(b. May 22, 1844, Allegheny City [now part of Pittsburgh], Pa.U.S.d. June 14, 1926, Château de Beaufresne, near Paris, France)
The American painter and printmaker Mary Cassatt, who was part of the group of Impressionists working in and around Paris, is noteworthy for her skillful and tender portraits of almost exclusively women and children.
Cassatt was the daughter of a banker and lived in Europe for ﬁve years as a young girl. She was tutored privately in art in Philadelphia and attended the Pennsylvania Academy of the Fine Arts in 1861–65, but she preferred a less academic approach and in 1866 traveled to Europe to study with such European painters as Jean-Léon Gérôme and Thomas Couture. Her ﬁrst major showing was at the Paris Salon of 1872; four more annual Salon exhibitions followed.
In 1874 Cassatt chose Paris as her permanent residence and established her studio there. She shared with the Impressionists an interest in experiment and in using bright colours inspired by the out-of-doors.
Edgar Degas became her friend; his style and that of Gustave Courbet inspired her own. Degas was known to admire her drawing especially, and at his request she exhibited with the Impressionists in 1879 and joined them in shows in 1880, 1881, and 1886.
Like Degas, Cassatt showed great mastery of drawing, and both artists preferred unposed asymmet-rical compositions. Cassatt also was innovative and inventive in exploiting the medium of pastels.
Initially, Cassatt painted mostly ﬁgures of friends or relatives and their children in the Impressionist style. After the great exhibition of Japanese prints held in Paris in 1890, she brought out her series of 10 coloured prints—e.g., Woman Bathing and The Coiffure—in which the inﬂuence of the Japanese masters Utamaro and Toyokuni is apparent.
In these etchings, combining aquatint, dry-point, and soft ground, she brought her printmaking technique to perfection. Her emphasis shifted from form to line and pattern.
The principal motif of her mature and perhaps most familiar period is mothers caring for small children—e.g., The Bath (c. 1892) and Mother and Child (1899). In 1894 she purchased a château in Le Mesnil-Théribus and thereafter split her time between her country home and Paris.
Soon after 1900 her eyesight began to fail, and by 1914 she had ceased working.Cassatt urged her wealthy American friends and relatives to buy Impressionist paintings, and in this way, more than through her own works, she exerted a lasting inﬂuence on American taste.
She was largely responsible for selecting the works that make up the H.O. Havemeyer Collection in the Metropolitan Museum of Art, New York City.