Mary Stevenson Cassatt (/kəˈsæt/; May 22, 1844 – June 14, 1926)[1] was an Americanpainter andprintmaker.[2] She was born inAllegheny, Pennsylvania (now part ofPittsburgh'sNorth Side), but lived much of her adult life in France, where she befriendedEdgar Degas and exhibited with theImpressionists. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children.
She was described byGustave Geffroy as one of "les trois grandes dames" (the three great ladies) of Impressionism alongsideMarie Bracquemond andBerthe Morisot.[3] In 1879, Diego Martelli compared her to Degas, as they both sought to depict movement, light, and design in the most modern sense.[4] She also played an important role in introducing Impressionism to American collectors, notably through her friendship with theHavemeyer family.[5]
Cassatt was born inAllegheny, Pennsylvania, which is now part ofPittsburgh.[6] She was born into anupper-middle-class family:[7] Her father, Robert Simpson Cassat (later Cassatt), was a successful stockbroker and land speculator. The ancestral name had been Cossart, with the family descended from FrenchHuguenot Jacques Cossart, who came toNew Amsterdam in 1662.[8][9] Her mother, Katherine Kelso Johnston, came from a banking family. Katherine Cassatt, educated and well-read, had a profound influence on her daughter.[10] To that effect, Cassatt's lifelong friendLouisine Havemeyer wrote in her memoirs: "Anyone who had the privilege of knowing Mary Cassatt's mother would know at once that it was from her and her alone that [Mary] inherited her ability."[11] A distant cousin of artistRobert Henri,[12] Cassatt was one of seven children, of whom two died in infancy. One brother,Alexander Johnston Cassatt, later became president of thePennsylvania Railroad. The family moved eastward, first moving toLancaster, Pennsylvania, then to thePhiladelphia area, where she started her schooling at the age of six.[13]
Cassatt grew up in an environment that viewed travel as an integral part of a well-rounded education; she spent five years in Europe and visited many of the capitals, including London, Paris, and Berlin. While abroad, she learned German and French and had her first lessons in drawing and music.[14] It is likely that her first exposure to French artistsJean Auguste Dominique Ingres,Eugène Delacroix,Camille Corot, andGustave Courbet was at theParis World's Fair of 1855. Also in the exhibition wereEdgar Degas andCamille Pissarro, both of whom were later her colleagues and mentors.[15]
Though her family objected to her becoming a professional artist, Cassatt began studying painting at thePennsylvania Academy of the Fine Arts in Philadelphia at the early age of 15.[16][17] Part of her parents' concern may have been Cassatt's exposure tofeminist ideas and the bohemian behavior of some of the male students. As such, Cassatt and her network of friends were lifelong advocates ofequal rights for the sexes.[18] Although about 20% of the students were female, most viewed art as a socially valuable skill; few of them were determined, as Cassatt was, to make art their career.[19] She continued her studies from 1861 through 1865, the duration of theAmerican Civil War.[6]Thomas Eakins was among her fellow students; later Eakins was forced to resign as director of the academy.[13]
Impatient with the slow pace of instruction and the patronizing attitude of the male students and teachers, she decided to study theold masters on her own. She later said: "There was no teaching" at the academy. Female students could not use live models until somewhat later, and the principal training was primarily drawing from casts.[20]
Cassatt decided to end her studies: At that time, no degree was granted. After overcoming her father's objections, she moved to Paris in 1866, with her mother and family friends acting aschaperones.[21] Since women could not yet attend theÉcole des Beaux-Arts, Cassatt applied to study privately with masters from the school[22] and was accepted to study withJean-Léon Gérôme, a highly regarded teacher known for his hyper-realistic technique and his depiction of exotic subjects. (A few months later, Gérôme also accepted Eakins as a student.[22]) Cassatt augmented her artistic training with daily copying in theLouvre, obtaining the required permit, which was necessary to control the "copyists", usually low-paid women, who daily filled the museum to paint copies for sale. The museum also served as a social place for Frenchmen and American female students, who, like Cassatt, were not allowed to attendcafes where the avant-garde socialized. In this manner, fellow artist and friendElizabeth Jane Gardner met and married famed academic painterWilliam-Adolphe Bouguereau.[23]
Toward the end of 1866, she joined a painting class taught byCharles Joshua Chaplin, agenre artist. In 1868, Cassatt also studied with artistThomas Couture, whose subjects were mostly romantic and urban.[24] On trips to the countryside, the students drew from life, particularly the peasants going about their daily activities. In 1868, one of her paintings,A Mandoline Player, was accepted for the first time by the selection jury for theParis Salon. WithElizabeth Jane Gardner, whose work was also accepted by the jury that year, Cassatt was one of two American women to first exhibit in the Salon.[9]A Mandoline Player is in theRomantic style ofCorot and Couture,[25] and is one of only two paintings from the first decade of her career that is documented today.[26]
The French art scene was in a process of change, as radical artists such as Courbet andÉdouard Manet tried to break away from accepted Academic tradition, and the Impressionists were in their formative years. Cassatt's friend Eliza Haldeman wrote home that artists "are leaving the Academy style and each seeking a new way, consequently just now everything is Chaos."[23] Cassatt, on the other hand, continued to work in the traditional manner, submitting works to the Salon for over ten years, with increasing frustration.
