Mary Cassatt

Mary Stevenson Cassatt (/kəˈsæt/; May 22, 1844 – June 14,

Mary Cassatt
1926)[1] was an American painter and printmaker. She was born
in Allegheny City, Pennsylvania (now part of Pittsburgh's North
Side), but lived much of her adult life in France, where she first
befriended Edgar Degas and later exhibited among the
Impressionists. Cassatt often created images of the social and
private lives of women, with particular emphasis on the intimate
bonds between mothers and children.

She was described by Gustave Geffroy in 1894 as one of "les

trois grandes dames" (the three great ladies) of Impressionism
alongside Marie Bracquemond and Berthe Morisot.[2] In 1879, Cassatt seated in a chair with an
Diego Martelli, compared her to Degas, as they both sought to umbrella. Verso reads "The only
depict movement, light, and design in the most modern sense.[3] photograph for which she ever
posed."
Born Mary Stevenson
Contents Cassatt
May 22, 1844
Early life Allegheny City,
Impressionism Pennsylvania, U.S.
Feminist Viewpoints and the "New Woman" Died June 14, 1926
Relationship with Degas (aged 82)
Château de
Later life
Beaufresne, near
Legacy
Paris, France
Gallery
Nationality American
Selected exhibitions
Education Pennsylvania Academy
See also of the Fine Arts,
Notes Jean-Léon Gérôme,
References Charles Chaplin,
Bibliography Thomas Couture
Further reading Known for Painting

External links Movement Impressionism

Signature

Early life
Cassatt was born in Allegheny City, Pennsylvania, which is now part of Pittsburgh.[4] She was born into
an upper-middle-class family:[5] Her father, Robert Simpson Cassat (later Cassatt), was a successful
stockbroker and land speculator. He was descended from French Huguenot Jacques Cossart, who came to
New Amsterdam in 1662.[6] Her mother, Katherine Kelso Johnston, came from a banking family.
Katherine Cassatt, educated and well-read, had a profound influence on her daughter.[7] To that effect,
Cassatt's lifelong friend Louisine Havemeyer wrote in her memoirs: "Anyone who had the privilege of
 knowing Mary Cassatt's mother would know at once that it was
from her and her alone that [Mary] inherited her ability."[8] The
ancestral name had been Cossart.[9] A distant cousin of artist
Robert Henri,[10] Cassatt was one of seven children, of whom
two died in infancy. One brother, Alexander Johnston Cassatt,
later became president of the Pennsylvania Railroad. The family
moved eastward, first to Lancaster, Pennsylvania, then to the
Philadelphia area, where she started her schooling at the age of
six.[11]

Cassatt grew up in an environment that viewed travel as integral

to education; she spent five years in Europe and visited many of
the capitals, including London, Paris, and Berlin. While abroad
she learned German and French and had her first lessons in
Young Woman in a Black and Green
Bonnet, c. 1890, Princeton University drawing and music.[12] It is likely that her first exposure to
Art Museum French artists Jean Auguste Dominique Ingres, Eugène
Delacroix, Camille Corot, and Gustave Courbet was at the Paris
World's Fair of 1855. Also in the exhibition were Edgar Degas
and Camille Pissarro, both of whom were later her colleagues and mentors.[13]

Though her family objected to her becoming a professional artist, Cassatt began studying painting at the
Pennsylvania Academy of the Fine Arts in Philadelphia at the early age of 15.[14] Part of her parents'
concern may have been Cassatt's exposure to feminist ideas and the bohemian behavior of some of the
male students. As such, Cassatt and her network of friends were lifelong advocates of equal rights for the
sexes.[15] Although about 20 percent of the students were female, most viewed art as a socially valuable
skill; few of them were determined, as Cassatt was, to make art their career.[16] She continued her studies
from 1861 through 1865, the duration of the American Civil War.[4] Among her fellow students was
Thomas Eakins, later the controversial director of the Academy.[11]

Impatient with the slow pace of instruction and the patronizing attitude of the male students and teachers,
she decided to study the old masters on her own. She later said, "There was no teaching" at the Academy.
Female students could not use live models, until somewhat later, and the principal training was primarily
drawing from casts.[17]

Cassatt decided to end her studies: At that time, no degree was granted. After overcoming her father's
objections, she moved to Paris in 1866, with her mother and family friends acting as chaperones.[18]
Since women could not yet attend the École des Beaux-Arts, Cassatt applied to study privately with
masters from the school[19] and was accepted to study with Jean-Léon Gérôme, a highly regarded teacher
known for his hyper-realistic technique and his depiction of exotic subjects. (A few months later Gérôme
also accepted Eakins as a student.[19]) Cassatt augmented her artistic training with daily copying in the
Louvre, obtaining the required permit, which was necessary to control the "copyists", usually low-paid
women, who daily filled the museum to paint copies for sale. The museum also served as a social place
for Frenchmen and American female students, who, like Cassatt, were not allowed to attend cafes where
the avant-garde socialized. In this manner, fellow artist and friend Elizabeth Jane Gardner met and
married famed academic painter William-Adolphe Bouguereau.[20]
Toward the end of 1866, she joined a painting class
taught by Charles Chaplin, a noted genre artist. In 1868,
Cassatt also studied with artist Thomas Couture, whose
subjects were mostly romantic and urban.[21] On trips to
the countryside, the students drew from life, particularly
the peasants going about their daily activities. In 1868
one of her paintings, A Mandoline Player, was accepted
for the first time by the selection jury for the Paris Salon.
With Elizabeth Jane Gardner, whose work was also
accepted by the jury that year, Cassatt was one of two
American women to first exhibit in the Salon.[6] A
The Boating Party by Mary Cassatt, 1893–94,
Mandoline Player is in the Romantic style of Corot and
oil on canvas, 35½ × 46 in., National Gallery of
Couture,[22] and is one of only two paintings from the
Art, Washington
first decade of her career that is documented today.[23]

The French art scene was in a process of change, as radical artists such as Courbet and Manet tried to
break away from accepted Academic tradition and the Impressionists were in their formative years.
Cassatt's friend Eliza Haldeman wrote home that artists "are leaving the Academy style and each seeking
a new way, consequently just now everything is Chaos."[20] Cassatt, on the other hand, continued to work
in the traditional manner, submitting works to the Salon for over ten years, with increasing frustration.

