Toutes peintures à l'huile d'Mary Cassatt

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Painting(From A to Z)

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49886

Mary readinf for her grandchildren

mk205 1880 Oil on canvas 55.9x100.3cm

49798

Matador

mk205 1873 Oil on canvas 81.6x64cm

58335

Maternal Kiss

Maternal Kiss, 1896, Philadelphia Museum of Art

58332

Maternite

Maternite, 1890,

68459

Miss Mary Ellison

Miss Mary Ellison (1880, Mary Cassatt) located inside the National Gallery of Art's West Building in Washington, D.C. June 10, 2010

70946

Miss Mary Ellison

Miss Mary Ellison

67759

moder och barn

1905 se

49811

Mothe helping children a bath

mk205 1880 Oil on canvas 100.4x65.4cm

3174

Mother About to Wash her Sleepy Child

1880

54458

Mother about to wash her sleepy child

mk235 1880 Oil on canvas 100.5x65.4cm

49873

Mother and son

mk205 about 1905 Oil on canvas 92.1x73.7cm

81054

Mother and Child

Date 1890(1890) Medium Oil on canvas Dimensions Deutsch: 90 x 64.5 cm cjr

85085

Mother and Child

1890(1890) Medium Oil on canvas Dimensions Deutsch: 90 x 64.5 cm cyf

3129

Mother and Child gvv

1888 Art Institute of Chicago

3148

Mother and Child jjjj

1901

3161

Mother and Child vgvgv

1901 The Metropolitan Museum of Art, New York

3149

Mother and Child vvv

1901

3168

Mother and Child against a Green Background

1897

49869

Mother and children

mk205 about 1905 Oil on cnavas diameter 95.2cm

50575

Mother and her child

mk212 1891-92 Oil on canvas 73.7x60.3cm

49879

Mother and her children

mk205 1913 oil on canvas 109.3x85.1cm

42081

Mother and Son

mk166 1901 I Wave on cloth 81x70.6cm Metropolitan Museum of Art, New York

49830

Mother and son

mk205 about 1889 Oil on canvas 73.7x59.7cm

49850

Mother and son

mk205 1896-1897 Oil on canvas 55.2x43cm

49851

Mother and son

mk205 1897 Oil on canvas 60.3x71.7cm

49852

Mother and son

mk205 about 1897 Oil on canvas 64.8x80cm

49855

Mother and son

mk205 about 1899 Oil on canvas 81.6x65.7cm

49861

Mother and son

mk205 1900 Oil on canvas 71x59cm

49881

Mother and son

mk205 1914 Oil on canvas 81.2x65cm

49891

Mother and son in the boat

mk205 1910 Oil on canvas 98.7x129cm

3169

Mother Berthe Holding her Baby

1900

58313

Mother Combing her Child Hair

Mother Combing her Child's Hair, 1879, Brooklyn Museum

49854

Mother doing up daughter-s hair

mk205 about 1898 Oil on tempera 63.9x80cm

49831

Mother holding the kid

mk205 1890 Oil on canvas 81.5x65.5cm

3186

Mrs Duffee Seated on a Striped Sofa, Reading

1876

58334

Nurse Reading to a Little Girl

Nurse Reading to a Little Girl, 1895, Metropolitan Museum of Art

3191

Offering the Panal to the Toreador

1872-73

3193

On the Balcony

1873

54462

On the Meadow

mk235 1880 Oil on canvas 54x65cm

49883

People Picking up the flower at the field

mk205 about 1875 Oil on board 26.6x34.3cm

3138

Portrait of a Woman gg

1890 Canajoharie Library & Art Gallery, New York

49856

Portrait of Alan

mk205 about 1899 22.5x20.5cm

49800

Portrait of artist

mk205 1878 oil on tempera 60x44.5cm

49829

Portrait of Catherine

