生平与创作经历
卡萨特是主要在法国发展的美国艺术家，曾参与印象派展览，探索女性社交生活及成人与儿童的关系。日本版画激发了约1890年的彩色版画实验，而粉彩和绘画仍与版画实践并行。
生涯作品选读
所选作品并非完整目录。推断生涯顺序之前，请先阅读日期范围及作者归属。
- 01
c. 1889
c. 1889
餐后咖啡（正面）
- 材料与技法
- 石墨
- 作者归属与角色
- 博物馆归属记录
- 收藏与来源
- 克利夫兰艺术博物馆
博物馆原文说明
Cassatt exhibited prints for the first time in 1880 at the fifth Impressionist exhibition. As the decade progressed, she continued to show her graphic work alongside pastels and paintings. In the spring of 1890, at the Deuxième Exposition de Peintres-Graveurs, she showed a group of drypoints, remarkable in their delicacy and precision, as well as a group of prints made with a combination of aquatint and softground etching that appeared quickly drawn and spontaneous. After-Dinner Coffee is a study for a softground etching with aquatint.
馆藏文字 · 克利夫兰艺术博物馆 · CC0 - 02
1890–91
1890–91
公共马车中
- 材料与技法
- 彩色干刻与飞尘法
- 作者归属与角色
- 博物馆归属记录
- 收藏与来源
- 克利夫兰艺术博物馆
博物馆原文说明
This print belongs to a series of color etchings created by Mary Cassatt between 1890 and 1891. Each was influenced by the artist's study of Japanese woodblock prints, especially in their use of flat planes of color and domestic subject matter. In the scene depicted here, a middle-class woman accompanies her nursemaid and child on errands throughout Paris. The group rides in an omnibus, a form of public transportation where different genders and classes could intermingle. While the nanny's attention stays focused on her young charge, the female subject appears distracted, gazing toward the world beyond.
馆藏文字 · 克利夫兰艺术博物馆 · CC0 - 03
1901
1901
沐浴之后
- 材料与技法
- 粉彩
- 作者归属与角色
- 博物馆归属记录
- 收藏与来源
- 克利夫兰艺术博物馆
博物馆原文说明
Mary Cassatt began using pastel in the 1870s and continued to experiment with the medium throughout her career. This drawing depicts a mother and child, one of the artist's preferred subjects. Cassatt typically used the technique seen here, in which she finished her sitters' faces with a high degree of detail but rendered the rest of the composition in a much looser and sketchier style.
馆藏文字 · 克利夫兰艺术博物馆 · CC0
媒介、笔触与色彩
媒介与表面
石墨、彩色凹版及粉彩，形成不同肌理与复制性。
笔迹与结构
鲜明裁切及清楚轮廓，无须复杂叙事背景也能组织亲密关系。
色彩与光线
宽阔色面与纹样表面，和粉彩柔和破碎的色彩并存。
资料来源与延伸阅读
本项目原创教育性阐释；馆藏原文另行注明。每件选例均链接来源，未展示图像的参考条目不加入比较时间轴。