Returning to the United States in the late summer of 1870—as the Franco-Prussian War was starting—
Cassatt lived with her family in Altoona. Her father continued to resist her chosen vocation, and paid for
her basic needs, but not her art supplies.[24] Cassatt placed two of her paintings in a New York gallery
and found many admirers but no purchasers. She was also dismayed at the lack of paintings to study
while staying at her summer residence. Cassatt even considered giving up art, as she was determined to
make an independent living. She wrote in a letter of July 1871, "I have given up my studio & torn up my
father's portrait, & have not touched a brush for six weeks nor ever will again until I see some prospect of
getting back to Europe. I am very anxious to go out west next fall & get some employment, but I have
not yet decided where."[25]

Cassatt traveled to Chicago to try her luck, but lost some of her early paintings in the Great Chicago Fire
of 1871.[26] Shortly afterward, her work attracted the attention of the archbishop of Pittsburgh, who
commissioned her to paint two copies of paintings by Correggio in Parma, Italy, advancing her enough
money to cover her travel expenses and part of her stay. In her excitement she wrote, "O how wild I am
to get to work, my fingers farely itch & my eyes water to see a fine picture again".[27] With Emily
Sartain, a fellow artist from a well-regarded artistic family from Philadelphia, Cassatt set out for Europe
again.

Impressionism
Within months of her return to Europe in the autumn of 1871, Cassatt's prospects had brightened. Her
painting Two Women Throwing Flowers During Carnival was well received in the Salon of 1872, and
was purchased. She attracted much favorable notice in Parma and was supported and encouraged by the
art community there: "All Parma is talking of Miss Cassatt and her picture, and everyone is anxious to
know her".[28]
 After completing her commission for the archbishop,
Cassatt traveled to Madrid and Seville, where she
painted a group of paintings of Spanish subjects,
including Spanish Dancer Wearing a Lace Mantilla
(1873, in the National Museum of American Art,
Smithsonian Institution). In 1874, she made the
decision to take up residence in France. She was
joined by her sister Lydia who shared an apartment
with her. Cassatt opened a studio in Paris. Louisa
May Alcott's sister, Abigail May Alcott, was then an
art student in Paris and visited Cassatt.[6] Cassatt
Tea by Mary Cassatt, 1880, oil on canvas, 25½ × continued to express criticism of the politics of the
36¼ in., Museum of Fine Arts, Boston
Salon and the conventional taste that prevailed there.
She was blunt in her comments, as reported by
Sartain, who wrote: "she is entirely too slashing, snubs all modern art, disdains the Salon pictures of
Cabanel, Bonnat, all the names we are used to revere".[29]

Cassatt saw that works by female artists were often dismissed with contempt unless the artist had a friend
or protector on the jury, and she would not flirt with jurors to curry favor.[30] Her cynicism grew when
one of the two pictures she submitted in 1875 was refused by the jury, only to be accepted the following
year after she darkened the background. She had quarrels with Sartain, who thought Cassatt too
outspoken and self-centered, and eventually they parted. Out of her distress and self-criticism, Cassatt
decided that she needed to move away from genre paintings and onto more fashionable subjects, in order
to attract portrait commissions from American socialites abroad, but that attempt bore little fruit at
first.[31]

In 1877, both her entries were rejected, and for the first time in seven years she had no works in the
Salon.[32] At this low point in her career she was invited by Edgar Degas to show her works with the
Impressionists, a group that had begun their own series of independent exhibitions in 1874 with much
attendant notoriety. The Impressionists (also known as the "Independents" or "Intransigents") had no
formal manifesto and varied considerably in subject matter and technique. They tended to prefer plein air
painting and the application of vibrant color in separate strokes with little pre-mixing, which allows the
eye to merge the results in an "impressionistic" manner. The Impressionists had been receiving the wrath
of the critics for several years. Henry Bacon, a friend of the Cassatts, thought that the Impressionists
were so radical that they were "afflicted with some hitherto unknown disease of the eye".[33] They
already had one female member, artist Berthe Morisot, who became Cassatt's friend and colleague.

Cassatt admired Degas, whose pastels had made a powerful impression on her when she encountered
them in an art dealer's window in 1875. "I used to go and flatten my nose against that window and absorb
all I could of his art," she later recalled. "It changed my life. I saw art then as I wanted to see it."[34] She
accepted Degas' invitation with enthusiasm, and began preparing paintings for the next Impressionist
show, planned for 1878, which (after a postponement because of the World's Fair) took place on April 10,
1879. She felt comfortable with the Impressionists and joined their cause enthusiastically, declaring: "we
are carrying on a despairing fight & need all our forces".[35] Unable to attend cafes with them without
attracting unfavorable attention, she met with them privately and at exhibitions. She now hoped for
commercial success selling paintings to the sophisticated Parisians who preferred the avant-garde. Her
style had gained a new spontaneity during the intervening two years. Previously a studio-bound artist, she
had adopted the practice of carrying a sketchbook with her while out-of-doors or at the theater, and
recording the scenes she saw.[36]

In 1877, Cassatt was joined in Paris by her father and mother, who
returned with her sister Lydia, all eventually to share a large apartment on
the fifth floor of 13, Avenue Trudaine, (48.8816°N 2.3446°E). Mary
valued their companionship, as neither she nor Lydia had married. A case
was made that Mary suffered from narcissistic disturbance, never
completing the recognition of herself as a person outside of the orbit of
her mother.[37] Mary had decided early in life that marriage would be
incompatible with her career. Lydia, who was frequently painted by her
sister, suffered from recurrent bouts of illness, and her death in 1882 left
Cassatt temporarily unable to work.[38]

Summertime by Mary Cassatt's father insisted that her studio and supplies be covered by her
Cassatt, c. 1894, oil on sales, which were still meager. Afraid of having to paint "potboilers" to
canvas, Terra Foundation for make ends meet, Cassatt applied herself to produce some quality
American Art, Chicago
paintings for the next Impressionist exhibition.[11] Three of her most
accomplished works from 1878 were Portrait of the Artist (self-portrait),
Little Girl in a Blue Armchair, and Reading Le Figaro (portrait of her mother).