mk205 circa 1889 Oil on canvas 96.5x68.5cm

49876

Portrait of Kelike

mk205 1910 Oil on canvas 66x52cm

49848

Portrait of the lady

mk205 1896 Oil on canvas 73.6x61cm

49821

Portrait of the old wives

mk205 circa 1883 Oil on canvas 73x60.3cm

49890

Reading

mk205 about 1901 Oil on canvas 56.5x112.4cm

54461

Reading

mk235 1883 Oil on canvas

3187

Reading Le Figaro

1878

49801

Reading the book

mk205 1877 Oil on tempera 81.2x64.7cm

3139

Reine Leaning Over Margot's Shoulder

1902

54505

Reine Lefebvre and Margot

mk235 c.1902 Oil on canvas

3158

Sara Handing a Toy to the Baby

1901 Hill-Stead Museum, Farmington CT

58336

Sara Holding a Cat

Sara Holding a Cat, 1908,

92329

Sara mit einem dunklen Haubchen

1901(1901) Medium oil on canvas Dimensions 67.2 X 56.2 cm (26.5 X 22.1 in) cjr

49828

Sarah wearing the hat and seeing left

mk205 1901 Oil on canvas 46.3x38.7cm

27067

Self-Portrait

mk52 1880 Watercolour on paper 33x24.4cm National Portrait Gallery,Washington DC

49817

Self-Portrait

mk205 1880 Oil on canvas 33x24.4cm

3179

Self-Portrait bbnb

1878

49878

sewing class

mk205 1913 Oil on canvas 76.5x64.8cm

11420

Sewing Woman

ca. 1880 -1882 3' x 2' 1''(92 x 63 cm)Gift of Antonin Personnaz,1937

49880

Sleeping deeply Child

mk205 about 1910 Oil on canvas 64.7x52cm

49871

Study of Mother and kid

mk205 about 1905 Oil on canvas 92.7x73.5cm

49872

Study of Zeny and her child

mk205 about 1906 Oil on canvas 89x75cm

49845

Summer times

mk205 1894 Oil on canvas 73.4x100.3cm

3157

Summertime

1894

54489

Summertime

mk235 1894 Oil on canvas 73.4x100cm

58305

Summertime

Summertime, c. 1894, oil on canvas

3146

Susan Comforting the Baby

93251

Susan Comforting the Baby No. 1

c. 1881 Medium oil on canvas Dimensions 17" x 23" cjr

49812

Susan hoding the dog in balcony

mk205 circa 1880 Oil on canvas 100.3x64.7cm

49814

Susan is take care of the kid

mk205 about 1881 Oil on canvas 65x100cm

54503

Susan on a Balcony Holding a Dog

mk235 1883 Oil on canvas

58303

Tea by Mary Cassatt

Tea by Mary Cassatt, 1880, oil on canvas, 25 1/2 x 36 1/4 in., Museum of Fine Arts, Boston

49842

The Baby Reaching for the apple

mk205 1893 Oil on canvas 100.3x65.4cm

3147

The Bath

30864

The Bath

mk68 Oil on canvas Chicago,Art Institute of Chicago 1892 France

58306

The Bath by Mary Cassatt

The Child's Bath (The Bath) by Mary Cassatt, 1893, oil on canvas, Art Institute of Chicago

3165

The Boating Party

1893-94 The National Gallery of Art, Washington DC

40836

The Boating Party

mk156 1893-1894 Oil on canvas 90x117.3cm

54490

The Boating Party

mk235 c.1893/94 Oil on canvas 90x117cm

21598

The Boating Party (mk09)

c 1893/94 Oil on canvas,90 x 117 cm Washington,National Gallery of Art

34035

The Boating Patty

mk87 c.1893/94 Oil on canvas 90x117cm Washington,National Gallery of Art

3132

The Caress

1891

31883

The Child's Bath

mk77 1893 Oil on canvas 39 1/2x26in

72332

The Child's Bath

"The Child's Bath," oil on canvas, by the American artist Mary Cassatt. 39 1/2 in. x 26 in. Courtesy of the Art Institute of Chicago, Chicago, Illinois. 1893(1893) cjr

