to her. She at length gave in to her father's protests, and so in 1866, she relocated to Paris, accompanied by her mother and family friends who would function as her chaperons while in France. Because women may not at the time go to the École des Beaux-Arts, she applied to learn in private with masters of the school. Obviously talented, she was able to take lessons with Jean-Léon Gérôme, the extremely renowned instructor famed for his hyper-realistic style and his portrayal of exotic figures. Months later Gérôme would as well take on Thomas Eakins as a pupil. Cassatt increased her arts training with daily sessions at the Louvre where she had received a permit. Such permits were issued by the Louvre in order to moderate the large number "copyists" who might show up daily, typically low-paid women, who occupied the museum in order paint replicates which they might sell. The museum as well became a social gathering place for Frenchmen and American female pupils, who, as in the case of Cassatt, were not permitted to go to cafes which the avant-garde artists met. In a similar situation, painter and friend Elizabeth Gardner had encountered and wed celebrated academic artist William Bouguereau.
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Two Women Throwing Flowers - Mary Cassatt
In 1866, she enrolled in a art class instructed by Charles Chaplin, a famed genre painter. In 1868, Cassatt also took lessons with painter Thomas Couture, whose themes were generally romantic and urban. Along with visits to the country, the pupils sketched from life, especially the peasants moving about their day-to-day business. In 1868 one of her art works titled A Mandolin Player, was her first to be admitted by the selection jury for the Paris Salon. The painting is in the Romantic technique of Camille Corot and Couture, as well as being one of just two art works documented today from the first decade of her career. At the time, the French art world was changing while radical painters like Gustave Courbet and also Edouard Manet attempted to break off from recognized Academic custom and the Impressionists had just been in their their starting years. Cassatt would continue to go forward and study in a conventional method, while submitting pieces with the Salon for more than ten years, and feeling a growing frustration, prior to aligning herself the Impressionists art movement.Coming back to America during the late summer of 1870 as the Franco-Prussian War was beginning, Cassatt resided with her family in Altoona. Her father kept on rejecting her preferred career as an artist, and paid for her staple necessities, however would not financially assist her purchase of painting supplies. She had two paintings displayed in a New York art gallery and while these works earned her several admirers, there had been no buyers. She was likewise frustrated at the deficiency of art works which she could study and learn from while remaining at her summer home. Cassatt even debated ceasing art altogether due to the fact that she was resolved to bring in an independent income and her painting was not accomplishing this. She visited Chicago to see how her luck would fare in this city, however lost a few of her former works in the Great Chicago Fire of 1871. Soon afterward, her pieces were noticed of the Archbishop of Pittsburgh, and he commissioned her to create two copies of art works by Correggio in Parma, Italy, gaining her adequate financial backing for her traveling costs and a portion of her visit. With Emily Sartain, a associate painter from a well thought of artistic family out of Philadelphia, Cassatt started for Europe once more.
Toreador - Mary Cassatt
Inside months of her coming back to Europe in the fall of 1871, Cassatt's outlooks had brightened. Her piece Two Women Throwing Flowers During Carnival was well accepted in the Salon of 1872, and the work had also found a buyer. She received a good deal of positive attention in Parma and was backed up and promoted by the art world there.
Having finished her work for the archbishop, Cassatt went to Madrid and Seville, where she created a series of pictures of Spanish figures, which includes the painting Spanish Dancer Wearing a Lace Mantilla. During 1874, she arrived at the conclusion that she should stay in Europe make her home in France. She was united with her sister Lydia and the two shared an apartment. Cassatt kept speaking up, with critical views of the politics of the Salon as well as the established preference that persisted there. She was outspoken in her remarks,and gained a reputation for this. Cassatt understood that art by female painters were frequently brushed aside with disdain unless the painter had a friend or defender on the panel, and she wouldn't flirt with jurymen simply to gain the jury's favor. Her cynicism developed after one of the two pieces she submitted in 1875 were turned down by the panel, merely to be admitted the next year when she had done no more to the works other than a darkening of the backdrop. She had disputes with Sartain, who believed Cassatt too blunt and egocentric, and finally they separated. From her hurt and self-criticism, Cassatt determined that she wanted to move away from genre works and onto more stylish themes in hopes of gaining attention for commissions for portrait work, targeting American socialites who were visiting overseas, however this effort bore little fruit for her at the beginning.
