Alma Tadema's Oil Paintings
	Alma Tadema Museum 8 January 1836 – 25 June 1912. Most renowned painters.
	About Us	90,680 paintings total now Toll Free: 1-877-240-4507

Alma Tadema.org, welcome & enjoy!

Prev 1 2 3 Next

Here are all the paintings of Mary Cassatt 02

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
49886		Mary readinf for her grandchildren	mk205 1880 Oil on canvas 55.9x100.3cm
49798		Matador	mk205 1873 Oil on canvas 81.6x64cm
58335		Maternal Kiss	Maternal Kiss, 1896, Philadelphia Museum of Art
58332		Maternite	Maternite, 1890,
68459		Miss Mary Ellison	Miss Mary Ellison (1880, Mary Cassatt) located inside the National Gallery of Art's West Building in Washington, D.C. June 10, 2010
70946		Miss Mary Ellison	Miss Mary Ellison
67759		moder och barn	1905 se
49811		Mothe helping children a bath	mk205 1880 Oil on canvas 100.4x65.4cm
3174		Mother About to Wash her Sleepy Child	1880
54458		Mother about to wash her sleepy child	mk235 1880 Oil on canvas 100.5x65.4cm
49873		Mother and son	mk205 about 1905 Oil on canvas 92.1x73.7cm
81054		Mother and Child	Date 1890(1890) Medium Oil on canvas Dimensions Deutsch: 90 x 64.5 cm cjr
85085		Mother and Child	1890(1890) Medium Oil on canvas Dimensions Deutsch: 90 x 64.5 cm cyf
3129		Mother and Child gvv	1888 Art Institute of Chicago
3148		Mother and Child jjjj	1901
3161		Mother and Child vgvgv	1901 The Metropolitan Museum of Art, New York
3149		Mother and Child vvv	1901
3168		Mother and Child against a Green Background	1897
49869		Mother and children	mk205 about 1905 Oil on cnavas diameter 95.2cm
50575		Mother and her child	mk212 1891-92 Oil on canvas 73.7x60.3cm
49879		Mother and her children	mk205 1913 oil on canvas 109.3x85.1cm
42081		Mother and Son	mk166 1901 I Wave on cloth 81x70.6cm Metropolitan Museum of Art, New York
49830		Mother and son	mk205 about 1889 Oil on canvas 73.7x59.7cm
49850		Mother and son	mk205 1896-1897 Oil on canvas 55.2x43cm
49851		Mother and son	mk205 1897 Oil on canvas 60.3x71.7cm
49852		Mother and son	mk205 about 1897 Oil on canvas 64.8x80cm
49855		Mother and son	mk205 about 1899 Oil on canvas 81.6x65.7cm
49861		Mother and son	mk205 1900 Oil on canvas 71x59cm
49881		Mother and son	mk205 1914 Oil on canvas 81.2x65cm
49891		Mother and son in the boat	mk205 1910 Oil on canvas 98.7x129cm
3169		Mother Berthe Holding her Baby	1900
58313		Mother Combing her Child Hair	Mother Combing her Child's Hair, 1879, Brooklyn Museum
49854		Mother doing up daughter-s hair	mk205 about 1898 Oil on tempera 63.9x80cm
49831		Mother holding the kid	mk205 1890 Oil on canvas 81.5x65.5cm
3186		Mrs Duffee Seated on a Striped Sofa, Reading	1876
58334		Nurse Reading to a Little Girl	Nurse Reading to a Little Girl, 1895, Metropolitan Museum of Art
3191		Offering the Panal to the Toreador	1872-73
3193		On the Balcony	1873
54462		On the Meadow	mk235 1880 Oil on canvas 54x65cm
49883		People Picking up the flower at the field	mk205 about 1875 Oil on board 26.6x34.3cm
3138		Portrait of a Woman gg	1890 Canajoharie Library & Art Gallery, New York
49856		Portrait of Alan	mk205 about 1899 22.5x20.5cm
49800		Portrait of artist	mk205 1878 oil on tempera 60x44.5cm
49829		Portrait of Catherine	mk205 circa 1889 Oil on canvas 96.5x68.5cm
49876		Portrait of Kelike	mk205 1910 Oil on canvas 66x52cm
49848		Portrait of the lady	mk205 1896 Oil on canvas 73.6x61cm
49821		Portrait of the old wives	mk205 circa 1883 Oil on canvas 73x60.3cm
49890		Reading	mk205 about 1901 Oil on canvas 56.5x112.4cm
54461		Reading	mk235 1883 Oil on canvas
3187		Reading Le Figaro	1878
