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References |
This article incorporates text from a publication now in the public domain: Wood, James, ed. (1907). The Nuttall Encyclopædia. London and New York: Frederick Warne. {{cite encyclopedia}}: Missing or empty |title= (help) |
External links |
Marco Basaiti on Artcyclopedia |
Marguerite Gérard (28 January 1761 in Grasse – 18 May 1837 in Paris) was a French painter and printmaker working in the Rococo style. She was the daughter of Marie Gilette and perfumer Claude Gérard. At eight years old, she became the sister-in-law of Jean-Honoré Fragonard, and when she was 14, she went to live with hi... |
Biography |
Upon the death of her mother in 1775, Marguerite Gérard, the youngest of the seven children, took up residence in the Louvre with her sister and her sister's husband Jean-Honoré Fragonard. She lived in the Louvre with them for approximately thirty years, allowing her to view and be inspired by great artworks of the pas... |
Her association with Fragonard's circle allowed Gérard the freedom to remain unmarried without becoming a financial burden to herself and her parents; this allowed her to devote her life to becoming an artist, a career she continued with considerable commercial success for more than fifty years. Speculation that Gérard... |
Art production |
Gérard became interested in art while living with her sister, Marie-Anne Fragonard, and brother-in-law, Jean-Honoré Fragonard, in Paris. She aspired to become an artist like her sister, a painter of miniatures, and her brother-in-law encouraged her ambitions. She began training with Fragonard at the age of 16. She beca... |
Subjects |
As a genre artist, Gérard focused on portraying scenes of intimate domestic life. However, unlike other female painters who liked to refer to classical antiquity, Marguerite Gérard often used costumes and settings from a few centuries before her own. Domestic cats and dogs also show up repeatedly in Gérard's work. Many... |
Reception and recognition |
Gérard was a well-known painter during her lifetime. LeBreton's official report of the state of French art published in 1808 states that by 1789, Gérard's reputation matched those of Anne Vallayer-Coster, Adélaïde Labille-Guiard and Elisabeth Vigée-Lebrun. By 1785, she had established a reputation as a gifted genre pai... |
Principal exhibitions |
Paris Salon: |
1799: four paintings (winner of prix du 5ème classe) |
1801: three paintings (winner of a prix d'encouragement for the painting 'deux jeunes époux lisant leur correspondence d'amour') |
1802: three paintings |
1804: at least seven works (winner of a médaille d'or) |
1806: three paintings |
1808: three paintings |
1810: four paintings |
1814: seven paintings |
1817: three paintings |
1822: four paintings |
1824: two paintings |
Recent exhibitions |
Parfums d'Interdit, Musée Fragonard, 25 May 23 September 2018, Grasse |
Royalists to Romantics: Women Artists from the Louvre, Versailles, and Other French National Collections, National Museum of Women in the Arts, 24 February to 29 July 2012, Washington D.C. |
Petits théâtres de l'intime, Musée des Augustins, 22 October 2011 to 22 January 2012, Toulouse |
Marguerite Gérard, Musée Cognacq-Jay, 10 November to 6 December 2009, Paris |
Trois femmes peintres dans le siècle de Fragonard. 18 April to 18 October 1998 Musée de la Parfumerie Fragonard, Grasse |
Gallery |
References |
Further reading |
Carole Blumenfeld (2018). Marguerite Gérard, 1761-1837. Editions Gourcuff-Gradenigo - National Museum of Women in the Arts. ISBN 978-2-35340-273-1. |
Hoisington, Rena M.; Stein, Perrin (June 2012). "Sous les yeux de Fragonard: The Prints of Marguerite Gérard". Print Quarterly. XXIX (2): 142–162. JSTOR 43826209. |
Carole Blumenfeld et José de Los Llanos (2009). Marguerite Gérard, artiste en 1789. Editions Paris Musées. ISBN 978-2-7596-0109-7. |
Sally Wells-Robertson, 'Marguerite Gérard et les Fragonard', Bulletin de la société de l'histoire de l'art Français, 1977, pp. 179–189 |
Sally Wells-Robertson, Marguerite Gérard, PhD dissertation, New York University 1978 |
Société Internationale pour l'Etude des Femmes de l'Ancien Régime. "Marguerite Gérard". Dictionnaire des femmes de l'Ancienne France. SIEFAR, IHMC / CNRS. Archived from the original on 2009-10-09. Retrieved 2009-05-10. |
