Rachel
In the 19th century the role of women changed, no doubt facilitated by the paintings of Mary Cassatt. Rejecting the standard role of women during that era, she depicted the independence and individuality of women as non-violent combatants of the century-old feminine ideal of weakness and helplessness. Strikingly modern, her work reflects the beginnings of the growing feminism movement, as the subjects of her paintings often show resilience, usually in their stance and expression, but with a hint of mystery. The center portion of Cassatt’s mural Modern Woman, completed in 1893, “rejected the ordered, subdued neoclassicism of the fair and adopted, instead, bright colors and contemporary middle-class dress” (Pohl) to usher in modernity to the stiff culture. Reminiscent of Eve in the Garden of Eden, women pluck the “fruits of knowledge”, the scene obviously devoid of men; considered to be a “portrayal of women apart from their relations with men” (Pohl), Cassatt seems to create a world lacking a male presence. While the women in the painting seem to be perfectly at ease, many critics during that era condemned her work as “cynical and primitive … all reflections on the ‘modern’ aspect of her style” (Pohl). The imminence of a feminine uprising struck fear in the public’s heart, and critics responded, nearly begging for the domesticity of women to return once more.
Quite contrary to her rebellious mural, Cassatt actually focuses on the domestic, everyday acts of women in her portraits and easel paintings. In Mother and Child, completed in 1905, Cassatt showcases a serious, borderline monumental depiction of the “processes of nurturing that were women’s socially prescribed tasks” (Pohl) rather than focusing on the sentimental aspect. Her work addresses the “socialization of young girls, their introduction into the world of ‘appropriate’ female behavior” (Pohl) and also hints at the displeasure of such a spectacle. While the expressive brush strokes soften the figures, hard lines of unease are seen on the mother’s face, as though she disproves of the social norm. The reflection in the mirror showcases not “women’s vanity but women’s self-consciousness”; Cassatt “presents the child as aware of her separateness from her mother and yet clearly connected to her both compositionally – through the dominant yellows – and psychologically” (Pohl). The naiveté of the child is depicted not only by her nakedness, which contrasts almost sharply against the elegance of her mother’s gown, but of the clear reflection of her eyes; shown as a blank slate, Cassatt comments on the future of this child, calling attention to the fact that she will forever concern herself with her appearance.
One of her most famous paintings, Alexander Cassatt and His Son Robert, completed in 1884, finally depicts a male relationship rather than her traditional female studies. Drastically different from past paintings, no emotional intimacy appears between father and son; both gaze in the same direction, as opposed to at each other which was typical in her other paintings, focused on the book rather than on each other. The colors of their dress heighten their emotional distance even though it seems they combine with one another. “Their connection is at the level of intellect” (Pohl) which was quite common for male relationships during Cassatt’s era; Cassatt focuses on the almost visible, emotional distance between the two males, even though they are nearly discernible from one another. Once again, soft brush strokes reveal the true emotion, however this time shrouded behind masculinity, of the subjects; the tiredness within both their eyes and their slightly slumped figures reflect dissatisfaction with the “macho-ness” of societal norms. While they appear to find some amusement in intellectual work, the desire for an emotional connection lurks between their combined bodies.
Works Cited
Pohl, Frances K. Framing America: A Social History of American Art. New York, NY: Thames & Hudson, 2002.
In the 19th century the role of women changed, no doubt facilitated by the paintings of Mary Cassatt. Rejecting the standard role of women during that era, she depicted the independence and individuality of women as non-violent combatants of the century-old feminine ideal of weakness and helplessness. Strikingly modern, her work reflects the beginnings of the growing feminism movement, as the subjects of her paintings often show resilience, usually in their stance and expression, but with a hint of mystery. The center portion of Cassatt’s mural Modern Woman, completed in 1893, “rejected the ordered, subdued neoclassicism of the fair and adopted, instead, bright colors and contemporary middle-class dress” (Pohl) to usher in modernity to the stiff culture. Reminiscent of Eve in the Garden of Eden, women pluck the “fruits of knowledge”, the scene obviously devoid of men; considered to be a “portrayal of women apart from their relations with men” (Pohl), Cassatt seems to create a world lacking a male presence. While the women in the painting seem to be perfectly at ease, many critics during that era condemned her work as “cynical and primitive … all reflections on the ‘modern’ aspect of her style” (Pohl). The imminence of a feminine uprising struck fear in the public’s heart, and critics responded, nearly begging for the domesticity of women to return once more.
Quite contrary to her rebellious mural, Cassatt actually focuses on the domestic, everyday acts of women in her portraits and easel paintings. In Mother and Child, completed in 1905, Cassatt showcases a serious, borderline monumental depiction of the “processes of nurturing that were women’s socially prescribed tasks” (Pohl) rather than focusing on the sentimental aspect. Her work addresses the “socialization of young girls, their introduction into the world of ‘appropriate’ female behavior” (Pohl) and also hints at the displeasure of such a spectacle. While the expressive brush strokes soften the figures, hard lines of unease are seen on the mother’s face, as though she disproves of the social norm. The reflection in the mirror showcases not “women’s vanity but women’s self-consciousness”; Cassatt “presents the child as aware of her separateness from her mother and yet clearly connected to her both compositionally – through the dominant yellows – and psychologically” (Pohl). The naiveté of the child is depicted not only by her nakedness, which contrasts almost sharply against the elegance of her mother’s gown, but of the clear reflection of her eyes; shown as a blank slate, Cassatt comments on the future of this child, calling attention to the fact that she will forever concern herself with her appearance.
One of her most famous paintings, Alexander Cassatt and His Son Robert, completed in 1884, finally depicts a male relationship rather than her traditional female studies. Drastically different from past paintings, no emotional intimacy appears between father and son; both gaze in the same direction, as opposed to at each other which was typical in her other paintings, focused on the book rather than on each other. The colors of their dress heighten their emotional distance even though it seems they combine with one another. “Their connection is at the level of intellect” (Pohl) which was quite common for male relationships during Cassatt’s era; Cassatt focuses on the almost visible, emotional distance between the two males, even though they are nearly discernible from one another. Once again, soft brush strokes reveal the true emotion, however this time shrouded behind masculinity, of the subjects; the tiredness within both their eyes and their slightly slumped figures reflect dissatisfaction with the “macho-ness” of societal norms. While they appear to find some amusement in intellectual work, the desire for an emotional connection lurks between their combined bodies.
Works Cited
Pohl, Frances K. Framing America: A Social History of American Art. New York, NY: Thames & Hudson, 2002.