Woman on a Striped Sofa with a Dog - Mary Cassatt
Archival giclée
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Description
A domestic scene by Mary Cassatt, capturing a woman and her dog on a striped sofa with expressive, painterly brushwork.
Mary Cassatt painted this work in 1876, shortly after she moved to Paris to pursue her career among the Impressionists. The painting depicts a woman seated on a sofa upholstered in a bold, vertical-striped fabric. She wears a light-coloured dress with a deep blue apron or skirt covering her lap. Her attention is directed toward a small, dark dog perched beside her on the sofa. The dog sits upright, creating a quiet interaction between the two figures. Cassatt employs a painterly technique, using visible brushstrokes to define the textures of the fabric and the woman's clothing. The background is rendered in a warm, reddish tone that contrasts with the cooler blues and whites of the subject's attire. This choice of colour palette creates a sense of domestic intimacy, a recurring theme in Cassatt's work. The composition is balanced, with the vertical lines of the sofa upholstery providing a structured backdrop to the more fluid forms of the woman and her pet. This piece reflects the artist's early engagement with the Parisian art scene. It demonstrates her ability to capture private, everyday moments with a focus on light and colour. The work is notable for its lack of sentimentality, presenting the scene with a directness that characterises much of her output from this period. The interplay between the striped pattern of the furniture and the soft folds of the woman's dress shows her interest in texture and surface detail. By focusing on a mundane domestic setting, Cassatt aligns herself with the Impressionist interest in contemporary life, moving away from the formal portraiture traditions of the time.
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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.
Woman on a Striped Sofa with a Dog - Mary Cassatt
Our Features
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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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