Buste De Fillette
Technique: Giclée quality print
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The painting "Buste De Fillette" by Mary Cassatt is portrayed in a soft yet expressive style typical of her works. Here, we see the bust of a young girl dressed in a striking outfit that captures one's attention immediately. The girl wears a lavish white hat adorned with what seems to be lace or soft feathers, enhancing her youthful innocence. The hat surrounds her face, drawing focus to her centrally positioned and delicately painted features.The child's face is rendered with gentle brush strokes, highlighting rosy cheeks, a hint of a smile, and innocent, contemplative eyes that seem to gaze directly at the viewer. The shadows and tones around her face add depth and dimensionality, emphasizing the tender age and softness of her expression.Her dress, partially visible, appears to be of a rich, warm tone, perhaps orange or salmon, contributing to the overall warmth of the composition. The background of the portrait is minimal, sketched with loose lines that suggest an informal setting, allowing the viewer to focus primarily on the figure of the girl.Mary Cassatt’s talent in capturing the essence and spirit of children is evident in this work. Her use of pastels here not only highlights her skill with the medium but also her ability to convey texture and fabric, making the image almost tactile. The playful yet subdued palette and the intimate portrayal speak to Cassatt's Impressionist influences and her focus on domestic and private spheres of life.
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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.