80866

The Child's Caress

Date ca. 1890(1890) Medium Oil on canvas cjr

84827

The Child's Caress

1890(1890) Medium Oil on canvas cyf

95169

The Childs Bath

1893 Type Oil on canvas Dimensions 100.3 cm x 66.1 cm cyf

3164

The Cup of Tea

1880 Museum of Fine Arts, Boston

3184

The Cup of Tea 1

1880

3159

The Family

1892 The Chrysler Museum, Norfolk

3133

The Fitting

1890-91 National Gallery of Art, Washington DC

49823

The girl do up her hair

mk205 1886 Oil on canvas 75.2x62.5cm

50560

The girl do up her hair

mk212 1886 Oil on canvas 75.2x62.5cm

49865

The girl holding the baby

mk205 1902 Oil on canvas 68.3x57.1cm

49862

The girl holding the dog

mk205 about 1901 Oil on canvas 64.7x49.5cm

49863

The girl holding the dog

mk205 about 1901 Oil on tempera 72.7x59.6cm

49875

The girl holding the dog

mk205 about 1908 Oil on canvas 64.2x53.3cm

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Mary Cassatt

1844-1926 Mary Cassatt Galleries Within months of her return to Europe in the autumn of 1871, Cassatt??s prospects had brightened. Her painting Two Women Throwing Flowers During Carnival was well received in the Salon of 1872, and was purchased. She attracted much favorable notice in Parma and was supported and encouraged by the art community there: ??All Parma is talking of Miss Cassatt and her picture, and everyone is anxious to know her??. After completing her commission for the archbishop, Cassatt traveled to Madrid and Seville, where she painted a group of paintings of Spanish subjects, including Spanish Dancer Wearing a Lace Mantilla (1873, in the National Museum of American Art, Smithsonian Institution). In 1874, she made the decision to take up residence in France. She was joined by her sister Lydia who shared an apartment with her. Cassatt continued to express criticism of the politics of the Salon and the conventional taste that prevailed there. She was blunt in her comments, as reported by Sartain, who wrote: ??she is entirely too slashing, snubs all modern art, disdains the Salon pictures of Cabanel, Bonnat, all the names we are used to revere??. Cassatt saw that works by female artists were often dismissed with contempt unless the artist had a friend or protector on the jury, and she would not flirt with jurors to curry favor. Her cynicism grew when one of the two pictures she submitted in 1875 was refused by the jury, only to be accepted the following year after she darkened the background. She had quarrels with Sartain, who thought Cassatt too outspoken and self-centered, and eventually they parted. Out of her distress and self-criticism, Cassatt decided that she needed to move away from genre paintings and onto more fashionable subjects, in order to attract portrait commissions from American socialites abroad, but that attempt bore little fruit at first. In 1877, both her entries were rejected, and for the first time in seven years she had no works in the Salon. At this low point in her career she was invited by Edgar Degas to show her works with the Impressionists, a group that had begun their own series of independent exhibitions in 1874 with much attendant notoriety. The Impressionists (also known as the ??Independents?? or ??Intransigents??) had no formal manifesto and varied considerably in subject matter and technique. They tended to prefer open air painting and the application of vibrant color in separate strokes with little pre-mixing, which allows the eye to merge the results in an ??impressionistic?? manner. The Impressionists had been receiving the wrath of the critics for several years. Henry Bacon, a friend of the Cassatts, thought that the Impressionists were so radical that they were ??afflicted with some hitherto unknown disease of the eye??. They already had one female member, artist Berthe Morisot, who became Cassatt??s friend and colleague. Degas, Portrait of Miss Cassatt, Seated, Holding Cards, c. 1876-1878, oil on canvasCassatt admired Degas, whose pastels had made a powerful impression on her when she encountered them in an art dealer's window in 1875. "I used to go and flatten my nose against that window and absorb all I could of his art," she later recalled. "It changed my life. I saw art then as I wanted to see it." She accepted Degas' invitation with enthusiasm, and began preparing paintings for the next Impressionist