During 1877, each of her two submissions were declined at the Salon, and for the first time in seven years she would have no paintings displayed in the Salon exhibit. This was a downcast period in her career, but at this point she was asked by Edgar Degas to display her art with the Impressionists, a circle that had started their own exhibits, with their exhibitions breaking away from the traditional Salon art world. By 1874 the Impressionists had been gaining much attention and notoriety. The Impressionists had been called the "Independents" or "Intransigents", they held no conventional manifesto and deviated substantially in themes and method from traditional painting styles. They were inclined to favor open air painting and the use of spirited color in individual strokes, with only brief pre-mixing, in order to grant the eye the ability to blend the effects in an "impressionistic" style. The Impressionists had been experiencing anger from the critic world for many years. Henry Bacon, a friend of the Cassatt's, held the opinion that the Impressionists had been so radical that they became "afflicted with some hitherto unknown disease of the eye". The group had but a single female member, painter Berthe Morisot, who grew to be Cassatt's friend and co-worker.
Having finished her work for the archbishop, Cassatt went to Madrid and Seville, where she created a series of pictures of Spanish figures, which includes the painting Spanish Dancer Wearing a Lace Mantilla. During 1874, she arrived at the conclusion that she should stay in Europe make her home in France. She was united with her sister Lydia and the two shared an apartment. Cassatt kept speaking up, with critical views of the politics of the Salon as well as the established preference that persisted there. She was outspoken in her remarks,and gained a reputation for this. Cassatt understood that art by female painters were frequently brushed aside with disdain unless the painter had a friend or defender on the panel, and she wouldn't flirt with jurymen simply to gain the jury's favor. Her cynicism developed after one of the two pieces she submitted in 1875 were turned down by the panel, merely to be admitted the next year when she had done no more to the works other than a darkening of the backdrop. She had disputes with Sartain, who believed Cassatt too blunt and egocentric, and finally they separated. From her hurt and self-criticism, Cassatt determined that she wanted to move away from genre works and onto more stylish themes in hopes of gaining attention for commissions for portrait work, targeting American socialites who were visiting overseas, however this effort bore little fruit for her at the beginning.
During 1877, each of her two submissions were declined at the Salon, and for the first time in seven years she would have no paintings displayed in the Salon exhibit. This was a downcast period in her career, but at this point she was asked by Edgar Degas to display her art with the Impressionists, a circle that had started their own exhibits, with their exhibitions breaking away from the traditional Salon art world. By 1874 the Impressionists had been gaining much attention and notoriety. The Impressionists had been called the "Independents" or "Intransigents", they held no conventional manifesto and deviated substantially in themes and method from traditional painting styles. They were inclined to favor open air painting and the use of spirited color in individual strokes, with only brief pre-mixing, in order to grant the eye the ability to blend the effects in an "impressionistic" style. The Impressionists had been experiencing anger from the critic world for many years. Henry Bacon, a friend of the Cassatt's, held the opinion that the Impressionists had been so radical that they became "afflicted with some hitherto unknown disease of the eye". The group had but a single female member, painter Berthe Morisot, who grew to be Cassatt's friend and co-worker.
In the Box
Cassatt respected Edgar Degas, whose pastels had created a potent impression on her when she came across them in an art gallery window in 1875. She received Degas' invitation to enter the Impressionist show with exuberance, and started developing art works for the upcoming Impressionist exhibit to be held in 1878. It would actually take place on April 10, 1879. She felt at ease among the Impressionists artist and united with their crusade with enthusiasm. Not able to go to cafes with the group without drawing adverse notice, she gathered with them in private and at gallery showings. She now set her goals for commercial success selling works to the urbane Parisians who favored the avant-garde. Her technique had acquired a new spontaneity in the next two years. Beforehand, as a studio-bound painter, she had assumed the use of packing a sketchbook with her to put down the views she saw, out-of-doors as well as at the theater.In 1877, Cassatt was united with her father and mother in Paris, who came back to France and had as well brought her sister Lydia. Mary appreciated the company of her sister greatly, as neither she nor Lydia had wed. Early in life Mary had decided that matrimony would not be fitting for her career. Lydia, who was oftentimes depicted by her sister, suffered from repeated rounds of sickness.
Cassatt's father took a firm stand that her studio and supplies be paid for with her sales, and her sales were still scarce. Fearful of having to paint "potboilers" - emotional scenes for fast revenue - in order to make ends meet, Cassatt set out to create some superior art works and hopefully gain recognition in the next Impressionist showing. Three of her most skilled pieces out of 1878 were Portrait of the Artist, Little Girl in a Blue Armchair, as well as Reading Le Figaro.
