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In 1890, Cassatt had visited the great Japanese Print exhibition at the École de Beaux-arts in Paris. [ 8 ] [ 13 ] Mary Cassatt owned Japanese prints by Kitagawa Utamaro (1753–1806). [ 14 ] [ 15 ] The exhibition at Durand-Ruel of Japanese art proved the most important influence on Cassatt. [ 16 ]
Mary Stevenson Cassatt (/ k ə ˈ s æ t /; May 22, 1844 – June 14, 1926) [1] was an American painter and printmaker. [2] She was born in Allegheny, Pennsylvania (now part of Pittsburgh's North Side), and lived much of her adult life in France, where she befriended Edgar Degas and exhibited with the Impressionists.
Dimensions. 89.7 cm × 130.5 cm (35.3 in × 51.4 in) Location. Philadelphia Museum of Art, Philadelphia. A Woman and a Girl Driving is an oil-on-canvas painting by American Impressionist Mary Cassatt, painted in 1881. It emphasizes the theme of female autonomy in a male dominated society. [1] Lydia Cassatt, the artist's sister, is shown holding ...
The last time there was a show in America dedicated to Mary Cassatt, the year was 1999. Given her stature as a grande dame of Impressionism and one of the very few women to have reached a level of ...
In the Loge was one of Cassatt's first pieces to be presented in the United States, when it was exhibited in Boston in 1878. [5] The work remained in the possession of the artist's family until 1893 or 1894, when Cassatt sold it to Martin, Camentron, and Company in Paris. [5] The painting entered the Museum of Fine Arts, Boston in 1910. [5]
Woman with a Pearl Necklace in a Loge (or Lydia in a Loge) is an 1879 painting by American artist Mary Cassatt. The Philadelphia Museum of Art acquired the painting in 1978 from the bequest of Charlotte Dorrance Wright. [1] The style in which it was painted and the depiction of shifting light and color was influenced by Impressionism. [1]
Griselda Pollock declares the painting one of the most radical images of childhood of the time. [16] Germaine Greer calls it Cassatt's first real stunner: "As an icon of the awfulness of being at once controlled by adults and ignored by them, this bold work could hardly be bettered", [17] a view echoed by Ben Pollitt in his description of the painting as capturing the huffing and puffing ...
Cassatt's work reflects the fact that she did not have the same access to the public sphere as her male counterparts. [4] While male artists were able to explore busy streets, music halls, cafes, and travel, Cassatt’s experiences were limited to the domestic sphere, therefore, also limiting her choice of subjects.