show, planned for 1878, which (after a postponement because of the World??s Fair) took place on April 10, 1879. She felt comfortable with the Impressionists and joined their cause enthusiastically, declaring: ??we are carrying on a despairing fight & need all our forces??. Unable to attend cafes with them without attracting unfavorable attention, she met with them privately and at exhibitions. She now hoped for commercial success selling paintings to the sophisticated Parisians who preferred the avant-garde. Her style had gained a new spontaneity during the intervening two years. Previously a studio-bound artist, she had adopted the practice of carrying a sketchbook with her while out-of-doors or at the theater, and recording the scenes she saw. Summertime, c. 1894, oil on canvasIn 1877, Cassatt was joined in Paris by her father and mother, who returned with her sister Lydia. Mary valued their companionship, as neither she nor Lydia had married. Mary had decided early in life that marriage would be incompatible with her career. Lydia, who was frequently painted by her sister, suffered from recurrent bouts of illness, and her death in 1882 left Cassatt temporarily unable to work. Cassatt??s father insisted that her studio and supplies be covered by her sales, which were still meager. Afraid of having to paint ??potboilers?? to make ends meet, Cassatt applied herself to produce some quality paintings for the next Impressionist exhibition. Three of her most accomplished works from 1878 were Portrait of the Artist (self-portrait), Little Girl in a Blue Armchair, and Reading Le Figaro (portrait of her mother). Degas had considerable influence on Cassatt. She became extremely proficient in the use of pastels, eventually creating many of her most important works in this medium. Degas also introduced her to etching, of which he was a recognized master. The two worked side-by-side for awhile, and her draftsmanship gained considerable strength under his tutelage. He depicted her in a series of etchings recording their trips to the Louvre. She had strong feelings for him but learned not to expect too much from his fickle and temperamental nature. The sophisticated and well-dressed Degas, then forty-five, was a welcome dinner guest at the Cassatt residence. The Impressionist exhibit of 1879 was the most successful to date, despite the absence of Renoir, Sisley, Manet and C??zanne, who were attempting once again to gain recognition at the Salon. Through the efforts of Gustave Caillebotte, who organized and underwrote the show, the group made a profit and sold many works, although the criticism continued as harsh as ever. The Revue des Deux Mondes wrote, ??M. Degas and Mlle. Cassatt are, nevertheless, the only artists who distinguish themselves??and who offer some attraction and some excuse in the pretentious show of window dressing and infantile daubing??. Cassatt displayed eleven works, including La Loge. Although critics claimed that Cassatt??s colors were too bright and that her portraits were too accurate to be flattering to the subjects, her work was not savaged as was Monet's, whose circumstances were the most desperate of all the Impressionists at that time. She used her share of the profits to purchase a work by Degas and one by Monet. She exhibited in the Impressionist Exhibitions that followed in 1880 and 1881, and she remained an active member of the Impressionist circle until 1886. In 1886, Cassatt provided two paintings for the first Impressionist exhibition in the United States, organized by art dealer Paul Durand-Ruel. Her friend Louisine Elder married Harry Havemeyer in 1883, and with Cassatt as advisor, the couple began collecting the Impressionists on a grand scale. Much of their vast collection is now in the Metropolitan Museum of Art in New York City. She also made several portraits of family members during that period, of which Portrait of Alexander Cassatt and His Son Robert Kelso (1885) is one of her best regarded. Cassatt??s style then evolved, and she moved away from Impressionism to a simpler, more straightforward approach. She began to exhibit her works in New York galleries as well. After 1886, Cassatt no longer identified herself with any art movement and experimented with a variety of techniques.

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