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In The Loge (1878) reproduction of painting by Mary Cassatt. ALL GICLEE PRINTS
In The Loge (1878) reproduction of painting by Mary Cassatt. ALL GICLEE PRINTS

In The Loge (1878)

Mary Cassatt
Technique: Giclée quality print
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Mary Cassatt’s painting “In the Loge” is a captivating depiction of a woman immersed in the experience of watching an event through her opera glasses. Painted in 1878, this work is an excellent example of Cassatt’s skill in portraying the private yet public lives of women during the late 19th century. The subject is elegantly dressed, suggesting her belonging to the affluent social class, and she sits in a theater box that offers a privileged view of the spectacle before her.The painting stands out for its intimate perspective and the way Cassatt delicately handles light and shadow to focus on the emotional state of her subject. The woman peers through her opera glasses, absorbed and possibly scrutinizing what she sees. Meanwhile, the background is animated with other theatergoers, painted in less detail, which brings a stark contrast that further isolates the main subject, emphasizing her personal engagement in the moment.“In the Loge” not only captures a leisure activity common among the upper classes but also subtly comments on the role of women in society, their pursuits, and the spaces they occupy.

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Artist
Mary Cassatt
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Mary Stevenson Cassatt was an American painter and printmaker. She was born in Allegheny City, Pennsylvania (now part of Pittsburgh’s North Side), but lived much of her adult life in France where she befriended Edgar Degas and exhibited with the Impressionists. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children.

She was described by Gustave Geffroy as one of "les trois grandes dames" (the three great ladies) of Impressionism alongside Marie Bracquemond and Berthe Morisot.In 1879, Diego Martelli compared her to Degas, as they both sought to depict movement, light, and design in the most modern sense.

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