Edouard Vuillard's Oil Paintings
	Edouard Vuillard Museum November 11, 1868-June 21, 1940. French painter.
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Here are all the paintings of Mary Cassatt 03

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
49874		The girl is sewing in green dress	mk205 1908 Oil on canvas 81.3x65cm
49807		the girl wear black dress at the theater	mk205 1879 Oil on canvas 80x64.7cm
49868		the girl wearing the white bonnet	mk205 1901 Oil on canvas 64.7x41.9cm
49825		The gril wearing the strawhat	mk205 about 1886 Oil on canvas 65.4x49.5cm
42793		The hair style	MK169 1891 color picture in dry-needle technique and aquatint MK169 36.5x26.7cm
49860		The Lady and her two daughter	mk205 1899 Oil on canvas 64.3x81cm
3128		The Lamp	1891 Art Institute of Chicago
58333		The Lamp	The Lamp, c.1891, aquatint, National Gallery of Art
3154		The Letter	1890-91
49884		The little girl in the blue Sofa	mk205 1878 89.5x129.8cm
58322		The Loge	The Loge, 1882, National Gallery of Art
49799		The Portrait of a young girl	mk205 about 1874 oil on board
3160		The Sisters	1885 Glasgow Museums and Art Galleries
97735		The Tea	circa 1880(1880) Medium oil on canvas cyf
3192		The Toreador	1873
49815		The woman and the child are driving the carriage	mk205 1879 Oil on canvas 89.5x130.8cm
48728		The woman in Black	mk191 Circa 1882 100.6x74cm
49841		The woman taking the fan	mk205 1893 Oil on tempera 66x51cm
49818		The young girl in the black	mk205 1883 Oil on canvas 80.8x64.8cm
49859		The young mother is sewing	mk205 about 1900 oil on canvas 92.4x73.7cm
49834		The young wearing the hat and looking down	mk205 about 1890 Oil on canvas 65x52cm
34036		Two Children on the Beach	mk87 1884 Oil on canvas 97.6x74.2cm Washington,National Gallery of Art
21599		Two Children on the Beach (mk09)	1884 Oil on canvas,97.6 x 74.2 cm Washington,National Gallery of Art
3190		Woman and Child Driving	1879 89.3 x 130.8 cm Philadelphia Museum of Art
3156		Woman Bathing	1890-91
49819		Woman beside tea-table	mk205 1883 Oil on canvas 73.4x61cm
3143		Woman Combing her Child's Hair
71497		Woman in a Red Bodice and Her Child	between 1896(1896) and 1906(1906) Oil on canvas 68.6 x 51.4 cm (27.01 x 20.24 in)
72672		Woman in a Red Bodice and Her Child	Date between 1896(1896) and 1906(1906) Medium Oil on canvas Dimensions 68.6 X 51.4 cm (27.01 X 20.24 in) cyf
58323		Woman in Black	Woman in Black, 1882, Museum of Fine Arts, Boston
72940		Woman on a Striped Sofa with a Dog	"Woman on a Striped Sofa with a Dog," oil on wood panel, by the American artist Mary Cassatt. 16 1/2 in. x 13 1/8 in. Courtesy of the Harvard Art Museum/Fogg Museum. Gift of Mr. and Mrs. Peter I. B. Lavan. cjr
74752		Woman on a Striped Sofa with a Dog	English: "Woman on a Striped Sofa with a Dog," oil on wood panel, by the American artist Mary Cassatt. 16 1/2 in. x 13 1/8 in. Courtesy of the Harvard Art Museum/Fogg Museum. Gift of Mr. and Mrs. Peter I. B. Lavan. Date 1876 cyf
49838		Woman picking up the fruit	mk205 1891-1892 Oil on canvas 132x92cm
3172		Woman Reading in a Garden	1880
49835		Woman taking red Mum	mk205 1891 Oil on canvas 73.6x60.3
49832		Woman triming the veil	mk205 about 1890 Oil on canvas 65.7x54.4cm
84221		Woman with a Pearl Necklace in a Loge	81.3 x 59.7 cm Date 1879(1879) cyf
44780		Woman with a Pearl Necklace in a Loge for an impressionist exhibition in 1879	mk177
3140		Woman with Baby ff
3155		Woman with Dog ghgh
3145		Women Admiring a Child
49853		Women complimenting the child	mk205 1897 Oil on tempera 66x81.3cm
70631		Young Girl at a Window	Young Girl at a Window (1885, Mary Cassatt) housed in the Corcoran Gallery of Art in Washington, D.C.
74243		Young Girl at a Window	Young Girl at a Window cyf
72398		Young Girl Reading	Young Girl Reading. 1908 cjr
44783		Young Mother Sewing	mk177 1900 Oil on canvas 38x29in
54504		Young Mother Sewing	mk235 1902 Oil on canvas
54459		Young woman sewing in the Garden	mk235 c.1880-1882 Oil on canvas 92x61cm

