Excerpted from Vol. 49 No. 3 of the Tredyffrin Easttown History Quarterly The Three Cassatts Cheryl Leibold ewcomers to Tredyffrin Township often assume The Pennsylvania Academy was the most prestigious Nthat Cassatt Road is named for the famous ex- art school in America, and Mary studied there for two patriate American painter, Mary Cassatt. In fact, the years. At the Academy, a student could experience road’s namesake is her brother Alexander Cassatt, who, in the second half of the nineteenth century was far more famous than his sister. Mary Cassatt’s fami- ly connection to the Main Line - through her older brother Alexander and her younger brother Gardner - provides a reason to examine her career, and to look at the properties owned by her brothers in this area. MARY CASSATT (1844-1926) Mary Cassatt was the daughter of an affluent Pitts- burgh businessman of French ancestry, Robert Cas- satt, and Katherine Kelso Johnston. Mary was the fourth child to live to adulthood, preceded by Lydia, Alexander, Robert (who died at age thirteen), and followed by Gardner. Mary’s father owned several brokerage houses and had many real estate dealings. He was relatively wealthy, and essentially retired in 1848 at age forty. Robert Cassatt was incredibly per- ipatetic, moving his family to over a dozen residences in central and eastern Pennsylvania between 1844 and 1871. Two pivotal events formed Mary’s early life. The first was the family’s extended sojourn in Europe from mid-1851 to late 1855. They spent two years in Paris and a year and a half in Germany, where her parents sought medical help for young Robbie. All the children learned French and German, as well as studying literature and other academic subjects, and they probably also took drawing lessons. Robbie died in Germany of a bone disease at age thirteen, and the grieving family returned to the United States in 1855. Photograph of Mary Cassatt, 1872. While visiting Parma, Italy, Mary Cassatt inscribed this photograph of herself to her friend The second major event in Mary's maturation oc- Emily Sartain: “Alla distinta pittrice, Emila Sartain.” (To the curred in April of 1860, when at age sixteen she en- distinguished painter, Emily Sartain.”) Courtesy of the Penn- rolled in the Pennsylvania Academy of the Fine Arts. sylvania Academy of the Fine Arts. 60 Copyright © 2020 Tredyffrin Easttown Historical Society. All Rights Reserved. Authors retain copyright for their contributions. This publication or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher. Contact the Society for permission to use any content in this publication.The Society does not accept responsibility for the accuracy of the information herein. Excerpted from Vol. 49 No. 3 of the Tredyffrin Easttown History Quarterly exhibitions of both European and American paint- In early 1867, Mary and Eliza left the formal and so- ings, as well have access to the growing permanent phisticated art world of Paris for the French country- collection. Her training consisted of copying, using side. For about a year and a half, they lived in differ- both plaster casts of ancient sculptures and old master ent small towns. Only one of these stops lasted as paintings. In addition, there was instruction in draw- long as a year, a situation that foretold Mary's life- ing, with some access to live models, and lectures on long predilection for incessant travel. They enjoyed human anatomy. rural French life enormously, and later Mary would return to the French countryside for lengthy periods. During the Civil War, the family lived in Cheney, They studied informally with several older artists Pennsylvania, where they seem to have been little who had abandoned Paris for the country, and they affected by the conflict, and may have stayed neutral. painted the picturesque local people and places. This Mary was a good horsewoman, and spent time riding phase of her career, from her first efforts in 1867 to with her brother Alexander. She probably made the mid-1870s, was still formative, and although she many trips into Philadelphia, but little is known about eagerly sought to sell some paintings, she saw little these years. In late 1865, Mary, now twenty-one success. She eventually abandoned these subjects years of age and eager to begin studying art in Eu- and turned to portraiture. rope, left for Paris with her close friend and fellow Academy student, Eliza Haldeman. Mary’s mother The outbreak of the Franco-Prussian War in 1870 eventually joined them, and by 1877 both Mary’s forced Mary to abandon Europe, spending a year in parents as well as her sister Lydia had settled perma- the U. S. But by late 1871 she was back in France, nently in Paris. The Cassatt family lived very com- where she resided until her death in 1926. She be- fortably