Mary CassattEstados Unidos, 1844–1926The Bath
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Instituto de Artes de Mineápolis
Minneapolis, Estados Unidos
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- Comprobado
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- El museo
Sobre la obra
Cassatt’s images of mothers and children transcend time. She recognized that the daily routines of caring for children, such as bathing, cuddling, and playing games, were subjects worthy of artistic expression.
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Cassatt made a radical turn in her printmaking after attending an exhibition of nearly eight hundred Japanese prints in Paris in 1890. She developed her own technique for producing the qualities she admired in Japanese woodcuts—the broad passages of color, the simple black outlines, and the use of patterns. Combining aquatint with drypoint she was able to imitate the woodcut technique. She applied a number of colors to each printing plate, so that each impression is slightly different. The Bath is among her most original and technically innovative prints. She reworked the image many times, adding areas of tone and subtracting lines. She created 16 different states, or versions, of this print before arriving at the final state, of which she printed just 25 impressions.
Instituto de Artes de Mineápolis
Ficha
- Número de inventario
- 2013.81.1
En el catálogo
Fuentes
- Instituto de Artes de Mineápolis
- Imagen: Instituto de Artes de Mineápolis — public domain
Mientras tanto, en la vida de Mary Cassatt
La vida entera1890s
Mentor to young Americans
The 1890s are the busiest and most creative period of Mary’s life: young American artists seek her advice and support, and she introduces Lucy A. Bacon to Camille Pissarro.
1891
Bertha Palmer commissions a mural
Chicago socialite Bertha Palmer asks Mary to paint a 12 × 58 ft mural on “Modern Woman” for the Women’s Building at the World’s Columbian Exposition of 1893. Palmer thought Cassatt an American treasure and could think of no one better.
1891
Colour prints inspired by Japanese woodcuts
Mary exhibits a series of highly original colour drypoints and aquatints, among them “Woman Bathing” and “The Coiffure”, inspired by the Japanese masters shown in Paris the year before. She was drawn to the simplicity and clarity of Japanese design and its skilful use of blocks of colour.
