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Art 105 Artist Essay - Mary Cassatt, Mother Child
1890 Oil on canvas
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A8p9p.r6ec6ia2tiocnm(LibPerrtiyvUantievercsoityl)lection.
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Theresa Woltemate
Professor Luft
ARTS- 105
March 25,2022
Mary Cassatt, Mother Child 1890 Oil on canvas
64.262 x 89.662 cm Private collection. Original held by Wichita Art Museum
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Artist Biography
Mary Stephens Cassatt was born in Allegheny City, Pennsylvania, on May 22, 1844, and
died on June 14, 1926. She came from an upper-middle-class family. Her father was a
successful stockbroker, her mother came from a long line of bankers, and one of her siblings
became president of the Pennsylvania Railroad.2,8 Cassatt never married or had children and
was determined to become an artist despite her father's discouragement with her vision. Cassatt
traveled to Europe in her early years. The Paris World's Fair of 1855 is thought to be where
Cassatt had her first exposure to Degas, who would be her colleague and mentor later in her life.
This early exposure to art was very influential on Cassatt, and it appears to be the drive behind
her determination to become an artist.8
After returning to the United States, Cassatt studied at the Pennsylvania Academy of
Fine Arts in Philadelphia, even though her family disapproved. Unlike most female students in
her class, she wanted to become a professional artist and create her own works of art.2,5,8
Cassatt grew frustrated with the slow-paced learning and restrictions placed on her, so she
decided to self-teach and studied independently to learn as much as she could on the masters of
the art.2
In the mid-1860s, Mary convinced her mother to travel to Europe with her so she could
study in Paris. Again, attempted to attend Ecole des Beaux-Arts, the top art school in Paris, but
gender discrimination caused her to study privately.2,8 Cassatt studied with Jean-Leon Gerome,
a highly respected teacher known for his realistic technique and depiction of exotic subjects.2
Cassatt also enhanced her training by visiting museums across Europe and working in the
Louver, where she sold painted copies of art. In 1868 one of her early privately owned
paintings, A Mandoline Player was accepted into the Paris Salon.2,5,8
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Artist Biography
Cassatt and her mother left Europe after the Franco-Prussian War broke out and returned
to Philadelphia in 1870. Cassatt took artworks to Chicago in hopes of finding a better market for
them. Unfortunately, her artworks were on display in a Jewelry store during which the great
Chicago Fire of 1871 erupted, and her paintings were destroyed.5 In 1871 Cassatt was
commissioned to paint two copies of works by the Renaissance master Correggio, in Parma,
Italy, and worked under Carlo Raimondi, head of the department of engraving. Mary traveled
briefly before settling in Paris in 1874, where her parents and her sister Lydia joined her.2,8
Just as in the United States, the closed-minded restrictions placed on artists, and the
gender discrimination left her conflicted with the French art Community.2,5 After several works
of art were accepted to the Paris Salon, Cassatt was noticed by Edgar Degas, who invited her to
join the Impressionists.1 She was the only American officially associated with the group.8 It is
no surprise that Cassatt would be excited to join this group of artists who were independent and
did not consider gender to be a barrier in this field. Cassatt displayed eleven of her paintings at
the Impressionist exhibition of 1879.1 She participated in four Impressionist Exhibitions and
remained a member through 1886. Her busiest years were in the 1890s and the turn of the
century. Failing eyesight severely curtailed Cassatt's work at the turn of the Century. She gave
up printmaking and stopped painting. She died in 1926 at her country home, outside of Paris
France. Today, her works are found in the collections of the Art Institute of Chicago, the Musée
d'Orsay in Paris, The Museum of Modern Art in New York, and the Carnegie Museum of Art in
Pittsburgh, among others.2
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Movements
