Toutes peintures à l'huile d'Mary Cassatt

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Painting(From A to Z)

Details

58312

A Corner of the Loge

A Corner of the Loge (also known as In the Box), 1879, Privately held

49806

A cup of tea

mk205 1879 Oil on canvas 92.4x65.4cm

3131

A Kiss for Baby Anne

1897 Baltimore Museum of Art

3173

A Musical Party

1874

30836

A Woman and a Girl Driving

mk68 Oil on canvas Philadelphia Philadelphia Museum of Art 1879 France

54454

A Woman and Child in the Driving Seat

mk231 1879 Oil on canvas

3142

After the Bath

49889

After the bath

mk205 about 1901 oil on canvas 66x100cm

58308

After the Bullfight

After the Bullfight, 1873, Art Institute of Chicago

49887

Afternoon tea

mk205 1880 Oil o ncanvas 64.8x92.7cm

49833

Agatha with her child

mk205 about 1891 Oil on tempera 66x55.9cm

49858

Alan and Jadena

mk205 1899 Oil on tempera 63.5x47.6cm

49866

Alan wearing the blue hat

mk205 about 1905 Oil on canvas 81.2x61cm

49822

Alexander and his son Robert

mk205 1884-1885 Oil on canvas 99x81.2cm

3163

Alexander J Cassatt and his son Robert Kelso

1884-85 Philadelphia Museum of Art

49827

Amy and her child

mk205 1889 Oil on canvas 89.8x64.4cm

49808

Artist

mk205 circa 1880 Oil on canvas 93x65cm

49809

Artist in the garden

mk205 1880 Oil on canvas 90.1x65cm

49810

Artist-s brother

mk205 1880 Oil on canvas 65.4x92.4cm

49824

Artist-s father

mk205 1885 Oil on canvas 91.4x71cm

49803

Artist-s mother

mk205 1877-1878 Oil on canvas 101x81.2cm

49802

Artist-s sister

mk205 1878-1879 Oil on canvas 81.2x59.6cm

49805

At the garden

mk205 1878 Oil on canvas 73.6x92.6cm

3180

At the Opera

1879

3181

At the Opera

3182

At the Opera

54460

At the Opera

mk235 1880 Oil on canvs 80x64cm

3188

At the Theatre

1879

3189

At the Theatre

1879

58329

At the Window

At the Window, 1889, Louvre

3162

Baby Reaching for an Apple

1893 Museum of Fine Arts, Richmond, Virginia

49836

Baby-s touching

mk205 1891 Oil on canvas 76.2x61cm

49820

Balcony

mk205 1882 Oil on canvas 80x63.8cm

49843

Banjo class

mk205 1894 Oil on canvas 71.1x57.2cm

49837

Bath

mk205 1891-1892 Oil on canvas 100.3x66cm

53898

Being young girl who syr

mk234 1880-82 92x63cm

49846

Betweenmaid reading for little girl

mk205 1895 Oil on tempera 60.3x73.3cm

49847

Betweenmaid with kid

mk205 1896-1897 Oil on canvas 80x66.7cm

49840

Boy wearing the mariner clothes

mk205 1892 Oil on tempera 63.5x48.2cm

3151

Breakfast in Bed

49888

Breakfast on bed

mk205 1897 Oil on canvas 58.4x73.6cm

49826

Child in mother-s arm

mk205 1889 oil on canvas 63.5x48.2cm

71946

Child in a Straw Hat

circa 1886 Oil on canvas 65.3 X 49.2 cm (25.71 X 19.37 in)

73361

Child in a Straw Hat

Date circa 1886 Medium Oil on canvas Dimensions 65.3 X 49.2 cm (25.71 X 19.37 in) cyf

73942

Child s Bath

39 1/2 in. x 26 in. Courtesy of the Art Institute of Chicago, Chicago, Illinois. Date 1893(1893) cyf

3170

Child with Red Hat

54471

Children on the Beach

mk235 1884 Oil on canvas 97.6x74.2cm

58324

Children on the Beach

Children on the Beach, 1884, National Gallery of Art

3141

Children Playing on the Beach

49882

Concert

mk205 about 1874 Oil on canvas 96.5x66cm

31706

Dame prenant le the

mk74 1885 73.7x61cm

58304

Degas, Portrait of Miss Cassatt

Degas, Portrait of Miss Cassatt, Seated, Holding Cards, c. 1876-1878, oil on canvas

48729

Detail of The woman in Black

mk191 Oil on canvas

42078

Drinks trying to reach an apple

mk166 1893 I Wave on cloth 100x65cm Museum of Fine Arts of Virgina, Richmond, Virginia

