Poor Little Rich Girl - Mary Cassatt
As we come to a close of Women's History Month, I did not want to miss an opportunity to talk about Mary Stevenson Cassatt (May 22, 1844 - June 14, 1926). Don't get all worked up about the title of the blog entry. It's just how I see it. She was a great artist and I'm sure she was lovely but without the benefit a wealthy family, I have to wonder if she could have achieved as much. Mary was an American painter and printmaker. She was born in Pennsylvania and was another of the fortunate artists born to successful parents.
She lived much of her adult life in France, where she first befriended Edgar Degas and later exhibited among the Impressionists. From an early age, she traveled abroad and had exposure to many great artists at the peak of their careers. Her first exposure to French artists Ingres, Delacroix, Corot, and Courbet was likely at the Paris World's Fair of 1855. Also exhibited at the exhibition were Degas and Pissarro, both of whom would be future colleagues and mentors. During this time, the very wealthy felt that travel was a valuable part of an education.
Lucky girl, right? She sat there painting away as the country was drowning in a civil war. I come at it from a modern day view when women are fighting for their right to go into combat. I am not criticizing her but more the time in which she lived. It reminds me of that Creedence Clearwater Revival song "Fortunate One." If you are not familiar, This is an antiestablishment song of defiance and blue-collar pride, both anti-Washington and against the Vietnam War. John Fogerty and Doug Clifford were both drafted in 1966 and discharged from the army in 1967. "The song speaks more to the unfairness of class than war itself," Fogerty said. "It's the old saying about rich men making war and poor men having to fight them." In that regard, not much has changed. I know I make some big leaps but I think it's right on the money.
Despite the prevailing thought of the day, she had a strong mind and a strong will. That's what happens when you expose a strong mind to critical thinking. Art school had it's limitations for women. For example, she could not draw from live nude models like her male counterparts. At some point, she left school and decided to study from the old masters themselves.
Her parents were not crazy about the idea of her becoming a professional artist but finally relented. She moved to Paris with her mother and other guardians in 1866. She studied with the masters from art school since she couldn't go there herself. She sat in the Louvre and made copies of great works. She did what she could with all the limitations around women and never gave in.
While a lot was going on in the art world of Paris, Cassatt continued to paint subjects around her. The impressionism movement was just beginning and artists were looking for alternatives to the strict academic traditions of art education. Mary's works depicted the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children. While other were focused on the Avant Guard ideas of the day, she continued to lean toward the great masters and continue to create in a traditional way. I have to wonder if she did this to prove she could still accomplish what was taught in the academy even though she could not attend. I know that's where my head would have been if I faced that adversity. I can relate to her determination to do what she wanted to do. She had a little honey badger spirit in her. (The honey badger is my spirit animal. It doesn't care and takes what it wants.)
She faced some challenges in her family throughout her life as an artist. Returning to Pennsylvania as the Franco-Prussian war was beginning, her father insisted that her art pay for itself. He paid for her basic needs but refused to buy art supplies. I think he had started to appreciate her vision but it was all business for him. If she wasn't going to get married and settle down, she needed to learn accounting and make her art support itself. She showed some works upon her return but had a tough time selling anything. She got so mad that she tore up her fathers portrait and didn't paint for weeks. She wanted to get back to Europe where she felt more accepted as an artist if that was even possible. I reckon the bar was pretty low. She went to Chicago to try to earn money and ended up losing paintings in the great fire. Fortunately, an Archbishop in Pittsburgh commissioned her to make copies of paintings by Correggio. He advanced her the money to return to Europe. This time she went with a fellow artist. I'm sure that was done while thumbing her nose at her father.
While a lot was going on in the art world of Paris, Cassatt continued to paint subjects around her. The impressionism movement was just beginning and artists were looking for alternatives to the strict academic traditions of art education. Mary's works depicted the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children. While other were focused on the Avant Guard ideas of the day, she continued to lean toward the great masters and continue to create in a traditional way. I have to wonder if she did this to prove she could still accomplish what was taught in the academy even though she could not attend. I know that's where my head would have been if I faced that adversity. I can relate to her determination to do what she wanted to do. She had a little honey badger spirit in her. (The honey badger is my spirit animal. It doesn't care and takes what it wants.)