The two movements identified are Realism and Impressionism. Since the start of her
career, Cassatt has always leaned toward using live models in the present time as done in
Realism. According to the definition in our textbook, Realism is "any art in which the goal is to
portray forms in the natural world in a highly faithful manner. Specifically, an art style of the
mid-19th century, identified especially with Gustave Courbet, which fostered the idea that
everyday people and events are fit subjects for important art."3 The second movement identified
is Impressionism which “arose in opposition to the academic art of the day…. portraying daily
life, especially the leisure activities of the middle class."3 Many Impressionists are known for
painting subjects from their own families, their social relations, and experiences.5,9 Cassatt
shared the revolutionary ideals of the many 19-century artist. After 1886, Cassatt's style started
to evolve, and she moved away from impressionism and experimented with a variety of
techniques.2
Art Critics
Cassatt is a women-centered artist. From her early days to the very end Cassatt insists on
having women as her models. She did not conform to standard male images of women, so
critics would overlook the content of her art.9 As a result of this, Cassatt gained much respect
from the Feministic movement. Her work was very popular with the public and critics. 2 Critics
found her art inspiring and enjoyed the realism of her work. Her expertise in the arts created a
role as an art advisor who oversees art collectors. Cassatt is responsible for advising the
purchase of many public and private collections in the United States. Cassatt is responsible for
developing the Havemeyer collection, one of the most prominent collections, most of which is
now in the Metropolitan Museum.1,2,8
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Personal Thoughts and Conclusion
Cassatt being from my home state and attending school in my hometown is what led me
to choose her for this essay. The peacefulness and tenderness of her collection is what I admire
as well. I was drawn to her mother-child collection of art and was surprised to find she was
never married or had any children. Her depiction of the relationship between a mother and a
child was moving. My most important role is being a mother. The oil painting Mother-Child
touches my heart. I remember sitting in with my children exhausted from the day, and the soft
touch of their hand on my face gave them the calmness and security of a safe place. The
paintings speak volumes when you look at them. I will end with the words from Isaiah 66:13;
“As a mother comforts her child, so will I comfort you" 4
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References
1. Ben Pollitt, “Mary Cassatt, Little Girl in a Blue Armchair,” in Smarthistory, August 9, 2015.
https://smarthistory.org/cassatt-little-girl-in-a-blue-armchair/.
2. “Biography of Mary Cassatt.” Mary Cassatt - The Complete Works - Biography,
https:// www.marycassatt.org/biography.html.
3. Getlein, M. (2016). Living with Art (11th ed.). New York City, NY: McGraw Hill Education.
https://prod.reader-ui.prod.mheducation.com/epub/sn_ba77/data-uuid-
33f97bd638ae30e688a34ea87d6210cb
4. Holy Bible, New International Version, NIV Copyright 1973,1978,1984.2011 by
Bibica, Inc. https:// www.biblegateway.com/passage/?
search=Isaiah+66%3A13&version=NIV
5. Mody, Lona, et al. "Success in Science: What We Can Learn from Women Artist.” Journal of
Clinical Navigation J Clin Invest. September 30, 2019,
https://doi.org/10.1172/JCI130899.
6. National Gallery of Art *1 (2022 ) An Eye for Art – Mary Cassatt from
https:// www.nga.gov/content/dam/ngaweb/Education/learning-resources/an-eye-for-
art/AnEyeforArt-MaryCassatt.pdf
7. National Gallery of Art*2 (2022) Degas/Cassatt from https:// www.nga.gov/features/degas-
cassatt.html
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References
8. Weinberg, H. Barbara. “Mary Stevenson Cassatt (1844–1926).” In Heilbrunn Timeline of Art
History. New York: The Metropolitan Museum of Art, 2000 October 2004.
http://www.https:// www.metmuseum.org/toah/hd/cast/hd_cast.htm
9. Yeh, Susan Fillin. “Mary Cassatt’s Images of Women.” Art Journal, vol. 35, no. 4, [Taylor
& Francis, Ltd., College Art Association], 1976, pp. 359–63,
https://doi.org/10.2307/776228.
