Editing Mary Cassatt (section)

==Later life==
[[File:Mary Cassatt - The Child's Bath - Google Art Project.jpg|thumb|upright=1.1|''[[The Child's Bath]] (The Bath)'' by Mary Cassatt, 1893, oil on canvas, 39 × 26 in., [[Art Institute of Chicago]]<ref>{{Cite web |url=http://www.artic.edu/aic/collections/exhibitions/Impressionism/Cassatt |title=The Child's Bath |archive-url=https://web.archive.org/web/20120516075000/http://www.artic.edu/aic/collections/exhibitions/Impressionism/Cassatt |archive-date=May 16, 2012 |work=The Art Institute of Chicago |access-date=April 9, 2012}}</ref>]]

Cassatt's reputation is based on an extensive series of rigorously drawn and tenderly observed paintings and prints on the theme of the mother and child. The earliest dated work on this subject is the [[drypoint]] ''Gardner Held by His Mother'' (an impression inscribed "Jan/88" is in the [[New York Public Library]]),{{sfn|Mathews|1998|p=182 and note on p. 346}} although she had painted a few earlier works on the theme. Some of these works depict her own relatives, friends, or clients, although in her later years she generally used professional models in compositions that are often reminiscent of [[Italian Renaissance]] depictions of the [[Madonna and Child]]. After 1900, she concentrated almost exclusively on mother-and-child subjects, such as ''[[Woman with a Sunflower]]''.{{sfn|Kloss|1985|p=106}}  Viewers may be surprised to find that despite her focus on portraying mother-child pairs in her portraits, "Cassatt rejected the idea of becoming a wife and mother..."<ref>{{Cite web|date=October 10, 2009|title=Women Impressionists: Berthe Morisot, Mary Cassatt, Eva Gonzalès, Marie Bracquemond|url=https://www.famsf.org/press-room/women-impressionists-berthe-morisot-mary-cassatt-eva-gonzal-s-marie-bracquemond|access-date=October 7, 2021|website=FAMSF|language=en}}</ref>

The 1890s were Cassatt's busiest and most creative period. She had matured considerably and became more diplomatic and less blunt in her opinions. She also became a role model for young American artists who sought her advice. Among them was [[Lucy A. Bacon]], whom Cassatt introduced to [[Camille Pissarro]]. Though the Impressionist group disbanded, Cassatt still had contact with some of the members, including Renoir, Monet, and Pissarro.{{sfn|McKown|1972|p=155}}

[[File:Brooklyn Museum - Mother and Child Before a Pool - Mary Cassatt.jpg|thumb|Mary Cassatt, ''Mother and Child Before a Pool'', {{Circa|1898}}. Drypoint and aquatint on laid paper, [[Brooklyn Museum]] ]]

In 1891, she exhibited a series of highly original colored drypoint and [[aquatint]] prints, including ''Woman Bathing'' and ''[[The Coiffure]]'', inspired by the Japanese masters shown in Paris the year before. (See [[Japonism]]) Cassatt was attracted to the simplicity and clarity of Japanese design, and the skillful use of blocks of color. In her interpretation, she used primarily light, delicate pastel colors and avoided black (a "forbidden" color among the Impressionists). [[Adelyn Dohme Breeskin|Adelyn D. Breeskin]], the author of two ''catalogue raisonnés'' of Cassatt's work, comments that these colored prints, "now stand as her most original contribution... adding a new chapter to the history of graphic arts...technically, as color prints, they have never been surpassed".{{sfn|McKown|1972|pp=124–126}}