Degas had considerable influence on Cassatt. Both were highly

experimental in their use of materials, trying distemper and
metallic paints in many works, such as Woman Standing Holding
a Fan, 1878-79 (Amon Carter Museum of American Art).[39]

She became extremely proficient in the use of pastels, eventually

creating many of her most important works in this medium.
Degas also introduced her to etching, of which he was a
recognized master. The two worked side-by-side for a while, and
her draftsmanship gained considerable strength under his
tutelage. He depicted her in a series of etchings recording their
trips to the Louvre. She treasured his friendship but learned not to
expect too much from his fickle and temperamental nature after a
project they were collaborating on at the time, a proposed journal
devoted to prints, was abruptly dropped by him.[40] The
sophisticated and well-dressed Degas, then forty-five, was a
welcome dinner guest at the Cassatt residence, and likewise they
at his soirées.[41]

The Impressionist exhibit of 1879 was the most successful to

date, despite the absence of Renoir, Sisley, Manet and Cézanne,
Mary Cassatt, Woman Standing
who were attempting once again to gain recognition at the Salon. Holding a Fan, 1878–79, (Amon
Through the efforts of Gustave Caillebotte, who organized and Carter Museum of American Art)
underwrote the show, the group made a profit and sold many
works, although the criticism continued as harsh as ever. The
Revue des Deux Mondes wrote, "M. Degas and Mlle. Cassatt are, nevertheless, the only artists who
distinguish themselves... and who offer some attraction and some excuse in the pretentious show of
window dressing and infantile daubing".[42]

Cassatt displayed eleven works, including Lydia in a Loge, Wearing a Pearl Necklace, (Woman in a
Loge). Although critics claimed that Cassatt's colors were too bright and that her portraits were too
accurate to be flattering to the subjects, her work was not savaged as was Monet's, whose circumstances
were the most desperate of all the Impressionists at that time. She used her share of the profits to
purchase a work by Degas and one by Monet.[43] She participated in the Impressionist Exhibitions that
followed in 1880 and 1881, and she remained an active member of the Impressionist circle until 1886. In
1886, Cassatt provided two paintings for the first Impressionist exhibition in the US, organized by art
dealer Paul Durand-Ruel. Her friend Louisine Elder married Harry Havemeyer in 1883, and with Cassatt
as advisor, the couple began collecting the Impressionists on a grand scale. Much of their vast collection
is now in the Metropolitan Museum of Art in New York City.[44]

Cassatt also made several portraits of family members during that period, of which Portrait of Alexander
Cassatt and His Son Robert Kelso (1885) is one of her best regarded. Cassatt's style then evolved, and
she moved away from Impressionism to a simpler, more straightforward approach. She began to exhibit
her works in New York galleries as well. After 1886, Cassatt no longer identified herself with any art
movement and experimented with a variety of techniques.[11]

Feminist Viewpoints and the "New Woman"

Cassatt and her contemporaries enjoyed the wave of feminism
that occurred in the 1840s, allowing them access to educational
institutions at newly coed colleges and universities, such as
Oberlin and the University of Michigan. Likewise, women's
colleges such as Vassar, Smith and Wellesley opened their doors
during this time. Cassat was an outspoken advocate for women's
equality, campaigning with her friends for equal travel
scholarships for students in the 1860s, and the right to vote in the
1910s.[15]

Mary Cassatt depicted the "New Woman" of the 19th century

from the woman's perspective. As a successful, highly trained
woman artist who never married, Cassatt—like Ellen Day Hale,
Elizabeth Coffin, Elizabeth Nourse and Cecilia Beaux—
personified the "New Woman".[45] She "initiated the profound Reading "Le Figaro" by Mary Cassatt
beginnings in recreating the image of the 'new' women", drawn (1878), Collection Mrs. Eric de
Spoelberch, Haverford, Pennsylvania
from the influence of her intelligent and active mother, Katherine
Cassatt, who believed in educating women to be knowledgeable
and socially active. She is depicted in Reading 'Le Figaro'
(1878).[46]

Although Cassatt did not explicitly make political statements about women's rights in her work, her
artistic portrayal of women was consistently done with dignity and the suggestion of a deeper,
meaningful inner life.[15] Cassatt objected to being stereotyped as a "woman artist", she supported
women's suffrage, and in 1915 showed eighteen works in an exhibition supporting the movement
organised by Louisine Havemeyer, a committed and active feminist. The exhibition brought her into
conflict with her sister-in-law Eugenie Carter Cassatt, who was anti-suffrage and who boycotted the show
along with Philadelphia society in general. Cassatt responded by selling off her work that was otherwise
destined for her heirs. In particular The Boating Party, thought to have been inspired by the birth of
Eugenie's daughter Ellen Mary, was bought by the National Gallery, Washington DC.[47][48]

Relationship with Degas

Cassatt and Degas had a long period of collaboration. The two
had studios close together, Cassatt at 19, rue Laval, (48.8808°N
2.3384°E), Degas at 4, rue Frochot, (48.8811°N 2.3377°E),[49]
less than a five-minute stroll apart, and Degas got into the habit
of looking in at Cassatt's studio and offering her advice and
helping her get models.[36]

They had much in common: they shared similar tastes in art and
literature, came from affluent backgrounds, had studied painting
in Italy, and both were independent, never marrying. The degree
of intimacy between them cannot be assessed now, as no letters
survive, but it is unlikely they were in a relationship given their
conservative social backgrounds and strong moral principles.
Several of Vincent van Gogh's letters attest Degas' sexual Edgar Degas, Mary Cassatt Seated,
continence.[50] Degas introduced Cassatt to pastel and engraving, Holding Cards, c. 1880–1884, oil on
both of which Cassatt quickly mastered, while for her part Cassatt canvas, 74 × 60 cm, National Portrait
was instrumental in helping Degas sell his paintings and Gallery, Washington DC. NPG.84.34
(http://npgportraits.si.edu/emuseumC
promoting his reputation in America.[51]
AP/code/emuseum.asp) Cassatt
hated it later and wrote to her dealer
Both regarded themselves as figure painters, and the art historian
Paul Durand-Ruel in 1912 or 1913
George Shackelford suggests they were influenced by the art that "I don't want anyone to know that
critic Louis Edmond Duranty's appeal in his pamphlet The New I posed for it."
Painting for a revitalization in figure painting: "Let us take leave
of the stylized human body, which is treated like a vase. What we
need is the characteristic modern person in his clothes, in the midst of his social surroundings, at home or
out in the street." [52][53]

After Cassatt's parents and sister Lydia joined Cassatt in Paris in 1877, Degas, Cassatt, and Lydia were
often to be seen at the Louvre studying artworks together. Degas produced two prints, notable for their
technical innovation, depicting Cassatt at the Louvre looking at artworks while Lydia reads a guidebook.
These were destined for a prints journal planned by Degas (together with Camille Pissarro and others),
which never came to fruition. Cassatt frequently posed for Degas, notably for his millinery series trying
on hats.

