MARY CASSATT AT WORK, LEGION OF HONOR ART MUSEUM, San Francisco, CA

A Kiss for Baby Ann, No. 3, 1897, pastel by Mary Cassatt. Legion of Honor Art Museum, San Francisco, CA.

Mary Cassatt, known for her sensitive paintings of women and children, was both the only American artist and only woman artist to exhibit with the Impressionists. In a stunning exhibit at the Legion of Honor Art Museum in San Francisco, the breadth of her work is displayed—drawings, prints, oil paintings and lustrous pastels. 

Woman in a Black Hat and Raspberry Pink Costume (detail), pastel, ca. 1905.

In December, when I was in the Bay Area, I went to the exhibit with my family. Although I was familiar with some of the paintings from my art history classes in college and from visits to other museums, I had never had the opportunity to see so many pieces up close and to appreciate Mary Cassatt’s work over the span of her lifetime (1844-1926).

Under the Lamp, aquatint and soft ground etching, 1883.

Before entering the galleries, we prepared ourselves by watching an excellent video playing in a room just inside the ticket area. (Timed tickets are required to see the exhibit.) In the video we learned about Mary Cassatt’s background as the daughter of a wealthy Philadelphia family. Like many young women of the time, she attended to art school. But unlike other young women who went on to become matrons of society, Mary Cassatt was determined to become a successful professional artist. She moved to Paris and pursued her career there. She never married.

At the Loge, 1878.

In the video, selected pieces of art were discussed by experts. We learned, for instance, to look carefully at the painting of the woman at the opera to see the gentlemen in the opposite box just as intently looking at her!

Portrait of Mrs. Robert S. Cassatt, the Artist's Mother, ca 1885. 

We also learned about Mary Cassatt’s relationships with her family, who initially disapproved of her art career. Later they joined her in France. Her mother and sister appear in some of her paintings.  Mary Cassatt also used paid models for her work.

Clarissa, Turned Right with her Hand to her Ear, 1890-1893, Pastel.

Detail.

While much of Mary Cassatt’s work is in oil paint, many of her most vibrant portraits are drawn with pastels. The advantage of pastels is that the color is pure pigment, not diluted with oil or another medium. A close-up look at her pastels reveals the freedom and looseness of the strokes and shimmer of the overlapping color. In contrast, the faces of her figures are more carefully modeled.

Prints, dry point and color aquatint.

I had not previously appreciated Mary Cassatt’s skill as a printmaker. In the exhibit we see examples of dry point engravings as well as aquatint prints. Cassatt believed that printmaking was the ultimate instructor in drawing. She said, "That is what teaches one to draw."

Family Group Reading (detail), 1898.

Many of the Impressionists focused on outdoor scenes in their paintings and worked in "plein air". While most of Mary Cassatt's art depicts of interior scenes, in some cases, as in Family Group Reading, she places her figures in an outdoor setting.

On a Balcony, 1878-79.

The most impressive thing about Mary Cassatt’s depictions of people is the expressions on the faces. She manages to capture their inner feelings and interpersonal connections. In Mother About to Wash a Sleepy Child, we sense the tenderness between mother and baby.

Mother About to Wash her Sleepy Child, 1880.

On the day of our visit, after viewing Mary Cassatt at Work, we ate a tasty lunch in the museum cafe, and then explored the permanent collection in the main floor galleries, ending in the room with paintings by Mary Cassatt's comrades in art--Monet, Manet, Renoir, Cezanne, Pissarro, Degas. Mary Cassatt at Work is an enlightening exhibit.  I gained a new appreciation of her as an innovator. I saw a talented woman who was determined to forge a career at a time when women were not encouraged to do so. If you don't get to see the Mary Cassatt exhibit at the Legion of Honor before it closes January 26, 2025, there are many other museums where you can see her work.

The Long Gloves, 1886. Pastel.