Posted on 04/12/2014

Photo taken on August  7, 2009

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A Woman and Girl Driving by Mary Cassatt in the Philadelphia Museum of Art, August 2009

A Woman and Girl Driving by Mary Cassatt in the Philadelphia Museum of Art, August 2009
A Woman and a Girl Driving

Mary Stevenson Cassatt, American, 1844 - 1926

Date: 1881

Medium: Oil on canvas

Dimensions: 35 5/16 x 51 3/8 inches (89.7 x 130.5 cm)

Curatorial Department: European Painting before 1900, Johnson Collection

Object Location: Currently not on view

Accession Number: W1921-1-1

Credit Line: Purchased with the W. P. Wilstach Fund, 1921

The modern subject matter, odd viewpoint, and blurred detail of this painting make it strikingly different from those of Cassatt’s American contemporaries. Though born and raised in Pennsylvania, Cassatt traveled to France for additional artistic training and remained there for the rest of her life. In Paris she took up the radical stylistic innovations of the Impressionists, becoming the only American invited to join their ranks.

Additional information:
Publication- Philadelphia Museum of Art: Handbook of the Collections

Mary Cassatt, like her contemporary Thomas Eakins, left Philadelphia for study in Paris in 1866. As a woman, she was ineligible for admission to the Ecole des Beaux-Arts, and perhaps because she was excluded from the official system, her taste in art was much more adventurous than that of any other young American expatriate artist. Cassatt was drawn to the work of such antiestablishment figures as Gustave Courbet, Edouard Manet, and the group derisively called the "Impressionists" after their first exhibition in 1874. Her friend and artistic adviser Edgar Degas invited her to exhibit with the Impressionists, and she was the only American to do so, beginning in 1879. A Woman and Girl Driving, portraying the artist's sister Lydia Cassatt with a young niece of Degas's in the Bois de Boulogne in Paris, shows Cassatt's affinity with the Impressionists in the depiction of a scene of daily life with fresh colors and loosely defined forms. The asymmetrical composition and its abrupt truncation on all four sides are particularly reminiscent of her friend Degas. Darrel Sewell, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 289.

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