Around 1884 Degas made a portrait in oils of Cassatt, Mary Cassatt Seated, Holding Cards.[a] A circa
1880 Self-Portrait by Cassatt depicts her in the identical hat and dress, leading Griselda Pollock to
speculate they were executed in a joint painting session in the early years of their acquaintance.[55]

Cassatt and Degas worked most closely together in the fall and winter of 1879–80 when Cassatt was
mastering her printmaking technique. Degas owned a small printing press, and by day she worked at his
studio using his tools and press while in the evening she made studies for the etching plate the next day.
 However, in April 1880, Degas abruptly withdrew from the prints
journal they had been collaborating on, and without his support
the project folded. Degas' withdrawal piqued Cassatt who had
worked hard at preparing a print, In the Opera Box, in a large
edition of fifty impressions, no doubt destined for the journal.
Although Cassatt's warm feelings for Degas were to last her
entire life, she never again worked with him as closely as she had
over the prints journal. Mathews notes that she ceased executing
her theater scenes at this time.[56]

Degas was forthright in his views, as was Cassatt.[56] They

Mary Cassatt, Self-Portrait, c. 1880,
gouache and watercolor over
graphite on paper, 32.7cm x 24.6cm,
National Portrait Gallery, Washington
DC. NPG.76.33 (http://npgportraits.s
i.edu/eMuseumNPG/code/emuseum.
asp?rawsearch=ObjectID/,/is/,/2239
3/,/false/,/false&newprofile=CAP&ne
wstyle=single)
clashed over the Dreyfus affair (early in her career she had
executed a portrait of the art collector Moyse Dreyfus, a relative
of the court-martialled lieutenant at the center of the
affair).[b][58][59] Cassatt later expressed satisfaction at the irony
of Lousine Havermeyer's 1915 joint exhibition of hers and Degas'
work being held in aid of women's suffrage, equally capable of
affectionately repeating Degas' antifemale comments as being
estranged by them (when viewing her Two Women Picking Fruit
for the first time, he had commented "No woman has the right to
draw like that").[60] From the 1890s onwards their relationship
took on a decidedly commercial aspect, as in general had
Cassatt's other relations with the Impressionist circle;[59][61]
nevertheless they continued to visit each other until Degas' death
in 1917.[62]

Later life
Cassatt's popular reputation is based on an extensive series of rigorously drawn and tenderly observed
paintings and prints on the theme of the mother and child. The earliest dated work on this subject is the
drypoint Gardner Held by His Mother (an impression inscribed "Jan/88" is in the New York Public
Library),[64] although she had painted a few earlier works on the theme. Some of these works depict her
own relatives, friends, or clients, although in her later years she generally used professional models in
compositions that are often reminiscent of Italian Renaissance depictions of the Madonna and Child.
After 1900, she concentrated almost exclusively on mother-and-child subjects.[65]

The 1890s were Cassatt's busiest and most creative time. She had matured considerably and became
more diplomatic and less blunt in her opinions. She also became a role model for young American artists
who sought her advice. Among them was Lucy A. Bacon, whom Cassatt introduced to Camille Pissarro.
Though the Impressionist group disbanded, Cassatt still had contact with some of the members, including
Renoir, Monet, and Pissarro.[66]

In 1891, she exhibited a series of highly original colored drypoint and aquatint prints, including Woman
Bathing and The Coiffure, inspired by the Japanese masters shown in Paris the year before. (See
Japonism) Cassatt was attracted to the simplicity and clarity of Japanese design, and the skillful use of
blocks of color. In her interpretation, she used primarily light, delicate pastel colors and avoided black (a
"forbidden" color among the Impressionists). Adelyn D. Breeskin, Cassatt's most noted historian and the
author of two catalogue raisonnés of her work, notes that these colored prints, "now stand as her most
 original contribution...
adding a new chapter
to the history of
graphic
arts...technically, as
color prints, they have
never been
surpassed". [67]

Mary Cassatt, Mother and Child

Before a Pool, c. 1898. Drypoint and
aquatint on laid paper, Brooklyn
Museum

Also in 1891, Chicago

businesswoman Bertha Palmer
approached Cassatt to paint a
12' × 58' mural about "Modern
Woman" for the Women's
The Child's Bath (The Bath) by Mary
Building for the World's Cassatt, 1893, oil on canvas, 39 × 26 in.,
Columbian Exposition to be Art Institute of Chicago[63]
held in 1893. Cassatt
completed the project over the
next two years while living in France with her mother. The mural was
designed as a triptych. The central theme was titled Young Women
Plucking the Fruits of Knowledge or Science. The left panel was Young
Under the Horse Chestnut
Girls Pursuing Fame and the right panel Arts, Music, Dancing. The
Tree by Mary Cassatt, 1898,
drypoint and aquatint print, mural displays a community of women apart from their relation to men,
19 x 15 in., Museum of Fine as accomplished persons in their own right. Palmer considered Cassatt to
Arts, Houston. be an American treasure and could think of no one better to paint a mural
at an exposition that was to do so much to focus the world's attention on
the status of women.[68] Unfortunately the mural did not survive
following the run of the exhibition when the building was torn down. Cassatt made several studies and
paintings on themes similar to those in the mural, so it is possible to see her development of those ideas
and images.[69] Cassatt also exhibited other paintings in the Exposition.

As the new century arrived, Cassatt served as an advisor to several major art collectors and stipulated that
they eventually donate their purchases to American art museums. In recognition of her contributions to
the arts, France awarded her the Légion d'honneur in 1904. Although instrumental in advising American
collectors, recognition of her art came more slowly in the United States. Even among her family
members back in America, she received little recognition and was totally overshadowed by her famous
brother.[70]

Mary Cassatt's brother, Alexander Cassatt, was president of the Pennsylvania Railroad from 1899 until
his death in 1906. She was shaken, as they had been close, but she continued to be very productive in the
years leading up to 1910.[71] An increasing sentimentality is apparent in her work of the 1900s; her work
was popular with the public and the critics, but she was no longer breaking new ground, and her
Impressionist colleagues who once provided stimulation and criticism were dying off. She was hostile to
such new developments in art as post-Impressionism,
Fauvism and Cubism. [72] Two of her works appeared in the
Armory Show of 1913, both images of a mother and
child.[73]

A trip to Egypt in 1910 impressed Cassatt with the beauty of

its ancient art, but was followed by a crisis of creativity; not
only had the trip exhausted her, but she declared herself
"crushed by the strength of this Art", saying, "I fought
against it but it conquered, it is surely the greatest Art the
Mère et enfant (Reine Lefebre and Margot
past has left us ... how are my feeble hands to ever paint the
before a Window), c. 1902
effect on me."[74] Diagnosed with diabetes, rheumatism,
neuralgia, and cataracts in 1911, she did not slow down, but
after 1914 she was forced to stop painting as she became almost
blind.