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Mary Cassatt

1844-1926 Mary Cassatt Galleries Within months of her return to Europe in the autumn of 1871, Cassatt??s prospects had brightened. Her painting Two Women Throwing Flowers During Carnival was well received in the Salon of 1872, and was purchased. She attracted much favorable notice in Parma and was supported and encouraged by the art community there: ??All Parma is talking of Miss Cassatt and her picture, and everyone is anxious to know her??. After completing her commission for the archbishop, Cassatt traveled to Madrid and Seville, where she painted a group of paintings of Spanish subjects, including Spanish Dancer Wearing a Lace Mantilla (1873, in the National Museum of American Art, Smithsonian Institution). In 1874, she made the decision to take up residence in France. She was joined by her sister Lydia who shared an apartment with her. Cassatt continued to express criticism of the politics of the Salon and the conventional taste that prevailed there. She was blunt in her comments, as reported by Sartain, who wrote: ??she is entirely too slashing, snubs all modern art, disdains the Salon pictures of Cabanel, Bonnat, all the names we are used to revere??. Cassatt saw that works by female artists were often dismissed with contempt unless the artist had a friend or protector on the jury, and she would not flirt with jurors to curry favor. Her cynicism grew when one of the two pictures she submitted in 1875 was refused by the jury, only to be accepted the following year after she darkened the background. She had quarrels with Sartain, who thought Cassatt too outspoken and self-centered, and eventually they parted. Out of her distress and self-criticism, Cassatt decided that she needed to move away from genre paintings and onto more fashionable subjects, in order to attract portrait commissions from American socialites abroad, but that attempt bore little fruit at first. In 1877, both her entries were rejected, and for the first time in seven years she had no works in the Salon. At this low point in her career she was invited by Edgar Degas to show her works with the Impressionists, a group that had begun their own series of independent exhibitions in 1874 with much attendant notoriety. The Impressionists (also known as the ??Independents?? or ??Intransigents??) had no formal manifesto and varied considerably in subject matter and technique. They tended to prefer open air painting and the application of vibrant color in separate strokes with little pre-mixing, which allows the eye to merge the results in an ??impressionistic?? manner. The Impressionists had been receiving the wrath of the critics for several years. Henry Bacon, a friend of the Cassatts, thought that the Impressionists were so radical that they were ??afflicted with some hitherto unknown disease of the eye??. They already had one female member, artist Berthe Morisot, who became Cassatt??s friend and colleague. Degas, Portrait of Miss Cassatt, Seated, Holding Cards, c. 1876-1878, oil on canvasCassatt admired Degas, whose pastels had made a powerful impression on her when she encountered them in an art dealer's window in 1875. "I used to go and flatten my nose against that window and absorb all I could of his art," she later recalled. "It changed my life. I saw art then as I wanted to see it." She accepted Degas' invitation with enthusiasm, and began preparing paintings for the next Impressionist show, planned for 1878, which (after a postponement because of the World??s Fair) took place on April 10, 1879. She felt comfortable with the Impressionists and joined their cause enthusiastically, declaring: ??we are carrying on a despairing fight & need all our forces??. Unable to attend cafes with them without attracting unfavorable attention, she met with them privately and at exhibitions. She now hoped for commercial success selling paintings to the sophisticated Parisians who preferred the avant-garde. Her style had gained a new spontaneity during the intervening two years. Previously a studio-bound artist, she had adopted the practice of carrying a sketchbook with her while out-of-doors or at the theater, and recording the scenes she saw. Summertime, c. 1894, oil on canvasIn 1877, Cassatt was joined in Paris by her father and mother, who returned with her sister Lydia. Mary valued their companionship, as neither she nor Lydia had married. Mary had decided early in life that marriage would be incompatible with her career. Lydia, who was frequently painted by her sister, suffered from recurrent bouts of illness, and her death in 1882 left Cassatt temporarily unable to work. Cassatt??s father insisted that her studio and supplies be covered by her sales, which were still meager. Afraid of having to paint ??potboilers?? to make ends meet, Cassatt applied herself to produce some quality paintings for the next Impressionist exhibition. Three of her most accomplished works from 1878 were Portrait of the Artist (self-portrait), Little Girl in a Blue Armchair, and Reading Le Figaro (portrait of her mother). Degas had considerable influence on Cassatt. She became extremely proficient in the use of pastels, eventually creating many of her most important works in this medium. Degas also introduced her to etching, of which he was a recognized master. The two worked side-by-side for awhile, and her draftsmanship gained considerable strength under his tutelage. He depicted her in a series of etchings recording their trips to the Louvre. She had strong feelings for him but learned not to expect too much from his fickle and temperamental nature. The sophisticated and well-dressed Degas, then forty-five, was a welcome dinner guest at the Cassatt residence. The Impressionist exhibit of 1879 was the most successful to date, despite the absence of Renoir, Sisley, Manet and C??zanne, who were attempting once again to gain recognition at the Salon. Through the efforts of Gustave Caillebotte, who organized and underwrote the show, the group made a profit and sold many works, although the criticism continued as harsh as ever. The Revue des Deux Mondes wrote, ??M. Degas and Mlle. Cassatt are, nevertheless, the only artists who distinguish themselves??and who offer some attraction and some excuse in the pretentious show of window dressing and infantile daubing??. Cassatt displayed eleven works, including La Loge. Although critics claimed that Cassatt??s colors were too bright and that her portraits were too accurate to be flattering to the subjects, her work was not savaged as was Monet's, whose circumstances were the most desperate of all the Impressionists at that time. She used her share of the profits to purchase a work by Degas and one by Monet. She exhibited in the Impressionist Exhibitions that followed in 1880 and 1881, and she remained an active member of the Impressionist circle until 1886. In 1886, Cassatt provided two paintings for the first Impressionist exhibition in the United States, organized by art dealer Paul Durand-Ruel. Her friend Louisine Elder married Harry Havemeyer in 1883, and with Cassatt as advisor, the couple began collecting the Impressionists on a grand scale. Much of their vast collection is now in the Metropolitan Museum of Art in New York City. She also made several portraits of family members during that period, of which Portrait of Alexander Cassatt and His Son Robert Kelso (1885) is one of her best regarded. Cassatt??s style then evolved, and she moved away from Impressionism to a simpler, more straightforward approach. She began to exhibit her works in New York galleries as well. After 1886, Cassatt no longer identified herself with any art movement and experimented with a variety of techniques.

All the Edouard Vuillard's Oil Paintings

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