Mother and Two Children - Mary Cassatt
Archival giclée
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Description
A tender domestic scene by Mary Cassatt, capturing a mother with her two children in a soft, impressionistic style.
Mary Cassatt, an American painter who spent much of her career in France, produced this work during her later period. The composition focuses on the domestic sphere, a subject she explored throughout her career. A mother sits with a young child on her lap, while an older girl stands to the right, observing the interaction. The figures are rendered with loose, visible brushwork, a hallmark of the Impressionist style that Cassatt adopted after her association with Edgar Degas and the Parisian avant-garde. The colour palette relies on soft, warm tones. The mother wears a golden-yellow garment that contrasts with the pale pink dress of the standing child. The background remains muted, ensuring the attention stays on the figures. Cassatt avoids the sentimentality often found in Victorian depictions of motherhood, opting instead for a direct, observational approach. The physical closeness of the figures suggests a quiet, private moment within the home. Cassatt often utilised her own family members or acquaintances as models. This work reflects her interest in the psychological connection between parent and child. The lighting is soft, suggesting an interior setting, and the lack of rigid outlines allows the forms to merge gently with the surrounding space. This approach creates a sense of immediacy, as if the viewer has caught a fleeting glimpse of a daily routine. The painting demonstrates her technical skill in handling oil paint, using varied textures to distinguish between the skin of the children, the fabric of the clothing, and the foliage of the plant in the background. It remains a clear example of her focus on the private lives of women and children during the late nineteenth and early twentieth centuries.
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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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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.
Mother and Two Children - 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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