Word: cassatts
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Dates: during 1960-1969
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...homes: a 33-acre farm in New Jersey, a 117-acre estate in Hollywood, a town house near London's Hyde Park, a villa at Cap d'Antibes, a hacienda in Palm Beach, a 13-room duplex in Manhattan hung with Rubens, Winslow Homer and Mary Cassatt...
...With the 20th century, the nude came into its own, only to disintegrate in the last 15 years under the probing abstractionist brushes of Willem de Kooning and others like him. The exhibition has a rare nude by Maurice Prendergast, a delicate bit of impressionism by Mary Cassatt, an angular Girl Wearing Bandanna by Yasuo Kuniyoshi. But even when the nude is at its most vigorous, its treatment varies dramatically from artist to artist. William Glackens' Nude with Apple is in standard studio pose-a composition of color rather than a slice of life. John Sloan, realist though...
Lost & Found. With a few notable exceptions-most regrettably, Albert Ryder, whose works are few and hard to come by-Montclair covers its field pretty well, from early primitives to such contemporaries as Edward Hopper and Charles Burchfield. It has a Whistler, an Eakins, a Cassatt, a Prendergast, two Homers, and twelve paintings by George Inness, who lived in Montclair most of his life. It has a Portrait of Caleb Whitefoord by Gilbert Stuart that was at one time thought to be lost; mentioned in a London auction catalogue in 1834, it was not heard of again until a former...
...accent was American; only a handful of artists-notably Delacroix, Courbet and Renoir-were foreigners, and almost all came from Bouvier-land. For the rest, along with Mary Cassatt, John Audubon and Childe Hassam, there were some art ists who had scarcely been heard of for years. A former naval person like the President would understandably favor a seascape by James Bard. But a Mount Monomonac by the sentimentalist Abbott Thayer, who died in 1921, or a portrait of Queen Victoria by the stodgy Franz Winterhalter, whom Ruskin dubbed a "dim blockhead," were plainly special tastes...
Like the American Mary Cassatt, who was only four years her junior, Berthe made her mark in a man's world, the just-born world of French impressionism. "Do you realize what this means?" one of her early painting teachers asked her mother when he realized how big a talent Berthe had. "In the upper-class milieu to which you belong, this will be revolutionary. I might almost say, catastrophic." But Mamma Morisot was not afraid f having her daughter turn artist, and her husband, a well-to-do civil servant, was broad-minded enough about the girl...