49801		Reading the book	mk205 1877 Oil on tempera 81.2x64.7cm
3139		Reine Leaning Over Margot's Shoulder	1902
54505		Reine Lefebvre and Margot	mk235 c.1902 Oil on canvas
3158		Sara Handing a Toy to the Baby	1901 Hill-Stead Museum, Farmington CT
58336		Sara Holding a Cat	Sara Holding a Cat, 1908,
92329		Sara mit einem dunklen Haubchen	1901(1901) Medium oil on canvas Dimensions 67.2 X 56.2 cm (26.5 X 22.1 in) cjr
49828		Sarah wearing the hat and seeing left	mk205 1901 Oil on canvas 46.3x38.7cm
27067		Self-Portrait	mk52 1880 Watercolour on paper 33x24.4cm National Portrait Gallery,Washington DC
49817		Self-Portrait	mk205 1880 Oil on canvas 33x24.4cm
3179		Self-Portrait bbnb	1878
49878		sewing class	mk205 1913 Oil on canvas 76.5x64.8cm
11420		Sewing Woman	ca. 1880 -1882 3' x 2' 1''(92 x 63 cm)Gift of Antonin Personnaz,1937
49880		Sleeping deeply Child	mk205 about 1910 Oil on canvas 64.7x52cm
49871		Study of Mother and kid	mk205 about 1905 Oil on canvas 92.7x73.5cm
49872		Study of Zeny and her child	mk205 about 1906 Oil on canvas 89x75cm
49845		Summer times	mk205 1894 Oil on canvas 73.4x100.3cm
3157		Summertime	1894
54489		Summertime	mk235 1894 Oil on canvas 73.4x100cm
58305		Summertime	Summertime, c. 1894, oil on canvas
3146		Susan Comforting the Baby
93251		Susan Comforting the Baby No. 1	c. 1881 Medium oil on canvas Dimensions 17" x 23" cjr
49812		Susan hoding the dog in balcony	mk205 circa 1880 Oil on canvas 100.3x64.7cm
49814		Susan is take care of the kid	mk205 about 1881 Oil on canvas 65x100cm
54503		Susan on a Balcony Holding a Dog	mk235 1883 Oil on canvas
58303		Tea by Mary Cassatt	Tea by Mary Cassatt, 1880, oil on canvas, 25 1/2 x 36 1/4 in., Museum of Fine Arts, Boston
49842		The Baby Reaching for the apple	mk205 1893 Oil on canvas 100.3x65.4cm
3147		The Bath
30864		The Bath	mk68 Oil on canvas Chicago,Art Institute of Chicago 1892 France
58306		The Bath by Mary Cassatt	The Child's Bath (The Bath) by Mary Cassatt, 1893, oil on canvas, Art Institute of Chicago
3165		The Boating Party	1893-94 The National Gallery of Art, Washington DC
40836		The Boating Party	mk156 1893-1894 Oil on canvas 90x117.3cm
54490		The Boating Party	mk235 c.1893/94 Oil on canvas 90x117cm
21598		The Boating Party (mk09)	c 1893/94 Oil on canvas,90 x 117 cm Washington,National Gallery of Art
34035		The Boating Patty	mk87 c.1893/94 Oil on canvas 90x117cm Washington,National Gallery of Art
3132		The Caress	1891
31883		The Child's Bath	mk77 1893 Oil on canvas 39 1/2x26in
72332		The Child's Bath	"The Child's Bath," oil on canvas, by the American artist Mary Cassatt. 39 1/2 in. x 26 in. Courtesy of the Art Institute of Chicago, Chicago, Illinois. 1893(1893) cjr
80866		The Child's Caress	Date ca. 1890(1890) Medium Oil on canvas cjr
84827		The Child's Caress	1890(1890) Medium Oil on canvas cyf
95169		The Childs Bath	1893 Type Oil on canvas Dimensions 100.3 cm x 66.1 cm cyf
3164		The Cup of Tea	1880 Museum of Fine Arts, Boston
3184		The Cup of Tea 1	1880
3159		The Family	1892 The Chrysler Museum, Norfolk
3133		The Fitting	1890-91 National Gallery of Art, Washington DC
49823		The girl do up her hair	mk205 1886 Oil on canvas 75.2x62.5cm
50560		The girl do up her hair	mk212 1886 Oil on canvas 75.2x62.5cm
49865		The girl holding the baby	mk205 1902 Oil on canvas 68.3x57.1cm
49862		The girl holding the dog	mk205 about 1901 Oil on canvas 64.7x49.5cm
49863		The girl holding the dog	mk205 about 1901 Oil on tempera 72.7x59.6cm
49875		The girl holding the dog	mk205 about 1908 Oil on canvas 64.2x53.3cm

