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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.
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 ]
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 ...
Ellen Mary Cassatt In A White Coat: 1896: 32 in x 24 in: private collection: Breakfast in Bed: 1897: 25 5/8 in × 29 in: Huntington Library: San Marino, California Under the Horse Chestnut Tree: 1898: 19 x 15 in: Museum of Fine Arts, Houston (this original), Library of Congress: Houston and Washington D.C. Gardner and Ellen: 1899: 25 in × 18 3 ...
The Best Exhibitions This Spring Are Celebrating Female Artists. Leena Kim. May 17, 2024 at 7:00 AM ... a curator of “Mary Cassatt at Work,” the first U.S. survey of the artist in 25 years, ...
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]
Dimensions. 100.3 cm × 66.1 cm (39.5 in × 26 in) Location. Art Institute of Chicago, Chicago. The Child's Bath (or The Bath) is an 1893 oil painting by American artist Mary Cassatt. The painting continues her interest in depicting bathing and motherhood, but it is distinct in its angle of vision. Both the subject matter and the overhead ...
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 ...