Mary Cassatt (part2)



Looking from the Lodge is the name of a painting by Mary Cassatt, painted in 1878. It shows a woman in black in the lodge section of the Paris Opera looking at a person sitting in the lodge section, while a man on the other side of the Lodge is looking at herself.

A few months after Marie’s return to Europe in the autumn of 1871, the prospects for her became clearer. Her painting “Two Women Throw Flowers During Carnival” was accepted and purchased in 1872. After completing her contract with Archbishop in 1873, Cassatt traveled to Madrid and Seville, where she worked on Spanish subjects such as The Spanish Dancer, now housed in the National Museum of American Art. In 1874, she decided to leave France and live with her sister Lydia. Cassatt continued to criticize the hall’s policies and the traditional ideas that governed it.

Cassatt witnessed that most of the work done by female artists was neglected unless they had a friend or government supporter. She did not want to enter into these relationships to have her work supported. Her pessimism about the situation increased when one of the two paintings she sent to the Heath Jury in 1875 was rejected.

In 1877, hall rejected all of her work was, and this was the first time in the last seven years that she had no position in the gallery. Edgar Degas invited her to exhibit her work at the Impressionists Exhibition at this dark point in her career. This group set up exhibitions in 1874 and received many adverse reactions. The Impressionists, also known as the Independents, had no official statement and had a wide variety of subjects and techniques. They preferred to paint outdoors and use vibrant colors in a pure, less blended form. This method allowed the eye to combine the result and see the painting in an Impressionist way. The Impressionists angered critics for many years. Henry, a friend of Cassette, believed that Impressionists were unusual people with an unknown type of eye disease. The group also had a female member, Brett Murith, who later became a friend and colleague. In 1875, she admired Edgar Degas’s paintings in an art dealer’s shop because Degas’s pastel paintings deeply influenced her.

She eagerly accepted Degas’ invitation and began preparing the paintings for the next Impressionist exhibition, scheduled for 1878 but held in April 1879.

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