Jules Being Dried by His Mother - Mary Cassatt
Degas had significant influence upon Cassatt. She grew exceedingly skillful in the usage of pastels, finally producing several of her most significant pieces with the medium. Degas likewise introduced her to copper etching, as he was an accepted master, which reinforced her command of line and general draftsmanship. She was the theme in a group of etchings by Degas which portrayed their visits to the Louvre. They worked side-by-side for a time, and she learned a great deal from him regarding method and color. She held warm feelings for her fellow artist, but saw that it would not work if she were to require too much from his erratic and moody nature. The cosmopolitan and well dressed Degas, at the time forty-five, was a welcome dinner party guest with the Cassatt home.
The Impressionist showing of 1879 was the most prosperous to date, in fact all of the participating artist's were to earn sales and recognition, and the exhibit succeeded in delivering the circle from the "profound desolation" which had previously prevailed "in the Impressionist camp". The success occurred in spite of the absence of Pierre Auguste Renoir, Sisley, Manet or Paul Cezanne, who were seeking once more to curry favor at the Salon. With the endeavors of Gustave Caillebotte, who both coordinated and underwrote the exhibit, the group brought in revenue and sold numerous pieces, however art critics critique had been as disagreeable as ever.
Cassatt exhibited eleven paintings, which includes La Loge. Although critics stated that Cassatt's colors were too vivid and that her portraits had been too precise to be becoming to the figures, her art wasn't savaged as had been Claude Monet, whose conditions were the most despairing of any Impressionists artist of the era. Mary took her portion of the profits and bought a work by Degas as well as one by Monet. In 1880-81, she again presented in the Impressionist Exhibitions, and stayed an participating member of the Impressionist group until 1886. In 1886, Cassatt had included two paintings for the first Impressionist showing in the United States, coordinated by art dealer Paul Durand-Ruel. A friend of Mary's, Louisine Elder, had wed Harry Havemeyer in 1883, and having Cassatt as consultant, the pair started accumulating Impressionists work on a large scale. Most of their huge collection is in the Metropolitan Museum of Art in New York City today. Cassatt as well created several portraits of family members in that time, most notably the portrait titled Portrait of Alexander Cassatt and His Son Robert Kelso. Cassatt's technique began to develop, and she struck away from Impressionism to a less complicated, more direct process. She started to show her paintings in New York art galleries as well. From 1886, Cassatt no longer placed herself with any particular art movement and tried out an assortment of methods on her own.
Cassatt's fashionable repute grew based upon on an wide variety of rigorously drawn, tender, yet mostly unsentimental pictures on the topic of the mother and child. The earliest known painting on this theme is Gardner Held by His Mother, however she had created a couple of previous pieces on the subject. A few of these paintings portray her personal relatives, friends, or customers, however in her advanced years she commonly used paid models in pieces which are frequently a reminder Italian Renaissance portrayals of the Madonna and Child. After 1900, she centered almost exclusively on mother and child figures.
In 1891, she presented a group of extremely fresh colored drypoint and aquatint prints, which includes Woman Bathing and The Coiffure, inspired by Japanese masters whose art had been exhibited in Paris a year earlier. Cassatt was drawn to to the restraint and lucidity of Japanese pattern, and the proficient application of areas of color. In her interpretation, she applied mainly light, soft pastel colors as well as avoided black which was considered a "forbidden" color with the Impressionists.
The 1890s became Cassatt's most active and most inventive period. She had grown substantially as an artist, and her personality was more tactful and less outspoken in her feelings. She likewise was a role model for a younger generation of American painters who wanted her advice. Although the Impressionist circle dissolved, Cassatt yet had contact with a few of the members, primarily Renoir Monet, and also Camille Pissarro. As a new century came, she was employed as a consultant to numerous serious art collectors with the qualification that they at some point donate their buys to American art museums. Even though instrumental in advising the American collectors, acknowledgment of her own personal painting did not happen as quickly in the United States. Even between her family members back in America, she found little acknowledgment and was entirely eclipsed by her celebrated brother.
Mary Cassatt's brother, Alexander Cassatt, passed away during 1906. She had been deeply effected over this event as they had been close, but she remained quite prolific over this and time up to 1910. A growing sentimentality is clear in her art of the 1900s; her paintings were popular with the public as well as critics, however she no more sought new ground, and her Impressionist friends who formerly supplied stimulation and critique were passing away. She was belligerent to such fresh evolutions in the art world like post-Impressionism, Fauvism and Cubism.
