After the Bath - Mary Cassatt
Archival giclée
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Description
A tender domestic scene by Mary Cassatt, captured in the soft, expressive medium of pastel.
Mary Cassatt, an American artist who spent much of her career in France, produced this work during a period when she focused on the domestic lives of women and children. The composition depicts a mother figure with two young children, rendered in the soft, layered medium of pastel. Cassatt utilised the texture of the paper to build form, allowing the colours to blend optically rather than through heavy mixing. The scene captures a quiet moment of interaction. The mother holds a toddler, while an older child leans in, creating a triangular arrangement of figures. The background is suggested through loose, gestural strokes of green, which provide a contrast to the warm skin tones and the bright yellow garment worn by the standing child. Cassatt avoids excessive detail, preferring to focus on the emotional connection between the subjects and the tactile quality of the pastel marks. Her technique in this work reflects her interest in the Impressionist approach to light and colour. By using a palette of bright yellows, soft whites, and greens, she creates a sense of domestic warmth. The figures are not posed in a formal manner; instead, they appear caught in a fleeting moment of daily life. This focus on the private sphere was a recurring theme in her oeuvre, often drawing inspiration from the works of Edgar Degas and the Japanese woodblock prints she collected. The lack of rigid outlines allows the figures to merge slightly with their environment, a characteristic feature of her later pastel works. This print reproduces the original texture of the pastel, maintaining the soft edges and the visible layering of the medium that define the artist's hand.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
After the Bath - Mary Cassatt
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Mary Cassatt
She grew up in Allegheny City, Pennsylvania (now part of Pittsburgh), in a prosperous family. She studied at the Pennsylvania Academy of the Fine Arts, where she found the instruction restrictive and the male students hostile. She moved to Paris in 1866, copied old masters in the Louvre, and studied privately with several painters before finding her direction with the Impressionists.
Her subject was women and children in domestic settings: mothers bathing infants, women reading, girls at the opera, women having tea. The subject matter sounds conventional. The treatment is not. She observed her subjects with the same unsentimental attention Degas brought to dancers. The compositions are cropped and angled, influenced by Japanese prints and by Degas's habit of painting people from unexpected viewpoints. Little Girl in a Blue Armchair (1878) shows a child sprawled across a chair with the boredom and physical abandon that adults rarely notice and painters rarely record.
She never married. She was wealthy enough not to need to sell her work. She used her position and her connections to persuade American collectors, particularly the Havemeyers, to buy Impressionist paintings. The Havemeyer collection, much of it acquired on Cassatt's advice, was donated to the Metropolitan Museum. She shaped the taste of American collectors more than any other single individual.
She developed cataracts and was nearly blind by 1914. She stopped painting. She died in 1926, at eighty-two.
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