Child Seated on a Sofa (c. 1883)

Technique: Giclée quality print
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More about this artwork

Mary Cassatt, renowned for her tender and vivid portrayals of children and familial relationships, captures the innocence and contemplative spirit of childhood in this evocative sketch titled "Child Seated on a Sofa." This piece, drawn around 1883, showcases Cassatt’s adept skill in using simple yet powerful lines to convey depth and emotion.The artwork features a young child sitting comfortably, yet somewhat pensively, on an ornately designed sofa. The child, dressed in a dark, floral patterned outfit with a frilly collar and cuffs, exhibits a relaxed yet distant gaze, perhaps lost in thought. The soft pencil strokes Cassatt employs imbue the scene with a gentle, almost ethereal quality, suggesting the fleeting moments of childhood that pass quietly but resonate deeply.Cassatt’s mastery in portraying the textures of the sofa and the detailed patterns on the child’s dress contrasts with the soft, sketchy background, bringing the figure to the forefront. This focus on the child not only highlights Cassatt’s interest in the psychology and inner lives of her subjects but also reflects her broader commitment to exploring the role and significance of women and children in the art world of her time."Child Seated on a Sofa" remains a compelling piece that not only demonstrates Mary Cassatt’s skill as a draftsman but also her profound sensitivity to the subtle complexities of human expression and domestic 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.