She faced some challenges in her family throughout her life as an artist. Returning to Pennsylvania as the Franco-Prussian war was beginning, her father insisted that her art pay for itself. He paid for her basic needs but refused to buy art supplies. I think he had started to appreciate her vision but it was all business for him. If she wasn't going to get married and settle down, she needed to learn accounting and make her art support itself. She showed some works upon her return but had a tough time selling anything. She got so mad that she tore up her fathers portrait and didn't paint for weeks. She wanted to get back to Europe where she felt more accepted as an artist if that was even possible. I reckon the bar was pretty low. She went to Chicago to try to earn money and ended up losing paintings in the great fire. Fortunately, an Archbishop in Pittsburgh commissioned her to make copies of paintings by Correggio. He advanced her the money to return to Europe. This time she went with a fellow artist. I'm sure that was done while thumbing her nose at her father.
"O how wild I am to get to work, my fingers farely itch & my eyes water to see a fine picture again"
Degas changed her life in many ways. She admired his work and he taught her. 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 to record the scenes she saw, outside and at the theater. How do you like me now daddy? His hard line probably made her even more stubborn to succeed. She never married. She didn't see how it would work with a career. Maybe she had a little Elizabeth I in her bones. She didn't see how that would work for her career either. Can you see Degas's influence in the painting below?
Her parents ended up following her to Paris for a time. Her sister, the subject of many of her works died. It was devastating to her and left her unable to work for a while. Her father ultimately did show some compassion for Mary. He insisted that her work cover her studio but he also didn't want to see her sell her soul to make paintings that were trite. He wanted her to be relevant. It would be like giving up your vision to paint rainbows and unicorns just because they sold. Her father even welcomed Degas into their family home for dinner. They were making progress, that family.
Eventually, the Impressionists disbanded. Mary was able to get a few works shown in the states but it wasn't the recognition she deserved. The 1890s were her busiest and most creative time. She had matured considerably and became more diplomatic and less blunt in her opinions. She was a role model for a lot of young American artists.
It is hard to believe that she received such little recognition in the art world and by her own family. Her brother was President of a railroad so I guess that was a little more exciting. He had tangible results to show the business-oriented family.
An increasing sentimentality is apparent in her work of the 1900. 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. I think she thrived off the stimulation of those inspired to do new things. She was hostile to such new developments in art as post-Impressionism, Fauvism and Cubism.
Mary suffered with diabetes, rheumatism, neuralgia, and cataracts. It did not slow her work but after 1914 she was forced to stop painting as she became almost blind. What a cruel thing to happen to an artist. They eyes are our most valuable resource. She took up the cause of women's suffrage, showing eighteen works in an exhibition supporting the movement in 1915.
In recognition of her contributions to the arts, France awarded her the Legion d'honneur in 1904.
She died on June 14, 1926 at Chateau de Beaufresne, near Paris, and was buried in the family vault at Mesnil-Theribus, France.
Eventually, the Impressionists disbanded. Mary was able to get a few works shown in the states but it wasn't the recognition she deserved. The 1890s were her busiest and most creative time. She had matured considerably and became more diplomatic and less blunt in her opinions. She was a role model for a lot of young American artists.
It is hard to believe that she received such little recognition in the art world and by her own family. Her brother was President of a railroad so I guess that was a little more exciting. He had tangible results to show the business-oriented family.
An increasing sentimentality is apparent in her work of the 1900. 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. I think she thrived off the stimulation of those inspired to do new things. She was hostile to such new developments in art as post-Impressionism, Fauvism and Cubism.
Mary suffered with diabetes, rheumatism, neuralgia, and cataracts. It did not slow her work but after 1914 she was forced to stop painting as she became almost blind. What a cruel thing to happen to an artist. They eyes are our most valuable resource. She took up the cause of women's suffrage, showing eighteen works in an exhibition supporting the movement in 1915.
In recognition of her contributions to the arts, France awarded her the Legion d'honneur in 1904.
She died on June 14, 1926 at Chateau de Beaufresne, near Paris, and was buried in the family vault at Mesnil-Theribus, France.
Her life makes one beg the question: What is Feminist Art? Art historians and theorists debate whether Feminist Art was a stage in art history, a movement, or a wholesale shift in ways of doing things. Some have compared it to Surrealism, describing Feminist Art not as a style of art that can be seen but rather a way of making art.
I think Mary probably did not set out to be a model for the feminist movement or the suffrage. She just wanted to paint. Without patrons to the arts, so much is lost in the world. How many great artists could have contributed had they benefited from the resources of a wealthy family. How important is it that we have art scholarships today? Art has historically describe societal attitudes and is a great testimonial for the progression of humankind. When you have a chance, support a struggling artist. Offer encouragement. Buy their art. You never know which artist is the next Mary Cassatt. Her paintings sell for millions now. That would have bought some paint and brushes.