Cassatt died on June 14, 1926 at Château de Beaufresne, near Paris,

and was buried in the family vault at Le Mesnil-Théribus, France.

House of rue de Memorial on the Woman with a Pearl Necklace in

Marignan in Paris, facade of 10 rue de a Loge, 1879, oil on canvas, 81 x
where Mary Cassatt Marignan 60 cm, Philadelphia Museum of
Art
lived from 1887 until
her death

Legacy
Mary Cassatt inspired many Canadian women artists who were members of the Beaver Hall
Group.
The SS Mary Cassatt was a World War II Liberty ship, launched May 16, 1943.[75]
A quartet of young Juilliard string musicians formed the all-female Cassatt Quartet in 1985,
named in honor of the painter.[76] In 2009, the award-winning group recorded String
Quartets Nos. 1–3 (Cassatt String Quartet) by composer Dan Welcher; the 3rd quartet on
the album was written inspired by the work of Mary Cassatt as well.[77]
In 1966, Cassatt's painting The Boating Party was reproduced on a US postage stamp.
Later she was honored by the United States Postal Service with a 23-cent Great Americans
series postage stamp.[78]
In 1973, Cassatt is inducted into the National Women's Hall of Fame.[79]
 In 2003, four of her paintings – Young Mother (1888), Children Playing on the Beach (1884),
On a Balcony (1878/79) and Child in a Straw Hat (circa 1886) – were reproduced on the
third issue in the American Treasures stamp series.[80]
On May 22, 2009, she was honored by a Google Doodle in recognition of her birthday.[81]
Cassatt's paintings have sold for as much as $4 million, the record price of $4,072,500
being set in 1996 at Christie's, New York, for In the Box.[82]
A public garden in the 12th arrondissement of Paris is named 'Jardin Mary Cassatt' in her
memory[83].

Gallery

Portrait of Madame Sisley The Reader (1877), Crystal

(1873) Bridges Museum of American
Art

In the Box (1879) Lydia Leaning on Her Arms,

Seated in Loge (1879)
Miss Mary Ellison (1880) Lilacs in a Window (1879)

Children on the Beach (1884) Young Girl at a Window

(c. 1883–1884), National
Gallery of Art

Lady at the Tea Table (1883- Child in Straw Hat (1886)

1885), Metropolitan Museum of
Art
Maternité (1890), pastel Nurse Reading to a Little Girl
(1895), pastel

Woman in a Red Bodice and The Pink Sash (1898), pastel

Her Child (c. 1896), Brooklyn
Museum

Madame Gaillard and Her Jules Being Dried by His

Daughter Marie-Thérèse Mother (1900)
(1899), pastel, Reynolda House
Museum of American Art
Margot in Blue (1903), pastel, Young Woman in Green,
Walters Art Museum Outdoors in the Sun (1914)

The Fitting (c. 1890), drypoint Offering the Panal to the

and aquatint, Brooklyn Museum Bullfighter (1873), oil on
canvas, Clark Art Institute

