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    Cassatt and artworks
    Cassatt and artworks
    Cassatt and artworks
    Ebook185 pages1 hour

    Cassatt and artworks

    By Nathalia Brodskaïa

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    Mary was born in Pittsburgh. Her father was a banker of liberal educational ideas and the entire family appears to have been sympathetic to French culture. Mary was no more than five or six years old when she first saw Paris, and she was still in her teens when she decided to become a painter. She went to Italy, on to Antwerp, then to Rome, andfinally returned to Paris where in 1874, she permanently settled.
    In 1872, Cassatt sent her first work to the Salon, others followed in the succeeding years until 1875, when a portrait of her sister was rejected. She divined that the jury had not been satisfied with the background, so she re-painted it several times until, in the next Salon, the same portrait was accepted. At this moment Degas asked her to exhibit with him and his friends, the Impressionist Group, then rising into view, and she accepted with joy. She admired Manet, Courbet and Degas, and hated conventional art.
    Cassatt’s biographer stressed the intellectuality and sentiment apparent in her work, as well as the emotion and distinction with which she has painted her favourite models: babies and their mothers. He then speaks of her predominant interest in draughtsmanship and her gift for linear pattern, a gift greatly strengthened by her study of Japanese art and her emulation of its style in the colour prints she made. While her style may partake of the style of others, her draughtsmanship, her composition, her light, and her colour are, indeed, her own. There are qualities of tenderness in her work which could have been put there, perhaps, only by a woman. The qualities which make her work of lasting value are those put there by an outstanding painter.
    LanguageEnglish
    PublisherParkstone International
    Release dateDec 5, 2022
    ISBN9781781608449
    Cassatt and artworks

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      Cassatt and artworks - Nathalia Brodskaïa

      Photograph of Mary Cassatt

      Biography

      1844:

      Birth of Mary Stevenson Cassatt near Pittsburgh in Pennsylvania. She is a daughter of a wealthy businessman. Before she is 10 years old, she visits numerous European capitals.

      1851:

      She lives with her parents in Paris, and the following year she lives in Berlin.

      1855:

      Her family goes back to the U.S.A

      1860-65:

      Mary Cassatt studies at Pennsylvania Academy of Fine Arts despite her parents’ objections.

      1866:

      She goes back to Paris where she copies old masters in museums, especially in the Louvre. Jean-Léon Gérôme accepts her as a student.

      1868:

      She visits Barbizon and is very eager to study its style. Mandolin Player is accepted by the Salon jury

      1869:

      She is rejected by the Salon of Academic Art along with Cézanne, Monet and Sisley. Bazille, Degas, Pissarro and Renoir each have one work accepted.

      1871-72:

      She lives with her mother in Rome, as do many American artists at this time, and travels throughout Europe: Italy, Spain, France etc.

      1873-74:

      Creation of Salon des refusés. One of her paintings, Offering the Panal to the Bullfighter, is accepted by the Salon in Paris. She signs it Mary Stevenson-Cassatt using her middle name.

      1874:

      Anonymous Society of Painters, Sculptors, Printmakers, etc. exhibition, which is the first Impressionism show, takes place in Nadar's studio, 35 boulevard des Capucines. Cassatt, abroad, misses this event.

      1877:

      Degas invites her to exhibit with the Impressionists. She also advises Louisine Havemeyer in buying Degas and other impressionists' paintings.

      1878:

      Cassatt and Pissarro have a consistent correspondence indicating that they have a long friendship and professional collaboration. Cassatt admires Pissarro's work.

      1879:

      Her work hangs in the Impressionism show. She begins a long friendship with Berthe Morisot and is very close to Degas. The latter asks Cassatt, Pissarro and Bracquemond to contribute to Le Jour et la Nuit. She remains an active Impressionism member until 1886 and buys several impressionist paintings especially for her brother, Alexander.

      1882:

      Her sister Lydia dies.

      1886:

      Her style evolves and she no longer identifies herself with any movement.

      1890:

      She exhibits series of dry-points and aquatints and pastels in Durand-Ruel exhibition. She is strongly influenced by Japonese printmaking.

      1890-1900:

      She is very active as an adviser to numerous art collectors.

      1904:

      She receives the Légion d’Honneur for her contribution to the arts.

      1926:

      She dies blind near Paris at the age of 82 years.

      Bacchante

      1872. Oil on canvas, 62 x 50.7 cm. Museum of American Art of the Pennsylvania, Academy of Fine Arts, Philadelphia, Pennsylvania

      When she arrived in Paris in 1866, Mary Cassatt was twenty-two years old and she was one of many young Americans who had chosen to study in Paris. They arrived, painted in numerous Parisian academies and free studios, and met one another in the same American cafes, those little islands of homeland in foreign France where one spoke either English or terribly-accented French. After a while, they all returned home to become famous in their hometowns, or, at most, in their states. Mary, however, was the exception; she did not go back to America. Not only did she stay in France until the end of her life, but she also devoted herself to Impressionism in defiance of the contemporary artistic conventions. Even among Impressionists, however, she was considered strange, and she remained for them a foreign impressionist. Mary never painted a single landscape, although it was precisely in landscape that the genre had originated, matured, and was expressed most vividly. Cassatt limited her work to only one intimate genre – depictions of women and children. Nevertheless, she was devoted to Impressionism such as she saw it in the work of Degas, her friend and mentor. She considered it an honour to exhibit her work together with that of Monet, Degas, Renoir, Sisley, Pissarro, and Berthe Morisot.

      Mary fitted into this group quite naturally. She was not afraid of Paris’s merciless, poisonous criticism, or the questionable privilege of being one of the rejects, even though before she joined the Impressionists her work had already been accepted by the Salon. She was incredibly gifted and unbelievably hardworking, and her French colleagues acknowledged this without fail. Mary Cassatt found her place among the best artists of her generation. She worked masterfully in oil and pastel, as well as the difficult and laborious graphic techniques. Her independence inspired respect. Only muchlater, however, at the end of the twentieth century, was it recognised that Cassatt had accomplished the goal of future generations of artists. In fact, she had become the first artist of the School of Paris, which was formed at the beginning of the twentieth century. When young artists from Russia, Italy, Poland, Spain and Mexico began flocking to Paris, when Russian

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