Mary Cassatt, Child in a Bonnet
|Artist:||Mary Cassatt (1845 - 1926)|
|Title:||Child in a Bonnet|
|Medium:||Color pastel drawing on buff laid paper|
|Sheet Size:||11 3/4 in x 8 1/4 in (29.8 cm x 21 cm)|
|Signature:||With the ‘COLLECTION | MARY CASSATT | MATHILDE X’ ovular collector’s stamp in ink on the front in the lower right, and the same stamp in ink on the verso in the upper left.|
|Condition:||This work is in excellent condition.|
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Historical Description of this artwork
Mary Cassatt Child in a Bonnet is a delightful image of a rosy cheeked child in a robin’s egg blue bonnet. The russet colored hair brings warmth to the image, along with the reddish eyelashes that frame introspective eyes – unusual in such a young child. Cassatt uses gentle pastels to create clouds of color that make up features of the child. Cassatt spent most of her professional career in Paris, working closely with many Impressionists. She found an artistic space within the movement, but her own work is mostly only Impressionist in terms of color and light. Figures were the main focus of her work, and within that, the faces intrigued her the most. Most of the detail in Child in a Bonnet lies within the face – there is no outside context for the child, and its garb is not very detailed. Cassatt’s work with figures is starkly honest – there is no attempt to glaze over reality. This makes her work shockingly sincere, and exposes her tender feelings towards humanity.
This color pastel drawing on buff laid paper is marked with the collector’s ink stamp of Mathilde Valet, the artist’s caretaker. The oval ink stamp, ‘COLLECTION | MARY CASSATT | MATHILDE X…’ is in the lower right margin in ink and detailed in Lugt as catalogue raisonné no. 2665a. The same stamp is printed in ink in the upper left corner on the verso.
- Ex-collection Mathilde Valet
Catalogue Raisonné & COA:
Mary Cassatt Child in a Bonnet is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).
1. Lugt, F. (1988). Les marques de collections de dessins & d’estampes – Supplément. Alan Wofsy Fine Arts: San Francisco. Mathilde Valet’s collector’s stamp listed and illustrated as catalogue raisonné no. 2665a on pg. 382.
2. A Certificate of Authenticity will accompany this artwork.
About the Framing:
Framed to museum-grade, conservation standards, Mary Cassatt Child in a Bonnet is presented in a complementary moulding and finished with silk-wrapped mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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American Mary Cassatt fell in with the French Impressionists upon moving to Paris, and her signed drawings, etchings, and lithographs spring from a feminine perspective favoring the mother-child relationship.
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Artistic Styles of Cassatt
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Mary Cassatt Biography
Mary Cassatt captures the personal lives of women through her drawings and etchings. Cassatt 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.