Mary Cassatt: The Woman Who Wasn’t Allowed to Draw
Mary Stevenson Cassatt, an artist, and printmaker hailing from America, was among the Impressionist circle based in Paris. Art by Mary Cassatt primarily focused on the personal lives of present-day women, with a particular interest in their responsibilities as child caregivers. Painter Mary Cassatt was born in 1844 in Allegheny City, a region that constitutes a portion of Pittsburgh. Her genesis was marked by advantageous conditions: her father, Robert Simpson Cassatt, was an accomplished stock trader and real estate investor, while her mother, Katherine Kelso Johnston, hailed from a banking family. During a lengthy family trip through Europe, her parents gave her permission and support to attend drawing classes, but as she chose to make a career in the field of arts, they became hesitant about it in the later years.
Back then, it was not a common practice for women of the upper class to pursue a career in the field of Fine Arts. The job linked with being a mistress, participating in nude drawing sessions, and engaging in public life went against the traditional expectations of women as caregivers and mothers. Throughout her existence, artist Mary Cassatt struggled with balancing her non-traditional decisions in both her career and personal life (as she never wed) with the expectations instilled in her during her upbringing. Cassatt came from a family of seven siblings, but unfortunately, two of them passed away during infancy. At the age of six, she started attending school after her family relocated to Lancaster, Pennsylvania followed by settling in the Philadelphia region.
Mary Cassatt‘s upbringing placed great importance on education with travel, prompting her to spend half a decade in Europe and venture to various important cities such as London, Paris, and Berlin. During her time overseas, she was introduced to the fundamentals of drawing and music, and she acquired proficiency in both German and French. It is possible that her initial encounter with the works of Ingres, Delacroix, Corot, and Courbet, who were French artists, occurred at the 1855 Paris World’s Fair. Future colleagues and mentors showcased at the exhibition included Degas and Pissarro. Between 1860 and 1862, she pursued her artistic education at the Pennsylvania Academy of the Fine Arts. In 1865, through her persuasion, she gained her parents’ permission to enrol in art studies in Paris.
She received private training from the esteemed academic painter, Jean-Léon Gérôme, and dedicated herself to replicating the works of the great painters, as well as to the art of sketching. She received her education under the guidance of Édouard Frère and Paul Soyer while residing in Couranceand Écouen. In 1868, the Paris Salon welcomed Mary Cassatt artwork, titled ‘The Mandolin Player’ (which is currently under private collection). Cassatt’s studies in France came to a halt when the Franco-Prussian War occurred after three-and-a-half years, prompting her return to Philadelphia in the late summer of 1870.
In 1874, artist Mary Cassatt decided to make Paris her permanent home and set up her own studio there. She had a common interest with the Impressionists in experimenting and incorporating vivid outdoor-inspired hues. She became friends with Edgar Degas and drew inspiration from both his and Gustave Courbet‘s styles to develop her own unique style. Degas had a deep appreciation for her drawing skills, leading him to request her participation in the Impressionist exhibitions of 1879, as well as shows in 1880, 1881, and 1886. Mary Cassatt, like Degas, demonstrated remarkable drawing skills, and both had a preference for naturally arranged, unbalanced compositions.
Early Mary Cassatt paintings utilized pastels as a medium. At first, Cassatt primarily created Impressionist-style paintings of individuals who were either her friends, family members, or their offspring. In 1890, following the successful showcasing of Japanese prints in Paris, she released a collection of 10 coloured prints, including pieces such as Woman Bathing and The Coiffure, which display the influence of Japanese masters Utamaro and Toyokuni. Mary Cassatt prints boasted skillful blending aquatint, dry point, and soft ground. She changed her focus and began giving more importance to lines and patterns rather than form. The predominant subject matter during her later and more recognizable phase is the nurturing of infants by mothers, as seen in works such as The Child’s Bath (1893) and Mother and Child (Baby Getting Up from His Nap).
Painter Mary Cassatt’s reception among feminists has been mixed. One aspect of her that sets her apart from the past is her ability to thrive in a field traditionally dominated by men. However, some may perceive her depiction of females in the community as superficial, and even though she is commonly linked with motherhood as a subject, feminists used to view it as comparable to subjugation. There is no evidence in any Mary Cassatt biography that she was involved in any romantic relationships. Although she never experienced motherhood herself, her ability to portray genuine affection between mothers and their infants was unmatched. A display arranged by seller Paul Durand-Ruel back in 1893 positioned her as the expert in the creation of the “modern Madonna”.
Cassatt was greatly impacted by the influence of Degas. With time, she skillfully mastered the use of pastels, resulting in the creation of some of her most noteworthy pieces. Degas played a significant role in her artistic development by introducing her to the skill of copper engraving, which he was adept at, consolidating her ability to control lines and enhance her overall drafting skills. He created a collection of etchings documenting their visits to the Louvre museum, with her as the main focus. For a period of time, they co-labored and she significantly benefited from his expertise and approach. Despite her intense emotions towards him, she realized the importance of not having high hopes for his unpredictable and volatile behavior.
A total of eleven paintings by Mary Cassatt were exhibited, among which was the renowned artwork “La Loge.” Despite receiving some criticism for her use of bright colours and the unflattering yet accurate portrayal of her subjects, Mary Cassatt’s artworks did not face the same level of harsh criticism as Monet’s did. With her portion of the profits, she invested in Degas’ and Monet’s artwork. Between 1880 and 1881, she showcased her works in the subsequent Impressionist Exhibitions and continued to be an involved participant in the Impressionist community until 1886. In the year 1886, painter Mary Cassatt presented a couple of paintings at the initial Impressionist exposition held in the United States, which was arranged by the prominent art dealer Paul Durand-Ruel.
In the later part of 1866, she enrolled in a painting course instructed by Charles Chaplin, a renowned artist in the genre. Cassatt received instruction from Thomas Couture in 1868, a painter whose focus lay predominantly on romantic and urban themes. While exploring rural areas, the students observed and sketched the local inhabitants, specifically the rural workers who were engaged in their regular tasks. In the year 1868, the jury responsible for curating the Paris Salon exhibition accepted A Mandolin Player, one of her paintings, for display — marking a significant milestone in her career. The art scene in France was experiencing a shift, with innovative artists like Courbet and Manet striving to depart from the established Academic customs, while the Impressionists were still in the developmental phase. Cassatt’s associate, Eliza Haldeman, communicated to her family that artists were abandoning the traditional Academy style and exploring alternative approaches, resulting in a state of disarray within the art world.
While other female artists exhibited alongside the Impressionists, Mary Cassatt was the only American to be formally recognized as a member of the group. She is most notably recognized for capturing captivating portraits of women and children in their environments. She offers a fresh perspective on traditional domesticity and creates a respectful tribute to the female experience, just like her Biblical reinterpretations at the World’s Fair. As Cassatt examined her own experiences, she came to realize that her reality diverged significantly from that of her male contemporaries. Mary Cassatt artwork revealed the intricacy of gender and sexuality in the public realm by highlighting the variations. Cassatt’s productivity saw a significant decline post-1900 owing to her deteriorating eyesight. In 1901, she abandoned printmaking, and three years later, in 1904, she discontinued her involvement in painting. During the war years, she mainly resided in Grasse and eventually passed away in 1926 at her rural residence, known as Château de Beaufresne, situated in Le Mesnil-Théribus, Oise.
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