The Fitting (1890-1891)

Technique: Giclée quality print
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More about this artwork

In Mary Cassatt’s evocative painting "The Fitting" (1890-1891), we witness a private moment steeped in quiet intensity. The scene depicts two women engaged in the simple yet intimate act of a dress fitting. The central figures are caught in a room adorned with a beautifully patterned wallpaper that serves as a soft backdrop to the meticulous process taking place.To the left, a seamstress in a dark brown, possibly black, dress is seated on the floor, her attention focused entirely on her task. Her position, slightly bent forward with her back to us, suggests a humble, almost reverent engagement with her work. Opposite her stands a young woman being fitted. She is draped in a striped dress, embodying the fashion of the late 19th century with its tightened waist and voluminous skirt. The posture of the woman, with her arms gently lifted, reflects a blend of cooperation and patience as her dress is adjusted to perfection.Cassatt’s use of color and detail brings a richness to this seemingly mundane activity, highlighting the artistry involved in dressmaking. Further, the interaction encapsulates a moment of everyday life, emphasizing themes of femininity and domesticity that are recurrent in Cassatt’s work. This painting not only celebrates the craft of tailoring but also captures the essence of womanly collaboration—each figure playing her role in this delicate dance of fabric and form.

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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.