Returning to the United States in the late summer of 1870—as theFranco-Prussian War was starting[17]—Cassatt lived with her family inAltoona. Her father continued to resist her chosen vocation, paying for her basic needs but not her art supplies.[27] Cassatt placed two of her paintings in a New York gallery and found many admirers but no purchasers. She was also dismayed at the lack of paintings to study while staying at her summer residence. Cassatt even considered giving up art, as she was determined to make a living independently. She wrote in a letter of July 1871, "I have given up my studio & torn up my father's portrait, & have not touched a brush for six weeks nor ever will again until I see some prospect of getting back to Europe. I am very anxious to go out west next fall & get some employment, but I have not yet decided where."[28]
Cassatt traveled to Chicago to try her luck, but lost some of her early paintings in theGreat Chicago Fire of 1871.[29] Shortly afterward, her work attracted the attention of Roman Catholic BishopMichael Domenec of Pittsburgh, who commissioned her to paint two copies of paintings byCorreggio inParma, Italy, advancing her enough money to cover her travel expenses and part of her stay.[30] In her excitement she wrote, "O how wild I am to get to work, my fingers farely itch & my eyes water to see a fine picture again".[31] WithEmily Sartain, a fellow artist from a well-regarded artistic family from Philadelphia, Cassatt set out for Europe again.
Within months of her return to Europe in the autumn of 1871, Cassatt's prospects had brightened. Her paintingTwo 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".[32]
After completing her commission for the bishop, Cassatt traveled toMadrid andSeville, where she painted a group of paintings of Spanish subjects, includingSpanish Dancer Wearing a Lace Mantilla (1873, in theNational 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 opened a studio inParis.Louisa May Alcott's sister,Abigail May Alcott, was then an art student in Paris and visited Cassatt.[9] 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 ofCabanel,Bonnat, all the names we are used to revere".[33]
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.[34] 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.[35]
In 1877, both her entries were rejected, and for the first time in seven years, she had no works in the Salon.[36] At this low point in her career, she was invited by Edgar Degas to show her works with theImpressionists, 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 preferplein 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".[37] They already had one female member, artistBerthe Morisot, who became Cassatt's friend and colleague. The only American officially associated with the Impressionists, Cassatt would go on to exhibit in half of the group's later exhibitions[38]
Cassatt admired Degas, whosepastels 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."[39] 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".[40] 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.[41]
In 1877, Cassatt was joined in Paris by her father and mother, who returned with her sister Lydia, all eventually to share a large apartment on the fifth floor of 13, Avenue Trudaine. Mary valued their companionship, as neither she nor Lydia had married. A case was made that Mary had narcissistic disturbance, never completing the recognition of herself as a person outside of the orbit of her mother.[42] Mary had decided early in life that marriage would be incompatible with her career. Lydia, who was frequently painted by her sister, had recurrent bouts of illness, and her death in 1882 left Cassatt temporarily unable to work.[43]
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.[13] Three of her most accomplished works from 1878 werePortrait of the Artist (self-portrait),Little Girl in a Blue Armchair, andReading Le Figaro (portrait of her mother).