58314

Elsie in a Blue Chair

Elsie in a Blue Chair, 1880

49839

Family

mk205 about 1892 Oil on canvas 81.9x66.3cm

3137

Feeding the Ducks

1895 Metropolitan Museum of Art, New York

3135

Fillette au Grand Chapeau

1908 Henry E Huntington Library and Art Gallery, San Marino, CA

44787

Fillette au Grand Chapeau

mk177 c.1908 Pastel on buff paper 25x19

48755

Float boat

mk191 Oil on canvas

49844

Floating boat

mk205 1893-1894 Oil on canvas 90x117cm

3144

Gathering Fruit

49857

Get up

mk205 about 1899 Oil on canvas 92.7x73.7cm

58328

Girl Arranging her Hair

Girl Arranging her Hair, 1886, National Gallery of Art

71345

Girl Arranging Her Hair

1886, Mary Cassatt) located inside the National Gallery of Art's West Building in Washington, D.C.

98211

Girl Arranging Her Hair 1886

1886(1886) Medium oil on canvas Dimensions 75.1 x 62.5 cm cyf

3166

Girl Sewing

1880-82 Musee d'Orsay, Paris

3167

Helene Septeuil

1889 William Benton Museum of Art, Storrs, CT

49849

Hot chocolate

mk205 1897 Oil on canvas 54x73cm

3130

In the Garden ff

1893 The Baltimore Museum of Art

58310

In the Loge

In the Loge (also known as At the Opera), 1878, Museum of Fine Arts, Boston

45400

Junge Frauen beim Obstpflucken

mk181 1891 Ol auf Leinwand 130.5x90.8cm

49864

Kiss

mk205 1902 Oil on canvas 83.4x69.4cm

89226

Kleines Madchen im blauen Fauteuil

1878(1878) Medium oil on canvas Dimensions Deutsch: 89 x 129,5 cm cjr

31705

La Lettre

mk75 1891 34.6x22.7cm

3171

Lady at the Tea Table

1885 Metropolitan Museum of Art, New York

54469

Lady at the Tea table

mk235 1885 Oil on canvas

54470

Lady at the Tea Table

mk235 1885 Oil on canvas 74x61cm

56314

lady at the tea table

mk247 1885,oil on canvs,29x24 in,74x61 cm,metropolitan museum of art,new york,ny,usa

58326

Lady at the Tea Table

Lady at the Tea Table, c.1884, Metropolitan Museum of Art

49877

Lady in front of the dressing table

mk205 1909 Oil on canvas 95.8x72.4cm

49870

lady is sewing in front of the window

mk205 1905-1910 Oil on canvas 80.6x60.3cm

54456

Ligttle Girl in a Blue Armchari

mk235 1878 Oil on canvas 89.5x129.8cm

58317

Lilacs in a Window

Lilacs in a Window, 1880, Metropolitan Museum of Art

40769

Little Girl in a Blue Amchair

mk156 1878 Oil on canvas 89.5x129.8cm

3176

Little Girl in a Blue Armchair

1878 89.5 x 129.8 cm National Gallery of Art, Washington

3177

Little Girl in a Blue Armchair

1878 89.5 x 129.8 cm National Gallery of Art, Washington

58309

Little Girl in a Blue Armchair

Little Girl in a Blue Armchair, 1878, National Gallery of Art

81802

Louisine Havemeyer and her daughter Electra

Date 1895(1895) Medium English: oil on canvas Dimensions Deutsch: 61 x 77,5 cm cjr

44789

Lydia at a Tapestry Loom

mk177 c.1881 Oil on cnavas 25x36

58321

Lydia at the Tapestry Loom

Lydia at the Tapestry Loom, 1881, Flint Institute of the Arts

58316

Lydia at the Theatre

Lydia at the Theatre, 1880, Nelson-Atkins Museum of Art

54463

Lydia Crocheting in the Garden at Marly

mk235 1880 Oil on canvas New York

3175

Lydia in a Loge Wearing a Pearl Necklace

1879 31 5/8 x 23 in (80.3 x 58.4 cm) Philadelphia Museum of Art

49867

Mageter in the blue dress

mk205 1902 Oil on canvas 61x49.8cm

3134

Margot in Blue

1902 The Walters Art Gallery, Baltimore, Maryland

49804

Mary

mk205 circa 1879 OIl on canvas 55.4x46.1cm

49885

Mary in the garden

mk205 about 1880 Oil on canvas 27.3x40.6cm

49813

Mary is sewing in the garden

mk205 1880 Oil on canvas 66x94cm

49816

Mary is weaving

mk205 1881 Oil on canvas 65x92.4cm

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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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