Prev 1 2 3 Next

Mary Cassatt

1844-1926 Mary Cassatt Galleries Within months of her return to Europe in the autumn of 1871, Cassatt??s prospects had brightened. Her painting Two Women Throwing Flowers During Carnival was well received in the Salon of 1872, and was purchased. She attracted much favorable notice in Parma and was supported and encouraged by the art community there: ??All Parma is talking of Miss Cassatt and her picture, and everyone is anxious to know her??. After completing her commission for the archbishop, Cassatt traveled to Madrid and Seville, where she painted a group of paintings of Spanish subjects, including Spanish Dancer Wearing a Lace Mantilla (1873, in the National Museum of American Art, Smithsonian Institution). In 1874, she made the decision to take up residence in France. She was joined by her sister Lydia who shared an apartment with her. Cassatt continued to express criticism of the politics of the Salon and the conventional taste that prevailed there. She was blunt in her comments, as reported by Sartain, who wrote: ??she is entirely too slashing, snubs all modern art, disdains the Salon pictures of Cabanel, Bonnat, all the names we are used to revere??. Cassatt saw that works by female artists were often dismissed with contempt unless the artist had a friend or protector on the jury, and she would not flirt with jurors to curry favor. Her cynicism grew when one of the two pictures she submitted in 1875 was refused by the jury, only to be accepted the following year after she darkened the background. She had quarrels with Sartain, who thought Cassatt too outspoken and self-centered, and eventually they parted. Out of her distress and self-criticism, Cassatt decided that she needed to move away from genre paintings and onto more fashionable subjects, in order to attract portrait commissions from American socialites abroad, but that attempt bore little fruit at first. In 1877, both her entries were rejected, and for the first time in seven years she had no works in the Salon. At this low point in her career she was invited by Edgar Degas to show her works with the Impressionists, a group that had begun their own series of independent exhibitions in 1874 with much attendant notoriety. The Impressionists (also known as the ??Independents?? or ??Intransigents??) had no formal manifesto and varied considerably in subject matter and technique. They tended to prefer open air painting and the application of vibrant color in separate strokes with little pre-mixing, which allows the eye to merge the results in an ??impressionistic?? manner. The Impressionists had been receiving the wrath of the critics for several years. Henry Bacon, a friend of the Cassatts, thought that the Impressionists were so radical that they were ??afflicted with some hitherto unknown disease of the eye??. They already had one female member, artist Berthe Morisot, who became Cassatt??s friend and colleague. Degas, Portrait of Miss Cassatt, Seated, Holding Cards, c. 1876-1878, oil on canvasCassatt admired Degas, whose pastels had made a powerful impression on her when she encountered them in an art dealer's window in 1875. "I used to go and flatten my nose against that window and absorb all I could of his art," she later recalled. "It changed my life. I saw art then as I wanted to see it." She accepted Degas' invitation with enthusiasm, and began preparing paintings for the next Impressionist show, planned for 1878, which (after a postponement because of the World??s Fair) took place on April 10, 1879. She felt comfortable with the Impressionists and joined their cause enthusiastically, declaring: ??we are carrying on a despairing fight & need all our forces??. Unable to attend cafes with them without attracting unfavorable attention, she met with them privately and at exhibitions. She now hoped for commercial success selling paintings to the sophisticated Parisians who preferred the avant-garde. 