Mary Cassatt’s paintings of mothers and babies were relegated to the untouchable category of “sentiment” by 20th-century critics and art historians. They have now become better known to many people as Mother’s Day cards rather than fine art. But 19th-century critics commented on the very lack of sentiment in Cassatt’s work, noting its intensity and daring portrayal of intimacy. This complete volte face in critical consensus is characteristic of narratives about work by women. It reflects the way our current understanding of the history of art – particularly from impressionism onwards – is shaped by the strong opinions of a few vocal critics.
This year is the 150th anniversary of the first impressionist exhibition in 1874 and, while Cassatt did not join the group until 1877, the anniversary is relevant for her, too, as she was one of the regular exhibitors during the group’s eight years of organised existence. She was the only American in the group and was invited to join by Degas, who remained her lifelong friend. It’s a remarkable story on many levels – remarkable that a woman pursuing professional success would choose to join an avant garde group, and remarkable that her work was so striking as to garner her an invitation. But her legacy has not been fully embraced by either French impressionism or American modernism.
