Margot, Resting Arms on Back of Armchair (c. 1903)

Technique: Giclée quality print
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More about this artwork

"Margot, Resting Arms on Back of Armchair" is a captivating etching by the renowned American artist Mary Cassatt, dating back to circa 1903. In this intimate and tender depiction, Cassatt portrays a young girl named Margot, enveloped in thought as she rests her arms on the back of an armchair. The piece exudes a sense of serene contemplation and gentle elegance, characteristics that are emblematic of Cassatt’s work with children and her expert use of the etching medium.The viewer’s attention is drawn to Margot's delicately rendered facial expression, which seems to convey a mix of contemplation and a hint of wistfulness. Her eyes are downcast, enhancing the introspective mood of the piece. The detail in her attire and the soft folds of her dress are sketched with precision, yet they carry Cassatt’s signature softness, integrating seamlessly into the overall gentle aura of the etching.Cassatt’s talent in capturing the innocence and subtle emotional states of children is fully evident in this work. She masterfully balances detail with soft, sketch-like strokes, creating a realistic yet somewhat ethereal depiction that invites viewers to ponder the thoughts occupying young Margot's mind. This painting not only highlights Cassatt’s profound ability to capture the essence of her subjects but also her pivotal role in the Impressionist movement, particularly in the domain of private and delicate moments of everyday 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.