A visit to Egypt during 1910 imprinted Cassatt with the beauty of the past art, however became accompanied by a crisis of creativity; not merely had the visit fatigued her, but she announced herself "crushed by the strength of this Art". Diagnosed with diabetes, rheumatism, neuralgia, as well as cataracts in 1911, she didn't slow her work pace down, but following 1914 she was required to cease painting since she grew virtually blind. Even so, she adopted the campaign of women's suffrage, and so in 1915, she exhibited eighteen works in an showing backing the crusade.
The Impressionist showing of 1879 was the most prosperous to date, in fact all of the participating artist's were to earn sales and recognition, and the exhibit succeeded in delivering the circle from the "profound desolation" which had previously prevailed "in the Impressionist camp". The success occurred in spite of the absence of Pierre Auguste Renoir, Sisley, Manet or Paul Cezanne, who were seeking once more to curry favor at the Salon. With the endeavors of Gustave Caillebotte, who both coordinated and underwrote the exhibit, the group brought in revenue and sold numerous pieces, however art critics critique had been as disagreeable as ever.
Cassatt exhibited eleven paintings, which includes La Loge. Although critics stated that Cassatt's colors were too vivid and that her portraits had been too precise to be becoming to the figures, her art wasn't savaged as had been Claude Monet, whose conditions were the most despairing of any Impressionists artist of the era. Mary took her portion of the profits and bought a work by Degas as well as one by Monet. In 1880-81, she again presented in the Impressionist Exhibitions, and stayed an participating member of the Impressionist group until 1886. In 1886, Cassatt had included two paintings for the first Impressionist showing in the United States, coordinated by art dealer Paul Durand-Ruel. A friend of Mary's, Louisine Elder, had wed Harry Havemeyer in 1883, and having Cassatt as consultant, the pair started accumulating Impressionists work on a large scale. Most of their huge collection is in the Metropolitan Museum of Art in New York City today. Cassatt as well created several portraits of family members in that time, most notably the portrait titled Portrait of Alexander Cassatt and His Son Robert Kelso. Cassatt's technique began to develop, and she struck away from Impressionism to a less complicated, more direct process. She started to show her paintings in New York art galleries as well. From 1886, Cassatt no longer placed herself with any particular art movement and tried out an assortment of methods on her own.
Cassatt's fashionable repute grew based upon on an wide variety of rigorously drawn, tender, yet mostly unsentimental pictures on the topic of the mother and child. The earliest known painting on this theme is Gardner Held by His Mother, however she had created a couple of previous pieces on the subject. A few of these paintings portray her personal relatives, friends, or customers, however in her advanced years she commonly used paid models in pieces which are frequently a reminder Italian Renaissance portrayals of the Madonna and Child. After 1900, she centered almost exclusively on mother and child figures.
In 1891, she presented a group of extremely fresh colored drypoint and aquatint prints, which includes Woman Bathing and The Coiffure, inspired by Japanese masters whose art had been exhibited in Paris a year earlier. Cassatt was drawn to to the restraint and lucidity of Japanese pattern, and the proficient application of areas of color. In her interpretation, she applied mainly light, soft pastel colors as well as avoided black which was considered a "forbidden" color with the Impressionists.
The 1890s became Cassatt's most active and most inventive period. She had grown substantially as an artist, and her personality was more tactful and less outspoken in her feelings. She likewise was a role model for a younger generation of American painters who wanted her advice. Although the Impressionist circle dissolved, Cassatt yet had contact with a few of the members, primarily Renoir Monet, and also Camille Pissarro. As a new century came, she was employed as a consultant to numerous serious art collectors with the qualification that they at some point donate their buys to American art museums. Even though instrumental in advising the American collectors, acknowledgment of her own personal painting did not happen as quickly in the United States. Even between her family members back in America, she found little acknowledgment and was entirely eclipsed by her celebrated brother.
Mary Cassatt's brother, Alexander Cassatt, passed away during 1906. She had been deeply effected over this event as they had been close, but she remained quite prolific over this and time up to 1910. A growing sentimentality is clear in her art of the 1900s; her paintings were popular with the public as well as critics, however she no more sought new ground, and her Impressionist friends who formerly supplied stimulation and critique were passing away. She was belligerent to such fresh evolutions in the art world like post-Impressionism, Fauvism and Cubism.
