The Fitting - Mary Cassatt
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Descrizione
A refined drypoint and aquatint print by Mary Cassatt, depicting a quiet moment between a dressmaker and her client in a domestic setting.
The Fitting is a notable example of Mary Cassatt's mastery of the drypoint and aquatint medium. Produced during the early 1890s, this work reflects the artist's engagement with the aesthetic principles of Japanese ukiyo-e woodblock prints, which she studied extensively in Paris. The composition focuses on a quiet, domestic moment: a woman stands before a mirror while a dressmaker kneels to adjust the hem of her gown.
Cassatt employs a flattened perspective and a restricted colour palette to emphasise the graphic quality of the scene. The contrast between the dark, striped dress of the seamstress and the pale, reflective surface of the client's gown creates a balance of light and shadow. The mirror serves as a compositional device, doubling the figure of the client and adding a layer of psychological depth to the interaction.
Unlike many of her contemporaries who focused on public spectacles, Cassatt turned her attention to the private rituals of women's lives. The technical execution demonstrates her skill in layering aquatint to achieve soft, tonal washes, which are then defined by the sharp, precise lines of the drypoint needle. This print is part of a series of ten works that Cassatt exhibited in 1891, which helped establish her reputation as a printmaker of significant technical ability. The work captures the mundane reality of fashion and labour, rendered with a sensitivity that avoids sentimentality. The focus remains on the physical act of tailoring and the shared concentration between the two women, framed by the decorative patterns of the wallpaper and the floor covering.
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The Fitting - Mary Cassatt
Artist Biography
Mary Cassatt
She grew up in Allegheny City, Pennsylvania (now part of Pittsburgh), in a prosperous family. She studied at the Pennsylvania Academy of the Fine Arts, where she found the instruction restrictive and the male students hostile. She moved to Paris in 1866, copied old masters in the Louvre, and studied privately with several painters before finding her direction with the Impressionists.
Her subject was women and children in domestic settings: mothers bathing infants, women reading, girls at the opera, women having tea. The subject matter sounds conventional. The treatment is not. She observed her subjects with the same unsentimental attention Degas brought to dancers. The compositions are cropped and angled, influenced by Japanese prints and by Degas's habit of painting people from unexpected viewpoints. Little Girl in a Blue Armchair (1878) shows a child sprawled across a chair with the boredom and physical abandon that adults rarely notice and painters rarely record.
She never married. She was wealthy enough not to need to sell her work. She used her position and her connections to persuade American collectors, particularly the Havemeyers, to buy Impressionist paintings. The Havemeyer collection, much of it acquired on Cassatt's advice, was donated to the Metropolitan Museum. She shaped the taste of American collectors more than any other single individual.
She developed cataracts and was nearly blind by 1914. She stopped painting. She died in 1926, at eighty-two.
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