Degas had considerable influence on Cassatt. Both were highly experimental in their use of materials, tryingdistemper and metallic paints in many works, such asWoman Standing Holding a Fan, 1878–79 (Amon Carter Museum of American Art).[44]
She became extremely proficient in the use ofpastels, eventually creating many of her most important works in this medium. Degas also introduced her toetching, of which he was a recognized master. The two worked side by side for a while, and herdraftsmanship gained considerable strength under his tutelage. One example of her thoughtful approach to the medium of drypoint as a mode for reflecting on her status as an artist is 'Reflection' of 1889–90, which has recently been interpreted as a self-portrait.[45] Degas in turn depicted Cassatt in a series of etchings recording their trips to the Louvre. She treasured his friendship but learned not to expect too much from his fickle and temperamental nature after a project they were collaborating on at the time, a proposed journal devoted to prints, was abruptly dropped by him.[46] The sophisticated and well-dressed Degas, then forty-five, was a welcome dinner guest at the Cassatt residence, and likewise they at hissoirées.[47]
The Impressionist exhibit of 1879 was the most successful to date, despite the absence ofRenoir,Sisley,Manet andCézanne, who were attempting once again to gain recognition at the Salon. Through the efforts ofGustave Caillebotte, who organized and underwrote the show, the group made a profit and sold many works, although the criticism continued as harsh as ever. TheRevue 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".[48]
Cassatt displayed eleven works, includingLydia in a Loge, Wearing a Pearl Necklace, (Woman in a 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 wasMonet'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.[49] She participated 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 US, organized by art dealerPaul Durand-Ruel. Her friendLouisine Elder marriedHarry 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 theMetropolitan Museum of Art in New York City.[50]
Cassatt also made several portraits of family members during that period, of whichPortrait 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.[13]
Reading "Le Figaro" by Mary Cassatt (1878), Collection Mrs. Eric de Spoelberch, Haverford, Pennsylvania
Cassatt and her contemporaries enjoyed the wave of feminism that occurred in the 1840s, allowing them access to educational institutions at newly coed colleges and universities, such asOberlin and theUniversity of Michigan. Likewise, women's colleges such asVassar,Smith andWellesley opened their doors during this time. Cassatt was an outspoken advocate forwomen's equality, campaigning with her friends for equal travel scholarships for students in the 1860s, and theright to vote in the 1910s.[18]
Mary Cassatt depicted the "New Woman" of the 19th century from the woman's perspective. As a successful, highly trained woman artist who never married, Cassatt—likeEllen Day Hale,Elizabeth Coffin,Elizabeth Nourse andCecilia Beaux—personified the "New Woman".[51] She "initiated the profound beginnings in recreating the image of the 'new' woman", drawn from the influence of her intelligent and active mother, Katherine Cassatt, who believed in educating women to be knowledgeable and socially active. She is depicted inReading 'Le Figaro'(1878).[52]
Cassatt's independence and choice not to marry as a "New Woman" could also be seen as a reaction to the strict institutionalized misogamy of the art world at the time, in which a woman artist's marriage could have been seen as incompatible with any serious artistic career.[53]
Although Cassatt did not explicitly make political statements about women's rights in her work, her artistic portrayal of women was consistently done with dignity and the suggestion of a deeper, meaningful inner life.[18] Many of her works depict a mother caring for a child and she painted them with warmth and attention.[54] Unlike the other Impressionists of the time who often painted street scenes and landscapes, Cassatt preferred to depict the everyday life of women and the domestic labors associated with the home.[55] This was unusual at the time because, while Impressionist pieces typically depicted women as passive objects for the viewer, Cassatt notably made the women she painted active observers with real engagement in their environments. Cassatt's work was shaped by her time spent engaging with these women in their private, intimate spaces, something that a male artist would not have had the social ability to do at that time.[53] This disconnect from what the two different genders were allowed to observe as artists did not go unnoticed by Cassatt, and she notably enjoyed observing the complexities of gender relations in her work. The pieceIn the Loge (1878) is a good example of this, as it depicts a young woman watching the opera while a male admirer gawks at her from afar. The viewer is then also included in the voyeuristic objectification of the unaware model, exposing the social dynamics of the time.[56]