Also in 1891, Chicago socialite [[Bertha Palmer]] approached Cassatt to paint a 12' × 58' mural about "Modern Woman" for the Women's Building for the [[World's Columbian Exposition]] to be held in 1893. Cassatt completed the project over the next two years while living in France with her mother. The mural was designed as a [[triptych]]. The central theme was titled ''Young Women Plucking the Fruits of Knowledge or Science''. The left panel was ''Young Girls Pursuing Fame'' and the right panel ''Arts, Music, Dancing''. The mural displays a community of women apart from their relation to men, as accomplished persons in their own right. Palmer considered Cassatt to be an American treasure and could think of no one better to paint a mural at an exposition that was to do so much to focus the world's attention on the status of women.<ref>{{cite book | last = Lunardini | first = Christine A. | title = What every American Should Know About Women's History | location = Holbrook, Mass. | publisher = Adams Media Corporation | year = 1997 | page = 129 | isbn = 978-1-55850-687-9}}</ref> Following the world's fair, the mural came into Bertha Palmer's possession, where it remained as late as 1911, but it disappeared after Palmer's death in 1918.<ref>{{cite book | last = Webster | first = Sally | title = Eve's Daughter/Modern Woman: A Mural by Mary Cassatt | location = Urbana and Chicago | publisher = University of Illinois Press | year = 2004 | pages = 132–139 | isbn = 978-0252075964}}</ref> Cassatt made several studies and paintings on themes similar to those in the mural, so it is possible to see her development of those ideas and images.<ref>{{Cite web |last=Nichols |first=K.L. |title=Mary Cassatt's Lost Mural and Other Exhibits at the 1893 Exposition |url=http://members.cox.net/academia/cassatt.html|archive-url=https://web.archive.org/web/20090928095539/http://members.cox.net/academia/cassatt.html |archive-date=September 28, 2009 }}</ref> Cassatt also exhibited other paintings in the Exposition.

As the new century arrived, Cassatt served as an advisor to several major art collectors and stipulated that they eventually donate their purchases to American art museums. In recognition of her contributions to the arts, France awarded her the [[Légion d'honneur]] in 1904. Although instrumental in advising American collectors, recognition of her art came more slowly in the United States.  Even among her family members back in America, she received little recognition and was totally overshadowed by her famous brother.{{sfn|McKown|1972|p=182}}

Mary Cassatt's brother, [[Alexander Cassatt]], was president of the [[Pennsylvania Railroad]] from 1899 until his death in 1906. She was shaken, as they had been close, but she continued to be very productive in the years leading up to 1910.{{sfn|Mathews|1998|p=281}} An increasing sentimentality is apparent in her work of the 1900s; her work was popular with the public and the critics, but she was no longer breaking new ground, and her Impressionist colleagues who once provided stimulation and criticism were dying. She was hostile to such new developments in art as [[post-Impressionism]], [[Fauvism]] and [[Cubism]].{{Sfn|Mathews|1998|p=284}} Two of her works appeared in the [[Armory Show of 1913]], both images of a mother and child.<ref name=GalleryList>{{cite web|title=1913 Armory Show List by Gallery|url=http://armory.nyhistory.org/resources/1913-armory-show-list-by-gallery/|publisher=New York Historical Society|access-date=February 1, 2014}}</ref>

A trip to [[Egypt]] in 1910 impressed Cassatt with the beauty of its ancient art, but was followed by a crisis of creativity; not only had the trip exhausted her, but she declared herself "crushed by the strength of this Art", saying, "I fought against it but it conquered, it is surely the greatest Art the past has left us ... how are my feeble hands to ever paint the effect on me."{{sfn|Mathews|1998|p=291}} Diagnosed with [[diabetes]], [[rheumatism]], [[neuralgia]], and [[cataract]]s in 1911, she did not slow down, but after 1914 she was forced to stop painting as she became almost blind. In 1925 she was featured on 32nd Annual Exhibition of American Art at the [[Cincinnati Art Museum]], together with [[Louise Woodroofe]], [[Childe Hassam]] and [[Robert Henri]].<ref>{{Cite web |title=Gratz Gallery - Biography of Louise Woodroofe |url=https://gratzgallery.com/inventory/index.php?page=out&id=409 |access-date=December 10, 2023 |website=gratzgallery.com}}</ref>

Cassatt died on June 14, 1926, at Château de Beaufresne, near Paris, and was buried in the family vault at [[Le Mesnil-Théribus]], France.
<gallery>
Image:Rue de Marignan 10.jpg|House of [[rue de Marignan]] in Paris, where Mary Cassatt lived from 1887 until her death
Image:Mary Cassatt plaque - 10, rue de Marignan, Paris 8.jpg|Memorial on the facade of 10 rue de Marignan
</gallery>