The Letter
Technique: Giclée quality print
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More about this artwork
The painting "The Letter" by Mary Cassatt is a delicate and intimate depiction, portraying a woman engaged in the act of reading a letter. The composition captures a quiet, reflective moment that seems both personal and relatable. Cassatt’s use of soft colors and gentle shading enhances the introspective nature of the scene.The subject of the painting is a woman, dressed in an eye-catching blue kimono decorated with white and gold floral patterns, which suggests a casual or private setting. This attire, along with her focused and slightly downcast gaze, emphasizes the intimacy and personal nature of the moment being depicted. She appears to be absorbed by the contents of the letter, her expression one of concentration or perhaps contemplation, suggesting that the message might be of significant personal importance.The background features a soft, muted pattern of green ivy leaves, which contrasts with the vibrant blue of the kimono. This background not only adds a sense of depth to the painting but also serves to isolate the figure from any distractions, focusing the viewer's attention solely on her and her quiet moment. The detail and contrast in colors highlight Cassatt’s skill in blending both Western and Eastern artistic influences, evident in her choice of both subject matter and style.Overall, the painting conveys a mood of serenity and poignant solitude, characteristic of Cassatt’s sensitive portrayal of domestic scenes and women’s private lives.
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Picture in the interior
Technique
Giclée quality print
Short description
Giclée quality print.
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.