By choosing to depict more humble feminine environments Cassatt effectively raised scenes of women, their labor, friendships, and personal life to be celebrated as high art.[57] She was often critiqued for this preference and her art dismissed as too feminine.[55] Cassatt objected to being stereotyped as a "woman artist"; she supportedwomen's suffrage and, in 1915, showed eighteen works in an exhibition supporting the movement organised by Louisine Havemeyer, a committed and active feminist.[58] The exhibition brought her into conflict with her sister-in-lawEugenie Carter Cassatt, who wasanti-suffrage and who boycotted the show along with Philadelphia society in general. Cassatt responded by selling off her work that was otherwise destined for her heirs. In particularThe Boating Party, thought to have been inspired by the birth of Eugenie's daughter Ellen Mary, was bought by the National Gallery, Washington, D.C.[59][60]
Cassatt and Degas had a long period of collaboration. The two painters had studios close together, Cassatt at 19, rue Laval, Degas at 4, rue Frochot,[61] less than a five-minute walk apart, and Degas developed the habit of looking in at Cassatt's studio and offering her advice and helping her gain models.[41]
They had much in common: they shared similar tastes in art and literature, came from affluent backgrounds, had studied painting in Italy, and both were independent, never marrying. The degree of intimacy between them cannot be assessed now, as no letters survive, but it is unlikely they were in a relationship, given their conservative social backgrounds and strong moral principles. Several ofVincent van Gogh's letters attest to Degas' sexual self-constraint.[62] Degas introduced Cassatt to pastel and engraving, both of which Cassatt quickly mastered, while for her part, Cassatt was instrumental in helping Degas sell his paintings and promoting his reputation in America.[63]
Both regarded themselves as figure painters, and the art historian George Shackelford suggests they were influenced by the art criticLouis Edmond Duranty's appeal in his pamphletThe New Painting for a revitalization in figure painting: "Let us take leave of the stylized human body, which is treated like a vase. What we need is the characteristic modern person in his clothes, in the midst of his social surroundings, at home or out in the street."[64][65]
After Cassatt's parents and sister, Lydia, joined Cassatt in Paris in 1877, Degas, Cassatt, and Lydia were often to be seen at the Louvre studying artworks together. Degas produced two prints, notable for their technical innovation, depicting Cassatt at the Louvre looking at artworks while Lydia reads a guidebook. These were destined for a prints journal planned by Degas (together withCamille Pissarro and others), which never came to fruition. Cassatt frequently posed for Degas, notably for his millinery series trying on hats.
Cassatt and Degas worked most closely together in the fall and winter of 1879–80, when Cassatt was mastering her printmaking technique. Degas owned a small printing press, and by day she worked at his studio using his tools and press while in the evening she made studies for the etching plate the next day. However, in April 1880, Degas abruptly withdrew from the prints journal they had been collaborating on, and without his support, the project folded. Degas' withdrawal piqued Cassatt who had worked hard at preparing a print,In the Opera Box, in a large edition of fifty impressions, no doubt destined for the journal. Although Cassatt's warm feelings for Degas were to last her entire life, she never again worked with him as closely as she had over the prints journal. Mathews notes that she ceased executing her theater scenes at this time.[69]
Degas was forthright in his views, as was Cassatt.[69] They clashed over theDreyfus affair (early in her career she had executed a portrait of the art collector Moyse Dreyfus, a relative of the court-martialled lieutenant at the center of the affair).[b][71][72] Cassatt later expressed satisfaction at the irony of Lousine Havermeyer's 1915 joint exhibition of hers and Degas' work being held in aid ofwomen's suffrage, equally capable of affectionately repeating Degas' antifemale comments as being estranged by them (when viewing herTwo Women Picking Fruit for the first time, he had commented "No woman has the right to draw like that").[73] From the 1890s onwards their relationship took on a decidedly commercial aspect, as in general had Cassatt's other relations with the Impressionist circle;[72][74] nevertheless they continued to visit each other until Degas died in 1917.[75]
In 2014, the National Gallery of Art examined their long friendship in its exhibitDegas/Cassatt.[76][77] The catalog was written by Kimberly JonesISBN978-3791353647
