Cassatt, Mary, Mère et enfant (Mother & Child)
Mary Cassatt captures the personal lives of women through her drawings and etchings. She especially concentrated on the bond between mother and chi… [Read biography »]
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Signed Mary Cassatt, Pencil and color chalk drawing on light blue wove paper, Mère et enfant (Mother & Child)  |
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| Artist: | Cassatt, Mary (1845 - 1926) |
|---|---|
| Title: | Mère et enfant (Mother & Child) |
| Reference: | Lugt 2665a |
| Medium: | Pencil and color chalk drawing on light blue wove paper |
| Image Size: | approx. 4 in x 4 in (10.2 cm x 10.2 cm) |
| Sheet Size: | 7 in x 4 3/4 in (17.8 cm x 12 cm) |
| Framed Size: | 22 3/4 in x 21 in (57.8 cm x 53.3 cm) |
| Signed: | With the ‘COLLECTION | MARY CASSATT | MATHILDE X’ circular collector’s stamp in black ink in the lower right margin (Lugt 2665a) |
| Condition: | This work is in good condition; mounted on mat board with minor surface abrasion at right sheet edge. Slight browning/staining at sheet edges. |
Price :Item# 2438 | $24,000  (Sale 30 % off: $16,800)
or FREE $100,000 in fine art with $100,000 purchase(Sales not combinable and not available on prior sales or trade ups) To speak directly with the Director, Alex Adelman, please call (510) 777-9970 / 1-800-805-7060. |
| Description: | |
This original pencil and color chalk drawing is marked with the collector’s ink stamp of Mathilde Vallet, the artist’s caretaker. The oval ink stamp, ‘COLLECTION | MARY CASSATT | MATHILDE X’ is in the lower right margin and detail in Lugt as catalogue raisonné no. 2665a. On the reverse of the mat board on which the drawing is mounted, there is a pencil inscription with the following, ‘7061 D | Rosenstiel’ with another pen inscription on the reverse of the backing board detailing provenance from Chapellier Galleries, New York. Mary Cassatt exhibits some of her finest figural studies here with Mère et enfant by setting the scene against a light blue wove paper. Using very subtle highlights and lowlights with white, pink, and salmon chalk, the pencil drawing is able to assume a interior light and exudes a life all of its own. With very minimal lines with clear definition, we are able to see a mother who holds her infant just over her shoulder. From this angle, we are shown the mother in profile, while the infant is seen in three-quarter view with one hands at its mouth; an expressive gesture that characterizes many infants in Cassatt’s compositions. Illustrated In: Provenance: About The Framing: | |
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Biography of Mary Cassatt
Mary Cassatt captures the personal lives of women through her drawings and etchings. She especially concentrated on the bond between mother and child. Under the guidance of Impressionist artists, Cassatt's works became increasingly popular.
Mary Cassatt was born in Allegheny City (Pennsylvania) and died in Le Mesnil-Theribus (Oise). The daughter of a banker, she moved with her family to Paris in 1851. From 1853 to 1855 she lived at Heidelberg and Darmstadt. From 1861-1865 she studied at the Pennsylvania Academy of Fine Arts in Philadelphia, then in the studio of Charles Chaplin in Paris. In 1868 she exhibited for the first time at the Salon. While studying at the Academy Raimondi in Parma in 1871, she copied Correggio and Parmigianino and became an admirer of Velazquez and Rembrandt. In 1873 she traveled to Madrid, Seville, Belgium and the Netherlands, and made copies especially of Velazquez and Rubens, before finally settling in Paris. There she met Edgar Degas in 1877, who suggested her joining the Impressionists. Her work was greatly influenced by Degas and Renoir, taking as principal subject portraits of women and children. Cassatt took part in the IV to VI and again in the VIII Impressionist exhibition. Her own work was shown by Durand-Ruel in 1891. In 1898 she visited the United States, went to Italy and Spain in 1901, and for the last time to the United States in 1908. In 1910 she became a member of the National Academy of Design in New York. In 1914 she was awarded the gold medal of the Pennsylvanian Academy of Art. Cassatt gradually lost her sight and was compelled to give up painting. It was due to her efforts that French Impressionism became known and understood in America, and also thanks to her initiative that the Havemeyer collection, now at the New York Metropolitan Museum, came into being.
