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.   Related Paintings of Mary Cassatt :. | At the Opera | Artist-s sister | Mother Combing her Child Hair | Child in mother-s arm | A Woman and a Girl Driving |
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Tina Blau
1845 Wien ?C 1916 Wien
Wolfgang Heimbach
c.1600/1615-after 1678, German painter. The son of a bookkeeper at the corn exchange, he was known because of a disability as 'the Ovelg?nne mute'. An aristocratic sponsor, probably Graf Anton G?nther (1603-67) of Oldenburg, sent him to train in the Netherlands: stylistic considerations would suggest that this was in the 1630s. The Evening Scene (1637; ex-art market, Berlin; G?ttsche, no. 8) shows him adapting the style of Caravaggio as practised in Utrecht to the kind of social gathering depicted by Dirck Hals or Anthonie Palamedesz. He uses an artificial light source to exaggerate the modelling of the figures and the space. This characteristic of his art also shows in the Evening Banquet of 1640
victor pasmore
Edwin John Victor Pasmore (3 December 1908 - 23 January 1998) was a British artist and architect. He pioneered the development of abstract art in Britain in the 1940s and 1950s. Pasmore was born in Chelsham, Surrey. He studied at Harrow but with the death of his father in 1927 he was forced to take an administrative job at the London County Council. He studied painting part-time at the Central School of Art and was associated with the formation of the Euston Road School and the first post-war exhibition of abstract art. After experimenting with abstraction Pasmore worked for a time in a lyrical figurative style, painting views of the Thames from Hammersmith much in the style of Turner and Whistler. Beginning in 1947 he developed a purely abstract style under the influence of Ben Nicholson and other artists associated with Circle, becoming a pioneering figure of the revival of interest in Constructivism in Britain following the War. Pasmore's abstract work, often in collage and construction of reliefs, pioneered the use of new materials and was sometimes on a large architectural scale. Herbert Read described Pasmore's new style as 'The most revolutionary event in post-war British art'. Pasmore's abstract Mural for the canteen of a bus depot in Kingston upon Thames 1950Pasmore was a leading figure in the promotion of abstract art and reform of the fine art education system. From 1943-1949 he taught at Camberwell School of Art where one of his students was Terry Frost whom he advised not to bother with the School's formal teaching and to instead study the works in the National Gallery. In 1950 he was commissioned to design an abstract mural for a bus depot in Kingston upon Thames and the following year Pasmore contributed a mural to the Festival of Britain that promoted a number of the British Constructivists. From 1952 he was leader of the art course of Kings College, Durham based in Newcastle upon Tyne. There he developed a general art and design course inspired by the 'basic course' of the Bauhaus that became the model for higher arts education across the UK. Pasmore was a supporter of fellow artist Richard Hamilton, giving him a teaching job in Newcastle and contributing a constructivist structure to the exhibition "This Is Tomorrow" in collaboration with Ernő Goldfinger and Helen Phillips. Pasmore was commissioned to make a mural for the new Newcastle Civic Centre. His interest in the synthesis of art and architecture was given free hand when he was appointed Consulting Director of Architectural Design for Peterlee development corporation in 1955. Pasmore's choices in this area proved controversial; the centerpiece of the town design became an abstract public art structure of his design, the Apollo Pavilion. The structure became the focus for local criticism over the failures of the Development Corporation but Pasmore remained a defender of his work, returning to the town to face critics of the Pavilion at a public meeting in 1982. Pasmore represented Britain at the 1961 Venice Biennale, was participating artist at the documenta II 1959 in Kassel and was a trustee of the Tate Gallery, donating a number of works to the collection. He gave a lecture on J.M.W.Turner as 'first of the moderns' to the Turner Society, of which he was elected a vice president in 1975.