Cassatt's reputation is based on an extensive series of rigorously drawn and tenderly observed paintings and prints on the theme of the mother and child. The earliest dated work on this subject is thedrypointGardner Held by His Mother (an impression inscribed "Jan/88" is in theNew York Public Library),[79] although she had painted a few earlier works on the theme. Some of these works depict her own relatives, friends, or clients, although in her later years she generally used professional models in compositions that are often reminiscent ofItalian Renaissance depictions of theMadonna and Child. After 1900, she concentrated almost exclusively on mother-and-child subjects, such asWoman with a Sunflower.[80] Viewers may be surprised to find that despite her focus on portraying mother-child pairs in her portraits, "Cassatt rejected the idea of becoming a wife and mother..."[81]
The 1890s were Cassatt's busiest and most creative period. She had matured considerably and became more diplomatic and less blunt in her opinions. She also became a role model for young American artists who sought her advice. Among them wasLucy A. Bacon, whom Cassatt introduced toCamille Pissarro. Though the Impressionist group disbanded, Cassatt still had contact with some of the members, including Renoir, Monet, and Pissarro.[82]
In 1891, she exhibited a series of highly original colored drypoint andaquatint prints, includingWoman Bathing andThe Coiffure, inspired by the Japanese masters shown in Paris the year before. (SeeJaponism) Cassatt was attracted to the simplicity and clarity of Japanese design and the skillful use of blocks of color. In her interpretation, she used primarily light, delicate pastel colors and avoided black (a "forbidden" color among the Impressionists).Adelyn D. Breeskin, the author of twocatalogue raisonnés of Cassatt's work, comments that these colored prints, "now stand as her most original contribution... adding a new chapter to the history of graphic arts...technically, as color prints, they have never been surpassed".[83]
Also in 1891, Chicago socialiteBertha Palmer approached Cassatt to paint a 12' × 58' mural about "Modern Woman" for the Women's Building for theWorld's Columbian Exposition to be held in 1893. Cassatt completed the project over the next two years while living in France with her mother. The mural was designed as atriptych. The central theme was titledYoung Women Plucking the Fruits of Knowledge or Science. The left panel wasYoung Girls Pursuing Fame and the right panelArts, Music, Dancing. The mural displays a community of women apart from their relation to men, as accomplished persons in their own right. Palmer considered Cassatt to be an American treasure and could think of no one better to paint a mural at an exposition that was to do so much to focus the world's attention on the status of women.[84] Following the world's fair, the mural came into Bertha Palmer's possession, where it remained as late as 1911, but it disappeared after Palmer's death in 1918.[85] Cassatt made several studies and paintings on themes similar to those in the mural, so it is possible to see her development of those ideas and images.[86] Cassatt also exhibited other paintings in the Exposition.
As the new century arrived, Cassatt served as an advisor to several major art collectors and stipulated that they eventually donate their purchases to American art museums. In recognition of her contributions to the arts, France awarded her theLégion d'honneur in 1904. Although instrumental in advising American collectors, recognition of her art came more slowly in the United States. Even among her family members back in America, she received little recognition and was totally overshadowed by her famous brother.[87]
Mary Cassatt's brother,Alexander Cassatt, was president of thePennsylvania Railroad from 1899 until his death in 1906. She was shaken, as they had been close, but she continued to be very productive in the years leading up to 1910.[88] An increasing sentimentality is apparent in her work of the 1900s; her work was popular with the public and the critics, but she was no longer breaking new ground, and her Impressionist colleagues who once provided stimulation and criticism were dying. She was hostile to such new developments in art aspost-Impressionism,Fauvism andCubism.[89] Two of her works appeared in theArmory Show of 1913, both images of a mother and child.[90]
A trip toEgypt in 1910 impressed Cassatt with the beauty of its ancient art, but was followed by a crisis of creativity; not only had the trip exhausted her, but she declared herself "crushed by the strength of this Art", saying, "I fought against it but it conquered, it is surely the greatest Art the past has left us ... how are my feeble hands to ever paint the effect on me."[91] Diagnosed withdiabetes,rheumatism,neuralgia, andcataracts in 1911, she did not slow down, but after 1914, she was forced to stop painting as she became almost blind. In 1925 she was featured on 32nd Annual Exhibition of American Art at theCincinnati Art Museum, together withLouise Woodroofe,Childe Hassam andRobert Henri.[92]
Cassatt died on June 14, 1926, at Château de Beaufresne, near Paris, and was buried in the family vault atLe Mesnil-Théribus, France.
