Under the Horse Chestnut Tree (1896-1897)

Technique: Giclée quality print
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More about this artwork

In the charming and intimate painting "Under the Horse Chestnut Tree" created between 1896-1897, Mary Cassatt beautifully captures a tender moment between a mother and her child. This artwork, a fine representation of Cassatt’s unique style, reflects her profound interest in the bond between children and their caregivers.The painting features a mother seated outdoors, the soft green backdrop suggesting a lush garden setting. She is holding her young child aloft, engaging in a moment of playful interaction that is both serene and joyous. The child, rendered with delicate, curly blond hair and a rosy complexion, gazes attentively towards the mother, illustrating an expression of trust and enjoyment.Distinctive for its vibrant color palette, the work uses a rich combination of greens and blues, juxtaposed against the warm yellows of the mother’s flowing skirt, which is adorned with a pattern of chestnut leaves—a nod to the tree that gives the painting its title. Above them, the horse chestnut leaves dangle gracefully, adding a natural canopy and depth to the composition.Mary Cassatt’s work is often celebrated for its expressive portrayal of women’s lives and her ability to convey the profound emotional and physical connection between mothers and their children. "Under the Horse Chestnut Tree" exemplifies her mastery in using color and form to communicate a moment of everyday life, elevated into a scene of gentle beauty and emotive strength.

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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.