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A 6 page research paper that analyzes Cassatt's painting "The Boating Party" and its significance to her career. The writer also explores the fact that, paradoxically, her best known works convey an insightful vision of the domestic experience, which she sacrificed in favor of a career. While Cassatt was considerably influenced by her mentor Degas, as well as by other Impressionist painters such as Manet, she achieved a style and ambiance that was uniquely her own. Bibliography lists 4 sources.
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6 pages (~225 words per page)
File: D0_khmarcas.rtf
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an insightful vision of the domestic experience, which she sacrificed in favor of a career. Cassatt was the only American and the only woman to be included among that illustrious
group of nineteenth century painters who referred to themselves as the Independents, but were better known to the rest of the world as the Impressionists. While Cassatt was considerably influenced
by her mentor Degas, as well as by other impressionist painters such as Manet, she achieved a style and ambiance that was uniquely her own. This is quite evident in
one of her most famous paintings, "The Boating Party." Early in life, Cassatt set upon the goal of becoming a professional artist. Accompanied by her mother, or women friends,
she studied privately wit the leading teachers of her time (Whitcomb 48) .At that time, women were not permitted to enroll in the standard life studies classes held at institutions
of the fine arts. She traveled extensively in Europe, copying the old masters. Cassatt experienced an epiphany the first time she saw a Degas ballet pastel in a gallery window.
She later commented that at that moment she "saw art as I wanted to see it. I began to live" (Whitcomb 48). Degas became her friend and mentor, expressing
the opinion that Cassatt possessed "infinite talent" (Whitcomb 48). In 1893, Cassatt painted a work that signified that she had found her own unique style, a painting that has
been described as a "technical tour de force" (Hale 167). This work, "The Boating Party," has a Mediterranean boatmans back filling the right foreground -- "dark, muscular like a Tintoretto
back" (Hale 167). Beyond the boatman, encapsulated in a glow of light against the background of the water is a woman and child, which are framed between the white
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