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 while out-of-doors or at the theater, and recording the scenes she saw. Summertime, c. 1894, oil on canvasIn 1877, Cassatt was joined in Paris by her father and mother, who returned with her sister Lydia. Mary valued their companionship, as neither she nor Lydia had married. Mary had decided early in life that marriage would be incompatible with her career. Lydia, who was frequently painted by her sister, suffered from recurrent bouts of illness, and her death in 1882 left Cassatt temporarily unable to work. Cassatt??s father insisted that her studio and supplies be covered by her sales, which were still meager. Afraid of having to paint ??potboilers?? to make ends meet, Cassatt applied herself to produce some quality paintings for the next Impressionist exhibition. Three of her most accomplished works from 1878 were Portrait of the Artist (self-portrait), Little Girl in a Blue Armchair, and Reading Le Figaro (portrait of her mother). Degas had considerable influence on Cassatt. She became extremely proficient in the use of pastels, eventually creating many of her most important works in this medium. Degas also introduced her to etching, of which he was a recognized master. The two worked side-by-side for awhile, and her draftsmanship gained considerable strength under his tutelage. He depicted her in a series of etchings recording their trips to the Louvre. She had strong feelings for him but learned not to expect too much from his fickle and temperamental nature. The sophisticated and well-dressed Degas, then forty-five, was a welcome dinner guest at the Cassatt residence. The Impressionist exhibit of 1879 was the most successful to date, despite the absence of Renoir, Sisley, Manet and C??zanne, who were attempting once again to gain recognition at the Salon. Through the efforts of Gustave Caillebotte, who organized and underwrote the show, the group made a profit and sold many works, although the criticism continued as harsh as ever. The Revue des Deux Mondes wrote, ??M. Degas and Mlle. Cassatt are, nevertheless, the only artists who distinguish themselves??and who offer some attraction and some excuse in the pretentious show of window dressing and infantile daubing??. Cassatt displayed eleven works, including La Loge. Although critics claimed that Cassatt??s colors were too bright and that her portraits were too accurate to be flattering to the subjects, her work was not savaged as was Monet's, whose circumstances were the most desperate of all the Impressionists at that time. She used her share of the profits to purchase a work by Degas and one by Monet. She exhibited in the Impressionist Exhibitions that followed in 1880 and 1881, and she remained an active member of the Impressionist circle until 1886. In 1886, Cassatt provided two paintings for the first Impressionist exhibition in the United States, organized by art dealer Paul Durand-Ruel. Her friend Louisine Elder married Harry Havemeyer in 1883, and with Cassatt as advisor, the couple began collecting the Impressionists on a grand scale. Much of their vast collection is now in the Metropolitan Museum of Art in New York City. She also made several portraits of family members during that period, of which Portrait of Alexander Cassatt and His Son Robert Kelso (1885) is one of her best regarded. Cassatt??s style then evolved, and she moved away from Impressionism to a simpler, more straightforward approach. She began to exhibit her works in New York galleries as well. After 1886, Cassatt no longer identified herself with any art movement and experimented with a variety of techniques.

All the Alma Tadema's Oil Paintings

Supported by oil paintings and picture frames