A visit to Egypt during 1910 imprinted Cassatt with the beauty of the past art, however became accompanied by a crisis of creativity; not merely had the visit fatigued her, but she announced herself "crushed by the strength of this Art". Diagnosed with diabetes, rheumatism, neuralgia, as well as cataracts in 1911, she didn't slow her work pace down, but following 1914 she was required to cease painting since she grew virtually blind. Even so, she adopted the campaign of women's suffrage, and so in 1915, she exhibited eighteen works in an showing backing the crusade.
Woman Preparing to Wash Her Sleepy Child
Mary Cassatt Selected Paintings & Works
fine art
- A Seville Lady watching a torero
- Afternoon Walk
- Agnès, age six 1910
- Antoinette holding her Child by both Hands c.1899
- Baby Bill Standing on His Mother's Lap
- Baby with Left Hand touching a Tub, Held by her Nurse c.1891
- Bébé souriant à deux jeunes femmes c.1908
- Bébé souriant à deux jeunes filles
- Bust of Helen with Bows in her Hair c.1898
- Child with Bangs in a blue Dress
- Children playing with a Cat 1908
- Children playing with a Dog 1907
- Deux mères et un enfant dans un bateau 1910
- Ellen Mary Cassatt with a Large Bow in her Hair
- En bateau, le bain c.1908
- Enfant 17x12
- Etude d'enfant
- Etude pour Le dos nu c.1906
- Femme au perroquet
- Femme et enfant
- Femme tenant son enfant sur les genoux c.1908
- Fillette
- Françoise Holding a Little Black Dog
- Françoise in a Square-backed Chair, reading c.1908
- Françoise in Green, Sewing c.1908-1909
- Head of a Baby c.1898
- Head of Simone in a green Bonnet with wavy Brim c.1904
- Head of Simone in a large plumed Hat, looking left c.1900-1901
- In the Box 44x62
- Jeune femme à la mandoline 1876
- Jules standing by his mother c.1901
- Katherine Kelso Cassatt
- La blanchisseuse
- La femme au mouchoir c.1887
- La jeune femme à la toque, 1880's
- Little Girl in a red Beret 1898
- Little Girl in a stiff, round Hat, looking to right in a sunny Garden c.1909
- Lydia Cassatt in a Green Bonnet and Coat c.1880
- Lydia Reading 1883
- Lydia Seated on a porch, Crocheting c.1882
- Madame H de Fleury and her Child
- Margot in a Big Hat c.1902
- Margot in a ruffled Bonnet
- Margot wearing a Bonnet
- Maternité c.1906
- Mère et enfant
- Mère et enfant
- Mother and Child c.1889
- Mother and Child c.1908
- Mother and Sara admiring the Baby c.1901
- Mother and two Children 1906
- Mother looking down at her blond Baby Boy
- Mother looking down at Thomas
- Mother Louise holding up her blue-eyed Child
- Mother Rose looking down at her Baby asleep after Nursing c.1900
- Mother Rose Looking down at her Sleeping Baby
- Nu couché 1867-1868
- Nude Baby beside her Mother
- Portrait de jeune fille
- Portrait de Madame Cordier 1874
- Portrait de Marie-Thérèse Gaillard
- Portrait d'enfant
- Portrait einer Dame mit Muff und Mantel
- Portrait of a Child
- Portrait of an italian Lady
- Portrait of Ellen Mary Cassatt
- Porträt eines jungen Mädchens mit Hut
- Presle 1899
- Profil de femme
- Reine Lefebvre with blond Baby and Sara holding a Cat c.1902
- Sara avec un grand chapeau et une prune en pendentif c.1901
- Sara Holding a cat c.1918 40.5x33
- Sara in a dark bonnet with right hand on arm of chair c.1901
- Sara in a large Flowered Hat, Looking right, Holding her Dog c.1901
- Sara Seated, Leaning on her left Hand
- Sara c.1901
- Simone in blue plumed Hat c.1903
- Tête de femme au grand chapeau c.1909
- Tête de femme et d'enfant c.1887
- Tête de jeune fille
- Tête de petite fille avec bonnet
- Tête d'enfant
- The mauve Dressing Gown 1908
- Trois têtes de garçonnets
- Two Children, one sucking her Thumb
- Two Sisters 1896
- Two Young Girls with a Child
- Two young women, one threading a needle 1881
- Woman by a window feeding her dog c.1880