Renouvier, Jules; de Montaiglon, Anatole (1863). Histoire de l'art pendant la révolution, considéré principalement dans les estampes. Paris: Veuve Jules Renouard. pp. 170–171. Retrieved May 10, 2009. |
External links |
Marguerite Gerard's Cat Paintings |
Salons et expositions des groupes 1673-1914 |
Marx Reichlich (1460–1520) was an Austrian painter. |
Reichlich was a painter of primarily religious works. He painted a number of traditional scenes as commissions for churches, including "Adoration of the Magi", and "The Last Judgement". |
Some of his works reside at the Kunsthistorisches Museum. |
== References == |
Mary Stevenson Cassatt (; May 22, 1844 – June 14, 1926) was an American painter and printmaker. She was born in Allegheny, Pennsylvania (now part of Pittsburgh's North Side), and lived much of her adult life in France, where she befriended Edgar Degas and exhibited with the Impressionists. Cassatt often created images ... |
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. |
Early life |
Cassatt was born in Allegheny City, Pennsylvania, which is now part of Pittsburgh. She was born into an upper-middle-class family: Her father, Robert Simpson Cassat (later Cassatt), was a successful stockbroker and land speculator. The ancestral name had been Cossart, with the family descended from French Huguenot Jacq... |
Cassatt grew up in an environment that viewed travel as integral to education; she spent five years in Europe and visited many of the capitals, including London, Paris, and Berlin. While abroad she learned German and French and had her first lessons in drawing and music. It is likely that her first exposure to French a... |
Though her family objected to her becoming a professional artist, Cassatt began studying painting at the Pennsylvania Academy of the Fine Arts in Philadelphia at the early age of 15. Part of her parents' concern may have been Cassatt's exposure to feminist ideas and the bohemian behavior of some of the male students. ... |
Impatient with the slow pace of instruction and the patronizing attitude of the male students and teachers, she decided to study the old masters on her own. She later said: "There was no teaching" at the academy. Female students could not use live models, until somewhat later, and the principal training was primarily d... |
Cassatt decided to end her studies: At that time, no degree was granted. After overcoming her father's objections, she moved to Paris in 1866, with her mother and family friends acting as chaperones. Since women could not yet attend the École des Beaux-Arts, Cassatt applied to study privately with masters from the scho... |
Toward the end of 1866, she joined a painting class taught by Charles Joshua Chaplin, a genre artist. In 1868, Cassatt also studied with artist Thomas Couture, whose subjects were mostly romantic and urban. On trips to the countryside, the students drew from life, particularly the peasants going about their daily activ... |
The French art scene was in a process of change, as radical artists such as Courbet and Édouard Manet tried to break away from accepted Academic tradition, and the Impressionists were in their formative years. Cassatt's friend Eliza Haldeman wrote home that artists "are leaving the Academy style and each seeking a new ... |
Returning to the United States in the late summer of 1870—as the Franco-Prussian War was starting—Cassatt lived with her family in Altoona. Her father continued to resist her chosen vocation, and paid for her basic needs, but not her art supplies. Cassatt placed two of her paintings in a New York gallery and found many... |
Cassatt traveled to Chicago to try her luck, but lost some of her early paintings in the Great Chicago Fire of 1871. Shortly afterward, her work attracted the attention of Roman Catholic Bishop Michael Domenec of Pittsburgh, who commissioned her to paint two copies of paintings by Correggio in Parma, Italy, advancing h... |
Impressionism |
Within months of her return to Europe in the autumn of 1871, Cassatt's prospects had brightened. Her painting Two Women Throwing Flowers During Carnival was well received in the Salon of 1872, and was purchased. She attracted much favorable notice in Parma and was supported and encouraged by the art community there: "A... |