Selected exhibitions
Selected Cassatt solo exhibitions Date
Paris, Galerie Durand-Ruel. Exposition de tableaux, pastels, et gravures par Mlle Mary
1891, April
Cassatt.
Paris, Galerie Durand-Ruel. Exposition de tableaux, pastels, et gravures par Mlle Mary 1893, November 27 -
Cassatt. December 16
New York, Durand-Ruel Gallery. Exposition of Paintings Pastels, and Etchings by Miss
1895, April 16–30
Mary Cassatt.
New York, Durand-Ruel Gallery. Exhibition of Paintings, Pastels and Drypoints by
1898, February–March
Mary Cassatt.
Boston, St. Botolph Club. An Exhibition of Paintings, Pastels and Etchings by Miss
1898, March 21 - April 8
Mary Cassatt.
New York, Durand-Ruel Gallery. Mary Cassatt. 1903, November
New York, Durand-Ruel Gallery. Paintings, Pastels, and Etchings by Mary Cassatt. 1906, December 12–31
Paris, Galerie Ambroise Vollard. Exposition des tableaux et pastels par Mary Cassatt 1907
1907-08, December–
Manchester, England, City of Manchester Art Gallery.Exposition des impressionnistes.
January
Paris, Galerie Durand-Ruel. Tableaux et pastels par Mary Cassatt. 23 paintings, 22
1908, November 3–28
pastels.
Boston, St. Botolph Club. Pictures by Mary Cassatt. 1909, February 8–20
Paris, Galerie Durand-Ruel. Exposition de peintures de Mary Cassatt 1910, March
Paris, Galerie Durand-Ruel. Tableaux, pastels, dessins et pointes seches par Mary
1914, June 8–27
Cassatt.
New York, Durand-Ruel Gallery. Exhibition of Water Colors and Drypoints by Mary
1915, April 5–20
Cassatt.
New York, Durand-Ruel Gallery. Exhibition of Paintings by Mary Cassatt. 1917, April 21 - May 5
1920, November 15 -
New York, Durand-Ruel Gallery. Exhibition of Paintings and Pastels by Mary Cassatt.
December 4
1921, January 28 -
New York, Grolier Club. Etchings by Mary Cassatt.
February 26
New York, The Metropolitan Museum of Art. Five Paintings, Four Pastels, and 1922, January -
Etchings by Mary Cassatt. February
New York, Durand-Ruel Gallery. Exhibition of Paintings, Pastels, Drypoints, and
1923, 28 April
Watercolors by Mary Cassatt.
Cleveland, Cleveland Museum of Art. Etchings, Drypoints, and Drawings by Mary 1923. October 31 -
Cassatt. December 9
Paris, Galerie Durand-Ruel. Exposition de tableaux et pastels par Mary Cassatt. 1924. March
Pittsburgh, Carnegie Institute, Department of Fine Arts. A Memorial Exhibition of the 1928, March 15 - April
Work of Mary Cassatt. 15
Paris. Galerie A. M. Reitlinger. Dessins, pastels, Peintures, etudes par Mary Cassatt. 1931, May 19 - June 30
Haverford, Haverford College, The Union. The Mary Cassatt Exhibition Presented by
1939, May 13 - June 10
the Haverford College Art Committee.
Baltimore. Museum of Art. Mary Cassatt: The Catalogue of a Comprehensive 1941-42, November 28 -
Exhibition of her Work. January 11
1965, November 20 -
Chicago, International Galleries. Mary Cassatt, 1844-1926: Retrospective Exhibition.
December 21
Beauvais, France. Musée départemental de l'Oise, Palais episcopal. Hommage a 1965. June–July
Mary Cassatt.
Washington, D.C., Smithsonian Institution. The Paintings of Mary Cassatt. 1966, February 1–26
New York, Museum of Graphic Art. The Graphic Art of Mary Cassatt. 1967-68
Tokyo. Isetan Museum of Art. The Art of Mary Cassatt (1811-1926). 1981, June 11 - July 7
Washington, D.C. Mary Cassatt: Graphic Art Traveling exhibition shown in six U.S.
1981-1982
museums.
1985, February 17 - April
Philadelphia, Philadelphia Museum of Art. Mary Cassatt and Philadelphia.
14
Paris, Musée d'Orsay. Mary Cassatt. Catalogue by Martine Mauvieux. Paris: Reunion
1988, March 7 - June 5
des Musées Nationaux, 1988.
1989-90. June 18 -
Washington, DC., National Gallery of Art. Mary Cassatt, the Color Prints.
January 21
Chicago. R. S. Johnson Fine Art. Mary Cassatt: Retrospective Exhibition. 1997-98. Winter
1998-99. October 10 -
Chicago, Art Institute. Mary Cassatt, Modern Woman. NY:
September 6
New York, Metropolitan Museum of Art. Mary Cassatt: Drawings and Prints in the 1998-99. October 20 -
Metropolitan Museum of Art. January 24
1999, June 6 -
Washington, National Gallery of Art, Mary Cassatt
September 6
New York, Adelson Galleries, From the Artist's Studio: Unknown Prints and Drawings 2000, November 10 -
by Mary Cassatt December 22
2003, February 12 - May
Philadelphia, Philadelphia Museum of Art, Mary Cassatt and Edgar Degas
11
2004 - 05, November 1 -
New York, Adelson Galleries, Art in a Mirror: The Counterproofs of Mary Cassatt
January 20
New York, Adelson Galleries, Nantucket Mary Cassatt: Works on Paper 2005, August
Giverny, Musée d'Art Americain, Mary Cassatt, Impressionist Printmaker 2005, April 1 - July 3
2006, February 22 - May
London, The National Gallery, Mary Cassatt: Prints
7
2006, August 19 -
West Palm Beach, The Norton Museum of Art, Mary Cassatt: Pastels and Drawings
October 29
2007, October 25 -
New York, Adelson Galleries, Mary Cassatt
November 24
New York, Adelson Galleries, Mary Cassatt: Prints and Drawings from the Collection
2008, April 25 - June 6
of Ambroise Vollard
2014, May 11 - October
Washington DC, National Gallery of Art, Degas/Cassatt
5
Japan, Yokohama, Yokohama Museum of Art, Mary Cassatt Retrospective 2016
France, Paris, Jacquemart-André Museum, Mary Cassatt An American Impressionist
2018, March 9 - July 23
in Paris

See also
History of painting
Western painting
Women artists
Notes
a. The cards are probably cartes de visite, used by artists and dealers at the time to document
their work. Stephanie Strasnick suggests that Degas used them as a device to represent
Cassatt as a peer and an artist in her own right, although Cassatt later took an aversion to
the portrait and had it sold.[54]
b. Pro-Dreyfus included Camille Pissarro, Claude Monet, Paul Signac and Mary Cassatt. Anti-
Dreyfus included Edgar Degas, Paul Cézanne, Auguste Rodin and Pierre-Auguste
Renoir.[57]

