The Coiffure (1890-1891)

Technique: Giclée quality print
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More about this artwork

Mary Cassatt, celebrated for her role in the Impressionist movement, crafted intimate and thoughtful moments in her art, focusing often on the lives of women. "The Coiffure," created in 1890-1891, is a prime example of her dedication to personal and delicate subjects.In this soft-hued, contemplative scene, we see a woman attending to her hair with quiet focus. The setting is intimate—a private moment captured within what appears to be the confines of a boudoir. The woman is seated, only partially clothed, suggesting a scene of everyday beauty routines rather than public display.The composition cleverly employs a mirror to both expand the viewer's perspective and to add depth to the interaction. As the woman ties up her hair, her reflection adds a dual aspect to the scene, highlighting Cassatt's interest in the multifaceted nature of women's lives.The background, awash with a floral motif that almost seems to echo the intricacies of the woman's thoughts and the motions of her daily life, adds a layer of texture and depth to the work. Meanwhile, the choice of colors—subdued pinks and reds against creamy whites and earth tones—lends an air of gentle warmth to the piece, further emphasizing its calm and serene atmosphere."The Coiffure" is a celebration of the quiet moments of beauty in women's lives, rendered with Mary Cassatt’s characteristic empathy and skillful touch. This artwork, a testament to the ordinary yet significant rituals of everyday life, invites viewers to appreciate the understated elegance found in these private moments.

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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.