All the oil paintings of Mary Cassatt

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ID	Image	Painting(From A to Z)	Details
58312		A Corner of the Loge	A Corner of the Loge (also known as In the Box), 1879, Privately held
49806		A cup of tea	mk205 1879 Oil on canvas 92.4x65.4cm
3131		A Kiss for Baby Anne	1897 Baltimore Museum of Art
3173		A Musical Party	1874
30836		A Woman and a Girl Driving	mk68 Oil on canvas Philadelphia Philadelphia Museum of Art 1879 France
54454		A Woman and Child in the Driving Seat	mk231 1879 Oil on canvas
3142		After the Bath
49889		After the bath	mk205 about 1901 oil on canvas 66x100cm
58308		After the Bullfight	After the Bullfight, 1873, Art Institute of Chicago
49887		Afternoon tea	mk205 1880 Oil o ncanvas 64.8x92.7cm
49833		Agatha with her child	mk205 about 1891 Oil on tempera 66x55.9cm
49858		Alan and Jadena	mk205 1899 Oil on tempera 63.5x47.6cm
49866		Alan wearing the blue hat	mk205 about 1905 Oil on canvas 81.2x61cm
49822		Alexander and his son Robert	mk205 1884-1885 Oil on canvas 99x81.2cm
3163		Alexander J Cassatt and his son Robert Kelso	1884-85 Philadelphia Museum of Art
49827		Amy and her child	mk205 1889 Oil on canvas 89.8x64.4cm
49808		Artist	mk205 circa 1880 Oil on canvas 93x65cm
49809		Artist in the garden	mk205 1880 Oil on canvas 90.1x65cm
49810		Artist-s brother	mk205 1880 Oil on canvas 65.4x92.4cm
49824		Artist-s father	mk205 1885 Oil on canvas 91.4x71cm
49803		Artist-s mother	mk205 1877-1878 Oil on canvas 101x81.2cm
49802		Artist-s sister	mk205 1878-1879 Oil on canvas 81.2x59.6cm
49805		At the garden	mk205 1878 Oil on canvas 73.6x92.6cm
3180		At the Opera	1879
3181		At the Opera
3182		At the Opera
54460		At the Opera	mk235 1880 Oil on canvs 80x64cm
3188		At the Theatre	1879
3189		At the Theatre	1879
58329		At the Window	At the Window, 1889, Louvre
3162		Baby Reaching for an Apple	1893 Museum of Fine Arts, Richmond, Virginia
49836		Baby-s touching	mk205 1891 Oil on canvas 76.2x61cm
49820		Balcony	mk205 1882 Oil on canvas 80x63.8cm
49843		Banjo class	mk205 1894 Oil on canvas 71.1x57.2cm
49837		Bath	mk205 1891-1892 Oil on canvas 100.3x66cm
53898		Being young girl who syr	mk234 1880-82 92x63cm
49846		Betweenmaid reading for little girl	mk205 1895 Oil on tempera 60.3x73.3cm
49847		Betweenmaid with kid	mk205 1896-1897 Oil on canvas 80x66.7cm
49840		Boy wearing the mariner clothes	mk205 1892 Oil on tempera 63.5x48.2cm
3151		Breakfast in Bed
49888		Breakfast on bed	mk205 1897 Oil on canvas 58.4x73.6cm
49826		Child in mother-s arm	mk205 1889 oil on canvas 63.5x48.2cm
71946		Child in a Straw Hat	circa 1886 Oil on canvas 65.3 X 49.2 cm (25.71 X 19.37 in)
73361		Child in a Straw Hat	Date circa 1886 Medium Oil on canvas Dimensions 65.3 X 49.2 cm (25.71 X 19.37 in) cyf
73942		Child s Bath	39 1/2 in. x 26 in. Courtesy of the Art Institute of Chicago, Chicago, Illinois. Date 1893(1893) cyf
3170		Child with Red Hat
54471		Children on the Beach	mk235 1884 Oil on canvas 97.6x74.2cm
58324		Children on the Beach	Children on the Beach, 1884, National Gallery of Art
3141		Children Playing on the Beach
49882		Concert	mk205 about 1874 Oil on canvas 96.5x66cm
31706		Dame prenant le the	mk74 1885 73.7x61cm
58304		Degas, Portrait of Miss Cassatt	Degas, Portrait of Miss Cassatt, Seated, Holding Cards, c. 1876-1878, oil on canvas
48729		Detail of The woman in Black	mk191 Oil on canvas
42078		Drinks trying to reach an apple	mk166 1893 I Wave on cloth 100x65cm Museum of Fine Arts of Virgina, Richmond, Virginia
58314		Elsie in a Blue Chair	Elsie in a Blue Chair, 1880
49839		Family	mk205 about 1892 Oil on canvas 81.9x66.3cm
3137		Feeding the Ducks	1895 Metropolitan Museum of Art, New York
3135		Fillette au Grand Chapeau	1908 Henry E Huntington Library and Art Gallery, San Marino, CA
44787		Fillette au Grand Chapeau	mk177 c.1908 Pastel on buff paper 25x19
48755		Float boat	mk191 Oil on canvas
49844		Floating boat	mk205 1893-1894 Oil on canvas 90x117cm
3144		Gathering Fruit
49857		Get up	mk205 about 1899 Oil on canvas 92.7x73.7cm
58328		Girl Arranging her Hair	Girl Arranging her Hair, 1886, National Gallery of Art
71345		Girl Arranging Her Hair	1886, Mary Cassatt) located inside the National Gallery of Art's West Building in Washington, D.C.