References
1. "Mary Cassatt Self-Portrait" (http://npg.si.edu/object/npg_NPG.76.33). National Portrait
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3. Moffett, Charles S. (1986). The New Painting: IMpressionism 1874-1886 (https://archive.or
g/details/newpaintingimpre00moff/page/276). San Francisco: The Fine Arts Museums of
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ISBN 0-88401-047-3.
4. Roberts, Norma J. (1988). The American Collections (https://archive.org/details/americancol
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5. Pollock 1998, p. 280.
6. Rubinstein, Charlotte Streifer (1982). American women artists: from early Indian times to the
present (https://archive.org/details/americanwomenart09rubi). Boston, Mass.: Hall.
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7. Pollock 1998, pp. 281–82.
8. Havemeyer, Louisine (1961). Sixteen to Sixty: Memoirs of a Collector. New York: Priv. Print.
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9. Mathews 1998, p. 3.
10. Perlman, Bennard B. (1991). Robert Henri: His Life and Art (https://archive.org/details/robert
henrihisli0000perl). New York: Dover Publications. p. 1 (https://archive.org/details/roberthenr
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13. McKown 1972, pp. 10–12.
14. Mathews 1998, p. 15.
15. Dictionary of women artists (https://archive.org/details/dictionaryofwome01gaze). Gaze,
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17. McKown 1972, p. 16.
18. Mathews 1994, p. 29.
19. Mathews 1994, p. 31.
20. Mathews 1994, p. 32.
21. Mathews 1994, p. 54.
22. Mathews 1998, p. 47.
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26. McKown 1972, p. 36.
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30. Mathews 1998, pp. 104–105.
31. Mathews 1994, p. 96.
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33. Mathews 1994, p. 107.
34. Mathews 1998, p. 114.
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37. Zerbe, Kathryn J. "Essential Others and Spontaneous Recovery in the Life and Work of
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38. Mathews 1998, p. 163.
39. Jones, Kimberly A. (2014). Degas Cassatt. National Gallery of Art, Washington. p. 122.
40. Mathews 1994, pp. 146–50.
41. Mathews 1994, pp. 128–31, 147.
42. McKown 1972, p. 73.
43. McKown 1972, pp. 72–73.
44. Mathews 1994, p. 167.
45. Holly Pyne Connor; Newark Museum; Frick Art & Historical Center. Off the Pedestal: New
Women in the Art of Homer, Chase, and Sargent (https://books.google.com/books?id=3v_J
431g_twC&pg=PA25). Rutgers University Press; 2006. ISBN 978-0-8135-3697-2. p. 25.
46. New Perspectives on Illustration: Gibson and Cassatt: Depicting the New Woman by Seo
Kim. (http://www.nrm.org/2013/03/new-perspectives-on-illustration-gibson-and-cassatt-depic
ting-the-new-woman-by-seo-kim/) Norman Rockwell Museum. Retrieved March 18, 2014.
47. Mathews 1994, pp. 306–10.
48. Mary Cassatt: A Life (https://books.google.com/books?id=EtXCGXMSE9oC&pg=PA306), p.
306, at Google Books
49. Barter, pp. 354–355 "Mary Cassatt's Paris" (map).
50. "To Theo van Gogh. Arles, Friday, 4 May 1888" (http://vangoghletters.org/vg/letters/let603/le
tter.html). Vincent van Gogh: The Letters. Van Gogh Museum.
51. Bullard, p. 14.
52. Duranty 1876.
53. MoMA Highlights: 350 Works from The Museum of Modern Art, New York (https://books.goo
gle.com/books?id=AcdBAQAAQBAJ&pg=PA31), p. 31, at Google Books
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Artistic Friendship" (https://web.archive.org/web/20140327165838/http://www.artnews.com/
2014/03/27/national-gallery-show-explores-artistic-friendship-of-degas-and-cassatt/).
ARTnews. Archived from the original (http://www.artnews.com/2014/03/27/national-gallery-s
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55. Pollock 1998, p. 118.
56. Mathews 1994, p. 149.
57. Meiseler, Stanley (July 9, 2006). "History's new verdict on the Dreyfus case" (http://articles.l
atimes.com/2006/jul/09/opinion/op-meisler9). Los Angeles Times. Los Angeles Times.
Archived (https://web.archive.org/web/20140109164907/http://articles.latimes.com/2006/jul/
09/opinion/op-meisler9) from the original on January 9, 2014.
58. Mathews 1994, p. 275.
59. Shackelford, p. 137.
60. Mathews 1994, pp. 303, 308.
61. Mathews 1994, pp. 189–90.
62. Mathews 1994, pp. 312–13.
63. "The Child's Bath" (http://www.artic.edu/aic/collections/exhibitions/Impressionism/Cassatt).
The Art Institute of Chicago. Retrieved April 9, 2012.
64. Mathews 1998, p. 182 and note on p. 346.
65. Kloss 1985, p. 106.
66. McKown 1972, p. 155.
67. McKown 1972, pp. 124–126.
68. Lunardini, Christine A. (1997). What every American Should Know About Women's History.
Holbrook, Mass.: Adams Media Corporation. p. 129. ISBN 978-1-55850-687-9.
69. Mary Cassatt's Lost Mural and Other Exhibits at the 1893 Exposition (http://members.cox.ne
t/academia/cassatt.html) Archived (https://web.archive.org/web/20090928095539/http://me
mbers.cox.net/academia/cassatt.html) September 28, 2009, at the Wayback Machine by K.
L. Nichols
70. McKown 1972, p. 182.
71. Mathews 1998, p. 281.
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73. "1913 Armory Show List by Gallery" (http://armory.nyhistory.org/resources/1913-armory-sho
w-list-by-gallery/). New York Historical Society. Retrieved February 1, 2014.
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75. "Liberty Ships" (http://shipbuildinghistory.com/merchantships/2libertyships5.htm).
Shipbuilding History. 8 April 2008. Retrieved 20 May 2018.
76. Berman, Greta. "A Blockbuster Duet at the Met" (https://web.archive.org/web/20100531190
742/https://www.juilliard.edu/update/journal/j_articles986.html). Juilliard School. Archived
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77. Welcher: String Quartets Nos. 1-3 Mary Cassatt (https://www.allmusic.com/album/00018683
41}title-Dan) at AllMusic
78. "The Boating Party, Mary Cassatt" (http://usstampgallery.com/view.php?id=1bf6592ecf317c
9cd6f92bab901b7ac5dd6fa2af). US Stamp Gallery. Retrieved 20 May 2018.
79. National Women's Hall of Fame, Mary Cassatt (https://www.womenofthehall.org/inductee/m
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80. Carr, Rchard. " 'American Treasures' Series Honors Cassatt" (http://articles.sun-sentinel.co
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Google. Retrieved April 9, 2012.
82. "Sale 8408 | Lot 70" (http://www.christies.com/lotfinder/lot/mary-cassatt-in-the-box-1076924-
details.aspx?intObjectID=1076924). Christie's. May 23, 1996. Archived (https://web.archive.
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6924-details.aspx?intObjectID=1076924) from the original on February 2, 2014.
83. "Jardin Mary-Cassatt - Equipements – Paris.fr" (https://www.paris.fr/equipements/jardin-mar
y-cassatt-2584). www.paris.fr. Retrieved January 31, 2019.