there, supported by Robert Cassatt’s wealth came a tireless and constant traveler, visiting dozens and a trust fund provided for them by the oldest son, of European cities, occasionally alone, but more often Alexander. Mary returned to the United States for in the company of friends. One of the few surviving only four visits, in 1870, 1874, 1898, and 1908. photographs of her was taken in Parma, Italy. She visited that city in 1872 with her friend Emily Sar- Since women were not admitted to the state spon- tain, whose father was one of the premier artists and sored art school, the École des Beaux-Arts, Cassatt engravers in Philadelphia. They had met through the had to find other opportunities. Mary and Eliza spent art circles of Philadelphia, although a later argument long days copying masterworks in the Louvre, stand- ended their friendship. Mary was always one to hold ard practice for art students at the time. She and Eli- a grudge, and she never reconciled with Emily.3 za also attended more structured classes at a private art school for women, working from models every From the late 1870s, Mary’s portraits can be seen as day. Mary was accepted as a private pupil of the the start of her mature career, and in general the sub- prestigious teacher Jean-Léon Gérôme, a coup that ject for which she is famous. Her sitters are almost thrilled and amazed her friends in both the U. S. and always women, usually looking serious and quiet, France. She told her biographer in 1912 that her fa- with only a suggestion of detail. Portraiture reflected ther’s reaction to the idea of her attending art school Cassatt’s interest in the pictorial qualities of everyday 1 in Europe was: “I’d almost rather see you dead.” life, rather than subjects drawn from history, myth, or But she prevailed, and the family grew to understand the Bible. Her primary subjects were her family and that Mary would not be deterred in her goal of be- friends, posed in domestic settings or engaged in pur- coming a professional artist. suits available to women in Paris, such as theatre and opera, taking tea, shopping, or visiting museums. Later in her life, Mary recalled that as early as her The bustle of urban life in Paris and its streets never days at the Pennsylvania Academy she never felt in- interested her, and she painted no landscapes or still ferior to male students. She was outspoken and often life compositions. opinionated and stubborn. She was also plain, had few if any suitors, and admitted to being uncomforta- While Mary Cassatt’s early works were done in the ble in social situations. Her decision not to marry dark and somber tones of the academic tradition, her may have begun forming even in her late teens, al- works after about 1877 reflect a brighter color pal- though it was not an uncommon decision for young ette, loose brushwork, and an immediacy of observa- women at that time.2 61 Copyright © 2020 Tredyffrin Easttown Historical Society. All Rights Reserved. Authors retain copyright for their contributions. This publication or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher. Contact the Society for permission to use any content in this publication.The Society does not accept responsibility for the accuracy of the information herein. Excerpted from Vol. 49 No. 3 of the Tredyffrin Easttown History Quarterly tion. This change of style was the result of her dis- clearly visible separate strokes of color. Instead of covery of the new style of impressionism, a move- trying to capture a timeless moment, she and the oth- ment in French art pioneered by Claude Monet, Jean er impressionists were more concerned with a casual Renoir and Edgar Degas. The Impressionists were a observation. Her father commented in a letter to her group of artists who had become disillusioned with brother: “She is now known to the Art world as well the French art system. They decided to stage their as to the general public in such a way as not to be own shows, advertise them, and hope for sales and forgotten…Every one of the French papers men- critical praise. The group mounted eight exhibitions tioned the exhibition and nearly all named [Mary] in rented rooms between 1874 and 1886. In 1877, most of them in terms of praise….” 5 She was the just after the third Impressionist exhibition, Mary only American ever to show with them, exhibiting in was invited by Edgar Degas to exhibit with the Im- four of their eight group shows. pressionists. She “accepted with joy,” as she told her biographer, and “began to live.” 4 The late 1880s saw the beginning of the long series of mother and child images that would grow into her In 1879, she exhibited with the group for the first greatest body of work, and her signature theme for time, making what she felt was her real debut at age the next twenty years.