Sara Wearing a Bonnet and Coat (c. 1904-1906)

Technique: Giclée quality print
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More about this artwork

Welcome to our artistic exploration! Today, we are delighted to showcase "Sara Wearing a Bonnet and Coat," a charming portrayal crafted by the American artist Mary Cassatt between 1904 and 1906. This piece beautifully exemplifies Cassatt's adept skill in capturing the innocence and grace of childhood.In this tender pastel drawing, viewers are given a delightful glimpse of a young girl named Sara, adorned in a stylish bonnet and coat. Cassatt masterfully layers soft hues of pink, blue, and white to highlight the intricate work of the bonnet's lace trim, infusing the portrait with a gentle, radiant glow that seems to emanate from the child herself. The bonnet, large and enveloping, frames Sara's cherubic face, showcasing her bright, engaging eyes and a hint of a smile that welcomes the viewer into a silent conversation.Cassatt's loose, effervescent stroke style conveys both the texture of the clothing and the subtle nuances of the young girl's disposition. Positioned against a muted background, the focus is kept unwaveringly on Sara, reflecting Cassatt's knack for foregrounding the emotive aspect of her subjects. This piece not only captures the image of youth in early 20th-century attire but also encapsulates a moment of childhood serenity and contemplation, themes recurrent in Cassatt’s body of work.This artwork is more than a mere portrait; it is a window into the everyday moments that Cassatt celebrated, moments of ordinary beauty and soft introspection. As we view "Sara Wearing a Bonnet and Coat," we are reminded of the timeless nature of childhood and the universal charm it holds.

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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.