98211		Girl Arranging Her Hair 1886	1886(1886) Medium oil on canvas Dimensions 75.1 x 62.5 cm cyf
3166		Girl Sewing	1880-82 Musee d'Orsay, Paris
3167		Helene Septeuil	1889 William Benton Museum of Art, Storrs, CT
49849		Hot chocolate	mk205 1897 Oil on canvas 54x73cm
3130		In the Garden ff	1893 The Baltimore Museum of Art
58310		In the Loge	In the Loge (also known as At the Opera), 1878, Museum of Fine Arts, Boston
45400		Junge Frauen beim Obstpflucken	mk181 1891 Ol auf Leinwand 130.5x90.8cm
49864		Kiss	mk205 1902 Oil on canvas 83.4x69.4cm
89226		Kleines Madchen im blauen Fauteuil	1878(1878) Medium oil on canvas Dimensions Deutsch: 89 x 129,5 cm cjr
31705		La Lettre	mk75 1891 34.6x22.7cm
3171		Lady at the Tea Table	1885 Metropolitan Museum of Art, New York
54469		Lady at the Tea table	mk235 1885 Oil on canvas
54470		Lady at the Tea Table	mk235 1885 Oil on canvas 74x61cm
56314		lady at the tea table	mk247 1885,oil on canvs,29x24 in,74x61 cm,metropolitan museum of art,new york,ny,usa
58326		Lady at the Tea Table	Lady at the Tea Table, c.1884, Metropolitan Museum of Art
49877		Lady in front of the dressing table	mk205 1909 Oil on canvas 95.8x72.4cm
49870		lady is sewing in front of the window	mk205 1905-1910 Oil on canvas 80.6x60.3cm
54456		Ligttle Girl in a Blue Armchari	mk235 1878 Oil on canvas 89.5x129.8cm
58317		Lilacs in a Window	Lilacs in a Window, 1880, Metropolitan Museum of Art
40769		Little Girl in a Blue Amchair	mk156 1878 Oil on canvas 89.5x129.8cm
3176		Little Girl in a Blue Armchair	1878 89.5 x 129.8 cm National Gallery of Art, Washington
3177		Little Girl in a Blue Armchair	1878 89.5 x 129.8 cm National Gallery of Art, Washington
58309		Little Girl in a Blue Armchair	Little Girl in a Blue Armchair, 1878, National Gallery of Art
81802		Louisine Havemeyer and her daughter Electra	Date 1895(1895) Medium English: oil on canvas Dimensions Deutsch: 61 x 77,5 cm cjr
44789		Lydia at a Tapestry Loom	mk177 c.1881 Oil on cnavas 25x36
58321		Lydia at the Tapestry Loom	Lydia at the Tapestry Loom, 1881, Flint Institute of the Arts
58316		Lydia at the Theatre	Lydia at the Theatre, 1880, Nelson-Atkins Museum of Art
54463		Lydia Crocheting in the Garden at Marly	mk235 1880 Oil on canvas New York
3175		Lydia in a Loge Wearing a Pearl Necklace	1879 31 5/8 x 23 in (80.3 x 58.4 cm) Philadelphia Museum of Art
49867		Mageter in the blue dress	mk205 1902 Oil on canvas 61x49.8cm
3134		Margot in Blue	1902 The Walters Art Gallery, Baltimore, Maryland
49804		Mary	mk205 circa 1879 OIl on canvas 55.4x46.1cm
49885		Mary in the garden	mk205 about 1880 Oil on canvas 27.3x40.6cm
49813		Mary is sewing in the garden	mk205 1880 Oil on canvas 66x94cm
49816		Mary is weaving	mk205 1881 Oil on canvas 65x92.4cm

Mary Cassatt
1844-1926 Mary Cassatt Galleries 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??. 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 continued to express criticism of the politics of the 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??. 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. 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. In 1877, both her entries were rejected, and for the first time in seven years she had no works in the Salon. 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 open 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??. They already had one female member, artist Berthe Morisot, who became Cassatt??s friend and colleague. Degas, Portrait of Miss Cassatt, Seated, Holding Cards, c. 1876-1878, oil on canvasCassatt 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." 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??. 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. Summertime, c. 1894, oil on canvasIn 1877, Cassatt was joined in Paris by her father and mother, who returned with her sister Lydia. Mary valued their companionship, as neither she nor Lydia had married. 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. Cassatt??s father insisted that her studio and supplies be covered by her sales, which were still meager. Afraid of having to paint ??potboilers?? to make ends meet, Cassatt applied herself to produce some quality paintings for the next Impressionist exhibition. 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. 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 awhile, and her draftsmanship gained considerable strength under his tutelage. He depicted her in a series of etchings recording their trips to the Louvre. She had strong feelings for him but learned not to expect too much from his fickle and temperamental nature. The sophisticated and well-dressed Degas, then forty-five, was a welcome dinner guest at the Cassatt residence. The Impressionist exhibit of 1879 was the most successful to date, despite the absence of Renoir, Sisley, Manet and C??zanne, who were attempting once again to gain recognition at the Salon. Through the efforts of Gustave Caillebotte, who organized and 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??. Cassatt displayed eleven works, including La 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. She exhibited 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 United States, 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. She 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.