Bibliography
Barter, Judith A. Mary Cassatt, modern woman (1st ed.). Art Institute of Chicago in
association with H.N. Abrams. ISBN 978-0810940895.
Bullard, John E. (1972). Mary Cassatt: Oils and Pastels (https://books.google.com/books?id
=uILqAAAAMAAJ&pg=PA239). Watson-Guptill Publications. ISBN 0-8230-0569-0.
LCCN 70-190524 (https://lccn.loc.gov/70-190524).
Duranty, Louis Edmund (1990) [1876]. La Nouvelle peinture : À propos du groupe d'artistes
qui expose dans les galeries Durand-Ruel, 1876 (https://archive.org/details/lanouvellepeint0
0firgoog) (in French). Paris: Echoppe. ISBN 978-2905657374. LCCN 21010788 (https://lcc
n.loc.gov/21010788).
Mathews, Nancy Mowll (1994). Mary Cassatt: A Life. New York: Villard Books. ISBN 978-0-
394-58497-3.
Mathews, Nancy Mowll (1998). Mary Cassatt: A Life (https://books.google.com/books?id=Et
XCGXMSE9oC&printsec=frontcover). New Haven: Yale University Press. ISBN 978-0-585-
36794-1.
McKown, Robin (1972). The World of Mary Cassatt. New York: Thomas Y. Crowell Co.
ISBN 978-0-690-90274-7.
Kloss, William (1985). Treasures from the National Museum of American Art (https://archive.
org/details/treasuresfromnat00nati). Washington: National Museum of American Art.
ISBN 978-0-87474-594-8.
Pollock, Griselda; Florence, Penny (2001). Looking back to the Future (https://archive.org/d
etails/lookingbacktofut0000poll). Amsterdam: G+B Arts International. ISBN 978-90-5701-
122-1.
Pollock, Griselda (1998). "Mary Cassatt: Painter of Women and Children" (https://books.goo
gle.com/books?id=N1pOh9GEO1EC&pg=PA280). In Milroy, Elizabeth; Doezema, Marianne
(eds.). Reading American Art (https://books.google.com/books?id=N1pOh9GEO1EC&prints
ec=frontcover). New Haven. ISBN 978-0-300-07348-5.
Shackelford, George T.M. (1998). "Pas de Deux: Mary Cassatt and Edgar Degas". In Barter,
Judith A.. (ed.). Mary Cassatt, modern woman / with contributions by Erica E. Hirshler ... [et
al.] New York: Harry N. Abrams, Inc. pp. 109–43. ISBN 978-0810940895. LCCN 98007306
(https://lccn.loc.gov/98007306).
White, John H. Jr. (Spring 1986). "America's Most Noteworthy Railroaders". Railroad
History. 154: 9–15. ISSN 0090-7847 (https://www.worldcat.org/issn/0090-7847).
JSTOR 43523785 (https://www.jstor.org/stable/43523785). OCLC 1785797 (https://www.wor
ldcat.org/oclc/1785797).(mentions family relationship to Alexander Cassatt)

Further reading
Adelson, Warren; Bertalan, Sarah; Mathews, Nancy Mowll; Pinsky, Susan; Rosen, Marc
(2008). Mary Cassatt: Prints and Drawings from the Collection of Ambroise Vollard. New
York: Adelson Galleries. ISBN 0-9815801-0-6.
Barter, Judith A., et al. Mary Cassatt: Modern Woman. Exhibition catalogue. New York: Art
Institute of Chicago in association with Harry N. Abrams, Inc., 1998.
Breeskin, Adelyn D. Mary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors,
and Drawings. Washington, DC: Smithsonian Institution Press, 1970.
 Conrads, Margaret C. American Paintings and Sculpture at the Sterling and Francine Clark
Art Institute. New York: Hudson Hills Press, 1990.
Pinsky, Susan; Rosen, Marc; Adelson, Warren; Cantor, Jay E.; Shapiro, Barbara Stern
(2000). Mary Cassatt: Prints and Drawings from the Artist's Studio. Princeton, NJ: Princeton
University Press. ISBN 0-691-08887-X.
Pollock, Griselda. Mary Cassatt: Painter of Modern Women. World of Art. London: Thames
and Hudson, 1998.
Stratton, Suzanne L. Spain, Espagne, Spanien: Foreign Artists Discover Spain 1800–1900.
Exhibition catalogue. New York: The Spanish Institute in association with the Equitable
Gallery, 1993.
Weinberg, H Barbara (2009). American impressionism and realism (http://libmma.contentd
m.oclc.org/cdm/ref/collection/p15324coll10/id/52638). New York: The Metropolitan Museum
of Art. ISBN 0300085699 (see index)

External links
Mary Cassatt's Cat Paintings (https://www.thegreatcat. External video
org/the-cat-in-art-and-photos-2/cats-in-19th-century-ar
Cassatt's The Child's Bath (http://
t/mary-cassatt-1844-1926-american/)
smarthistory.khanacademy.org/cass
A finding aid to the Mary Cassatt letters, 1882–1926 at
att-the-childs-bath.html)
the Archives of Art, Smithsonian Institution (https://ww
w.aaa.si.edu/collections/mary-cassatt-letters-10201) Cassatt's In the Loge (http://smar
Google Art Project slideshow (https://commons.wikime thistory.khanacademy.org/cassatt-at-
dia.org/wiki/Category:Google_Art_Project_works_by_ the-opera.html)
Mary_Cassatt?gsAutoPlay=1&gsDelay=10000&gsDir=
Cassatt's Woman with a Pearl
desc&gsAutoStart=1&withJS=MediaWiki:Gadget-Galle
rySlideshow.js&withCSS=MediaWiki:Gadget-GallerySli Necklace in a Loge (http://smarthisto
deshow.css) ry.khanacademy.org/cassatt-woman-
Mary Cassatt at the National Gallery of Art (http://www. with-a-pearl-necklace-in-a-loge.html)
nga.gov/collection/gallery/ggcassattptg/ggcassattptg-m Cassatt's The Loge (http://smarth
ain1.html/)
istory.khanacademy.org/the-loge.ht
Mary Cassatt Gallery at MuseumSyndicate.com (http:// ml) All from Smarthistory
www.museumsyndicate.com/artist.php?artist=108)
Mary Cassatt at the WebMuseum. (http://www.ibiblio.or
g/wm/paint/auth/cassatt/)
Mary Cassatt at Hill-Stead Museum, Farmington, Connecticut (https://web.archive.org/web/
20120119212330/http://www.hillstead.org/collection/paint_cassatt.html) at the Wayback
Machine (archived January 19, 2012)
Mary Cassatt prints at the National Art History Institut (INHA) in Paris (http://bibliotheque-nu
merique.inha.fr/collection/?q=Mary+Cassatt&f=1&navigation=0&x=0&y=0) (in French)
The Havemeyer Family Papers relating to Art Collecting (http://library.metmuseum.org/recor
d=b1698309~S1) Mary Cassatt was a close personal friend of Louisine Havemeyer and
acted as an art collecting advisor and buying agent for the Havemeyer family. This archival
collection includes original letters from Mary Cassatt to Louisine and Henry Osborne
Havemeyer.
The foundation in France for the remembrance of Mary Cassatt (http://www.lesamisdemaryc
assatt.fr/), located in the village of Mesnil-Theribus, where Cassatt lived and is buried
Bibliothèque numérique de l'INHA – Estampes de Mary Cassatt (http://bibliotheque-numeriq
ue.inha.fr/collection/?r=Top%2Fdl_category%2Festampes%2Festampes+de+mary+cassatt
+%281844-1926%29&navigation=0&dq=%23reset) (in French)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Mary_Cassatt&oldid=933794032"

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