Cassatt - "Sarah au Bonnet" Black sketched lithograph on white paper of a girl in a bonnet

Mary Cassatt • American: 1845-1926

Sarah au Bonnet C: 1904 • Lithograph on Paper 20.5” x 17.5”

In an age when women studied art more for the social niceties than career prospects, Mary Cassatt had other ideas. A child of privilege, she enjoyed one advantage granted few upper class, mid-19th century children; a mother who believed in education and strong opinions for women as well as men. Together mother and daughter walked a delicate line between conventional mores and unconventional ambitions. Mary Cassatt stood on her mother’s elegantly dressed shoulders and became a new kind of woman. Unhindered by the domestic responsibilities of being both wife and mother, she became a woman recognized as a giant among the (mostly male) artists of her day.

Yet, her most celebrated paintings were colorful studies of mothers and daughters. We are struck by the conventional subjects chosen by such an unconventional woman. Yet, perhaps we shouldn’t be since Cassatt’s life owed as much to her mother’s influence as her own revolutionary choices.

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Born in 1845 in Alleghany City, today known as Pittsburgh, Cassatt lived her early life under the protective wing of her successful stockbroker father. He was the first in a long line of tradition-bound men who couldn’t understand her career ambitions. The family moved east to Philadelphia and Mary kept moving all the way to Europe. While America fought the Civil War, Cassatt visited Paris, London, Barcelona and Rome, first as a refined young female student, then as an established bohemian artist. And, although her father supported her domestic needs, he could never bring himself to pay for her art supplies or studio expenses. In spite of his misgivings, Mary continued to make her way in a world where women weren’t allowed to socialize in cafes or expected to have career ambitions.

At a time when women’s art was crudely dismissed, Cassatt shared a bond with Impressionists held in equal contempt. She was especially influenced by the elegant figures and bright colors of Edgar Degas and formed a strong bond with him. Perhaps their shared upper class backgrounds smoothed the way to friendship and professional collaboration.

Celebrated as an American artist, she lived most of her life in Paris. Only failing eyesight in later life stopped her artistic ambitions. She died in Paris, angry at the loss of her most treasured possession; her sight. Left behind were a treasure trove of colorful portraits, many of young daughters looking lovingly at their elegantly clothed mothers.

Canton Museum of Art Permanent Collection • Purchased by the Canton Museum of Art, 70.2

4 Ways to Sound Smart When Viewing at The Canton Museum of Art

1.
“This most unconventional of women, married to her work rather than family, was famous for painting touching scenes of mothers and daughters. Freud would have had a field day.”

2.
“Her early art was marked by a hyper-realistic Romantic style and she disdained modern, avant-garde art. Then she became a modern, avant-garde artist.”

3.
“She embraced Impressionism, but never would take the next step to more abstract modern art styles.”

4.
“Her wealthy father absolutely hated the idea of his daughter becoming a bohemian artist. But, Mary and her mother were strong-willed and eventually won the battle.”

Cassatt Timeline. Scroll over images to see timeline.

1844

Born in Allegheny City, Pennsylvania, now known as Pittsburgh. Her father was once Mayor of Allegheny City and was also a successful stockbroker. Mother, Katherine Kelso Johnstone, came from a successful banking family and believed strongly in education for women. The family’s ancestral name was Cossart.

1859 & 1861-65

With America on the brink of Civil War, young Mary Cassatt studied painting at the Pennsylvania Academy of the Fine Arts. Only about 20% of the students were female and few of them harbored any serious career ambitions. Famed American painter Thomas Eakins was a fellow student.

1866

Fed up with the Academy’s attitude toward women students, she left for Paris. Since she was not allowed to study at the Ecole des Beaux Arts, she studied privately with hyper-realist Jean-Leon Gerome. She worked as a “copyist” at the Louvre, licensed to copy paintings for sale.

1868

Had her first painting accepted at the Paris Salon. At the time, this was the world’s leading yearly art exhibition. Her painting submission, A Mandolin Player, was in the Romantic style taught by her teacher Thomas Couture. She was one of the first two American women whose work was accepted at the Paris Salon.

1870

Returned to her family’s home in Altoona, Pennsylvania, due to turmoil in the academic art world of Paris and the beginning of the Franco-Prussian War. She was dismayed at her distance from the art world and considered giving up art to live more independently.

1871

Sent much of her work to Chicago in an attempt to promote sales. Her paintings were promptly lost in the Great Chicago Fire. A commission from the archbishop of Pittsburgh to copy paintings by Corragio in Italy, sent her back to Europe. From her journal: “O how wild I am to get to work. My fingers fairly itch and my eyes water to see a fine picture again.”

1872

Sold her first painting at the Paris Salon, Two Women Throwing Flowers During Carnival. Completed her commission for the archbishop of Pittsburgh and traveled to Madrid and Seville, painting Spanish scenes along the way.

1877

A low point in her life when none of her paintings were accepted at the Paris Salon for the first time in 7 years. She was invited by Edgar Degas to show her work with the Impressionists and she formed strong friendships with both Degas and fellow woman Impressionist, Berthe Morisot. Her family joined her in Paris, including father, mother and sister.

1879

By this time she was an enthusiastic Impressionist and joined their most successful show to date. Began a close collaboration with Edgar Degas with whom she studied printmaking. In 1880 Degas abruptly withdrew from their print journal project, straining, but not breaking their friendship.

1886

By this time she had left the Impressionist art movement behind, preferring a simpler, more straight-forward style. She experimented in different styles preferring to be part of no particular school of painting.

1891

Painted a 12’ x 58’ tryptch, Modern Woman (center panel is shown) for the Women’s Pavilion of the World’s Columbian Exposition to be held in 1893. Began serving as an advisor to major art collectors with the proviso that their purchases eventually end up in American art museums.

1900

She had long made mothers and children the subject of her paintings, but after 1900 her work was almost entirely about this subject matter. Her work became increasingly sentimental.

1914

Diabetes effectively ended her painting career as she became too blind to continue.

1915

Showed 18 works in an exhibition organized by friend Louisine Havemeyer to support the women’s suffrage movement. Her sister-in-law boycotted the show along with Philadelphia society in general. In response Cassatt sold off work that was destined for her heirs.

1926

Died at age 81 at Chateau de Beaufresne, near Paris. She is buried in the family vault at Le Mesnil-Theribus, France.

1966

Her painting The Boating Party was reproduced on a U.S. Postage stamp.

1996

One of her paintings, In The Box, sold for a record $4,072,500 at Christie’s in New York.