After completing her commission for the bishop, Cassatt traveled to Madrid and Seville, where she painted a group of paintings of Spanish subjects, including Spanish Dancer Wearing a Lace Mantilla (1873, in the National Museum of American Art, Smithsonian Institution). In 1874, she made the decision to take up residenc... |
Cassatt saw that works by female artists were often dismissed with contempt unless the artist had a friend or protector on the jury, and she would not flirt with jurors to curry favor. Her cynicism grew when one of the two pictures she submitted in 1875 was refused by the jury, only to be accepted the following year af... |
In 1877, both her entries were rejected, and for the first time in seven years she had no works in the Salon. At this low point in her career she was invited by Edgar Degas to show her works with the Impressionists, a group that had begun their own series of independent exhibitions in 1874 with much attendant notoriety... |
Cassatt admired Degas, whose pastels had made a powerful impression on her when she encountered them in an art dealer's window in 1875. "I used to go and flatten my nose against that window and absorb all I could of his art," she later recalled. "It changed my life. I saw art then as I wanted to see it." She accepted D... |
In 1877, Cassatt was joined in Paris by her father and mother, who returned with her sister Lydia, all eventually to share a large apartment on the fifth floor of 13, Avenue Trudaine, (48.8816°N 2.3446°E / 48.8816; 2.3446). Mary valued their companionship, as neither she nor Lydia had married. A case was made that Ma... |
Cassatt's father insisted that her studio and supplies be covered by her sales, which were still meager. Afraid of having to paint "potboilers" to make ends meet, Cassatt applied herself to produce some quality paintings for the next Impressionist exhibition. Three of her most accomplished works from 1878 were Portrait... |
Degas had considerable influence on Cassatt. Both were highly experimental in their use of materials, trying distemper and metallic paints in many works, such as Woman Standing Holding a Fan, 1878–79 (Amon Carter Museum of American Art). |
She became extremely proficient in the use of pastels, eventually creating many of her most important works in this medium. Degas also introduced her to etching, of which he was a recognized master. The two worked side by side for a while, and her draftsmanship gained considerable strength under his tutelage. One examp... |
The Impressionist exhibit of 1879 was the most successful to date, despite the absence of Renoir, Sisley, Manet and Cézanne, who were attempting once again to gain recognition at the Salon. Through the efforts of Gustave Caillebotte, who organized and underwrote the show, the group made a profit and sold many works, al... |
Cassatt displayed eleven works, including Lydia in a Loge, Wearing a Pearl Necklace, (Woman in a Loge). Although critics claimed that Cassatt's colors were too bright and that her portraits were too accurate to be flattering to the subjects, her work was not savaged as was Monet's, whose circumstances were the most des... |
Cassatt also made several portraits of family members during that period, of which Portrait of Alexander Cassatt and His Son Robert Kelso (1885) is one of her best regarded. Cassatt's style then evolved, and she moved away from Impressionism to a simpler, more straightforward approach. She began to exhibit her works in... |
Feminist Viewpoints and the "New Woman" |
Cassatt and her contemporaries enjoyed the wave of feminism that occurred in the 1840s, allowing them access to educational institutions at newly coed colleges and universities, such as Oberlin and the University of Michigan. Likewise, women's colleges such as Vassar, Smith and Wellesley opened their doors during this ... |
Mary Cassatt depicted the "New Woman" of the 19th century from the woman's perspective. As a successful, highly trained woman artist who never married, Cassatt—like Ellen Day Hale, Elizabeth Coffin, Elizabeth Nourse and Cecilia Beaux—personified the "New Woman". She "initiated the profound beginnings in recreating the ... |
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