House ofrue de Marignan in Paris, where Mary Cassatt lived from 1887 until her death
A quartet of youngJuilliard string musicians formed the all-femaleCassatt Quartet in 1985, named in honor of the painter.[94] In 2009, the award-winning group recorded String Quartets Nos. 1–3 (Cassatt String Quartet) by composerDan Welcher; the 3rd quartet on the album was written inspired by the work of Mary Cassatt as well.[95]
^The cards are probablycartes de visite, used by artists and dealers at the time to document their work. Stephanie Strasnick suggests that Degas used them as a device to represent Cassatt as a peer and an artist in her own right, although Cassatt later took an aversion to the portrait and had it sold.[67]
^ Pro-Dreyfus included Camille Pissarro, Claude Monet, Paul Signac and Mary Cassatt. Anti-Dreyfus included Edgar Degas, Paul Cézanne, Auguste Rodin and Pierre-Auguste Renoir.[70]
^Havemeyer, Louisine (1961).Sixteen to Sixty: Memoirs of a Collector. New York: Priv. Print. for the family of Mrs. H.O. Havemeyer and the Metropolitan Museum of Art. p. 272.
^Zerbe, Kathryn J. "Essential Others and Spontaneous Recovery in the Life and Work of Emily Carr: Implications for Understanding Remission of Illness and Resilience."International Journal of Psychoanalytic Self Psychology 11.1 (2016): 28–49.PMC. Web. October 26, 2016.
^Lunardini, Christine A. (1997).What every American Should Know About Women's History. Holbrook, Mass.: Adams Media Corporation. p. 129.ISBN978-1-55850-687-9.
^Webster, Sally (2004).Eve's Daughter/Modern Woman: A Mural by Mary Cassatt. Urbana and Chicago: University of Illinois Press. pp. 132–139.ISBN978-0252075964.
Adelson, Warren; Bertalan, Sarah; Mathews, Nancy Mowll; Pinsky, Susan; Rosen, Marc (2008).Mary Cassatt: Prints and Drawings from the Collection of Ambroise Vollard. New York: Adelson Galleries.ISBN0-9815801-0-6.
Barter, Judith A., et al.Mary Cassatt: Modern Woman. Exhibition catalogue. New York: Art Institute of Chicago in association with Harry N. Abrams, Inc., 1998.
Breeskin, Adelyn D.Mary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors, and Drawings. Washington, DC: Smithsonian Institution Press, 1970.
Conrads, Margaret C.American Paintings and Sculpture at the Sterling and Francine Clark Art Institute. New York: Hudson Hills Press, 1990.
Pinsky, Susan; Rosen, Marc; Adelson, Warren; Cantor, Jay E.; Shapiro, Barbara Stern (2000).Mary Cassatt: Prints and Drawings from the Artist's Studio. Princeton, NJ: Princeton University Press.ISBN0-691-08887-X.
Pollock, Griselda.Mary Cassatt: Painter of Modern Women. World of Art. London: Thames and Hudson, 1998.
Stratton, Suzanne L.Spain, Espagne, Spanien: Foreign Artists Discover Spain 1800–1900. Exhibition catalogue. New York: The Spanish Institute in association with the Equitable Gallery, 1993.
Mary Cassatt 1998-1999 exhibition organized by the Art Institute of Chicago (exhibited 13 October 1998–10 January 1999), the Museum of Fine Arts, Boston (14 February–9 May 1999), and the National Gallery of Art, Washington (6 June–6 September 6 1999).
The Havemeyer Family Papers relating to Art Collecting Mary Cassatt was a close personal friend of Louisine Havemeyer and acted as an art collecting advisor and buying agent for the Havemeyer family. This archival collection includes original letters from Mary Cassatt to Louisine and Henry Osborne Havemeyer.
![Woman Bathing (La Toilette) by Mary Cassatt, 1890–91, Drypoint and aquatint print, Metropolitan Museum of Art.[102]](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aWoman_Bathing_(La_Toilette)_MET_dp16.2.2.R.jpg)
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