Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
After the Bullfight - Mary Cassatt
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
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Made to order
Description
A portrait of a matador lighting a cigarette, painted by Mary Cassatt during her 1873 travels in Spain.
Painted in 1873 during her travels in Spain, After the Bullfight captures a moment of quiet reflection for a matador. Mary Cassatt, an American artist who later became associated with the French Impressionists, produced this work during her early period of study in Europe. The painting demonstrates her interest in the Old Masters, particularly the works of Diego Velázquez and Francisco Goya, which she encountered while visiting Madrid and Seville.
The subject is depicted in a moment of respite, leaning against a wooden barrier. He is dressed in his ornate traje de luces, or suit of lights, with silver embroidery catching the light. His posture is relaxed, and his focus is entirely on lighting a cigarette. The smoke curls upwards, adding a sense of atmosphere to the composition. Cassatt uses a muted, earthy palette for the background, which allows the figure of the matador to emerge with clarity. The bright red of his cape, draped over the wooden rail, provides a sharp contrast to the grey tones of the background and the silver of his costume.
Unlike her later works, which often focused on domestic scenes and the lives of women, this painting shows Cassatt exploring masculine subjects and the cultural traditions of Spain. The brushwork is controlled and precise, reflecting her academic training before she fully adopted the looser, more experimental techniques of her later career. The painting is a study of character and costume, capturing the weariness of the performer after the spectacle of the bullring. It remains a clear example of her technical ability to render texture, from the rough wood of the barrier to the metallic sheen of the matador's jacket.
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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.
Care and materials
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
- Multiple sizes and framing options available
- 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
Complete The Look
After the Bullfight - Mary Cassatt
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Mary Cassatt
Cassatt was the only American in the Impressionist group. Degas invited her. He had seen her work at the Salon and told her that here was someone who felt as he did. She joined the Impressionists for their fourth exhibition in 1879 and showed with them regularly after that.
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.
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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Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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