Mary Cassattアメリカ合衆国, 1844–1926The Letter
作品について
Mary Cassatt began a series of color prints in 1890 that exemplify her indebtedness to Japanese color woodblock prints and her thematic focus on figures in interiors. In The Letter, Cassatt used the patterns of the woman's dress and wallpaper as well as vibrant printing inks to manipulate space and formal elements inspired by Japanese art. The subject matter reflects the artist's focus on women indoors because contemporary social mores restricted their activities outside the home.
シカゴ美術館CC BY 4.0
作品データ
描かれているもの
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出典
- シカゴ美術館
- 画像： シカゴ美術館 — CC0 / public domain (AIC image API)
その頃、Mary Cassattの人生では
生涯をすべて見る1890s
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.