- Woman wearing Bonnet c.1889
- Young Girl with brown Hair, looking left c.1880-1886
- Young Lady Reading
- Young lady wearing a shawl
- Young Woman in black
- Afternoon Walk
- Agnès, age six 1910
- Antoinette holding her Child by both Hands c.1899
- Baby Bill Standing on His Mother's Lap
- Baby with Left Hand touching a Tub, Held by her Nurse c.1891
- Bébé souriant à deux jeunes femmes c.1908
- Bébé souriant à deux jeunes filles
- Bust of Helen with Bows in her Hair c.1898
- Child with Bangs in a blue Dress
- Children playing with a Cat 1908
- Children playing with a Dog 1907
- Deux mères et un enfant dans un bateau 1910
- Ellen Mary Cassatt with a Large Bow in her Hair
- En bateau, le bain c.1908
- Enfant 17x12
- Etude d'enfant
- Etude pour Le dos nu c.1906
- Femme au perroquet
- Femme et enfant
- Femme tenant son enfant sur les genoux c.1908
- Fillette
- Françoise Holding a Little Black Dog
- Françoise in a Square-backed Chair, reading c.1908
- Françoise in Green, Sewing c.1908-1909
- Head of a Baby c.1898
- Head of Simone in a green Bonnet with wavy Brim c.1904
- Head of Simone in a large plumed Hat, looking left c.1900-1901
- In the Box 44x62
- Jeune femme à la mandoline 1876
- Jules standing by his mother c.1901
- Katherine Kelso Cassatt
- La blanchisseuse
- La femme au mouchoir c.1887
- La jeune femme à la toque, 1880's
- Little Girl in a red Beret 1898
- Little Girl in a stiff, round Hat, looking to right in a sunny Garden c.1909
- Lydia Cassatt in a Green Bonnet and Coat c.1880
- Lydia Reading 1883
- Lydia Seated on a porch, Crocheting c.1882
- Madame H de Fleury and her Child
- Margot in a Big Hat c.1902
- Margot in a ruffled Bonnet
- Margot wearing a Bonnet
- Maternité c.1906
- Mère et enfant
- Mère et enfant
- Mother and Child c.1889
- Mother and Child c.1908
- Mother and Sara admiring the Baby c.1901
- Mother and two Children 1906
- Mother looking down at her blond Baby Boy
- Mother looking down at Thomas
- Mother Louise holding up her blue-eyed Child
- Mother Rose looking down at her Baby asleep after Nursing c.1900
- Mother Rose Looking down at her Sleeping Baby
- Nu couché 1867-1868
- Nude Baby beside her Mother
- Portrait de jeune fille
- Portrait de Madame Cordier 1874
- Portrait de Marie-Thérèse Gaillard
- Portrait d'enfant
- Portrait einer Dame mit Muff und Mantel
- Portrait of a Child
- Portrait of an italian Lady
- Portrait of Ellen Mary Cassatt
- Porträt eines jungen Mädchens mit Hut
- Presle 1899
- Profil de femme
- Reine Lefebvre with blond Baby and Sara holding a Cat c.1902
- Sara avec un grand chapeau et une prune en pendentif c.1901
- Sara Holding a cat c.1918 40.5x33
- Sara in a dark bonnet with right hand on arm of chair c.1901
- Sara in a large Flowered Hat, Looking right, Holding her Dog c.1901
- Sara Seated, Leaning on her left Hand
- Sara c.1901
- Simone in blue plumed Hat c.1903
- Tête de femme au grand chapeau c.1909
- Tête de femme et d'enfant c.1887
- Tête de jeune fille
- Tête de petite fille avec bonnet
- Tête d'enfant
- The mauve Dressing Gown 1908
- Trois têtes de garçonnets
- Two Children, one sucking her Thumb
- Two Sisters 1896
- Two Young Girls with a Child
- Two young women, one threading a needle 1881
- Woman by a window feeding her dog c.1880
- Woman wearing Bonnet c.1889
- Young Girl with brown Hair, looking left c.1880-1886
- Young Lady Reading
- Young lady wearing a shawl
- Young Woman in black
The Cup of Tea - Mary Cassatt
The Caress - Mary Cassatt
Maternal Kiss
The Childs Bath
Sleepy Baby
Margot in Blue
Lady at the Tea Table
Girl Arranging Her Hair
Breakfast in Bed
by dandbal
Mary Stevenson Cassatt - May 22, 1844 - June 14, 1926 - American artist and printmaker. She resided most of her adult life in France, where she... (more)
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