La musique (music party) (1874)
Technique: Giclée quality print
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Welcome to a melodious embrace housed within the brush strokes of Mary Cassatt's "La musique (music party)", a luminous representation of social and musical intimacy depicted by one of America's most revered Impressionists. This painting, created in 1874, stands as a testament to Cassatt’s delicate yet profound approach to capturing everyday life.In "La musique", we observe a trio of figures interwoven in an intimate musical scene. The central subject, a woman adorned in a floral pink dress, holds a mandolin, her fingers gracefully touching the instrument, almost in a dance with the melody. This portrayal of the woman not merely as an audience but an active participant in the music ritual emphasizes Cassatt's tendency to explore the roles and expressions of women within various cultural ambiences.Leaning in closely is another woman, depicted in a creamy, light-reflecting blouse, her attention captivated wholly by the sheet music held between her and the musician. There is a gentle closeness evident, a shared moment of artistic union and appreciation that Cassatt beautifully encapsulates.Lingering in the backdrop, a man, perhaps signaling the inclusivity of the musical ensemble or the social setting, graces the composition. His presence adds a layer of depth both in literal and metaphorical sense, enhancing the narrative of communal and familial gathering around music.Cassatt's use of soft, yet vibrant colors, combined with her brushwork that fluidly integrates the characters with their surroundings, suggests the harmony music brings not only to the environment but also to interpersonal connections.
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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.