Antoinette at her dresser - Mary Cassatt
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Beskrivning
A contemplative portrait of a young woman at her vanity, captured with the loose, expressive brushwork characteristic of Mary Cassatt's later period.
Mary Cassatt, an American painter who spent much of her career in France, produced this work during the later stages of her career. The painting depicts a young woman, Antoinette, seated before a vanity mirror. She holds a hand mirror, examining her reflection with a quiet, contemplative expression. The composition utilises a dual-mirror arrangement, which creates a sense of depth and psychological interiority. The larger mirror behind her captures the back of her head, while the smaller hand mirror focuses on her face.
Cassatt employs a loose, painterly technique characteristic of her later period. The brushwork is visible and energetic, particularly in the rendering of the pink dressing gown. The colour palette relies on warm, earthy tones, with the deep rose of the garment providing a contrast to the muted greens and browns of the background. The light appears soft, emanating from an unseen source, which illuminates the subject's face and the white fabric of her undergarment.
This work belongs to a series of portraits Cassatt painted of Antoinette, a young woman who served as a frequent model for the artist in the early 20th century. Unlike her earlier, more structured compositions, this piece demonstrates a move toward a freer application of paint. The focus remains on the private, domestic sphere, a recurring theme in Cassatt's oeuvre. By capturing a moment of personal grooming, the artist invites the viewer to observe a fleeting, unposed instant. The painting avoids overt narrative, instead relying on the interplay of light, colour, and the subject's posture to convey a sense of calm. The work remains a representative example of Cassatt's ability to elevate everyday domestic scenes through her distinctively modern, impressionistic lens.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Antoinette at her dresser - 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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