Press Release

Mary Cassatt: An American in Paris

Shown from the knees up, a young woman wearing a white gown and bonnet sits in front of a balcony railing on a sunny day, holding a small dog on her lap in this vertical portrait painting. The scene is painted with visible brushstrokes, which are especially broad in the background and clothing. The woman sits with her body angled to our left, and she looks down in that direction with blue eyes. She has a short, snub nose, rosy cheeks, and her full, pink lips are parted. The woman’s bonnet is tied under her chin with a pale yellow bow. Her dress has a tightly-fitting bodice, elbow-length sleeves, and a long skirt. The bonnet and dress are painted with strokes of faint sky blue, petal pink, lavender purple, and mint green, with cream-white highlights and some darker cobalt-blue and apricot-peach strokes for shading. The dog on her lap lies with its head to our left, lifted as it looks out onto the landscape. The tan glove the woman wears on the arm we can see reaches her elbow, and she rests that hand on the dog’s back. Her right arm, to our left, is hidden below the elbow by the dog. The animal has charcoal-gray fur along its back and tan fur on the legs and shaggy face. The woman sits in a wicker armchair with a crimson-red medallion next to her left shoulder, to our right. The black balcony railing spans the width of the painting at the level of her nose, and has vertical bars. In the landscape beyond, trees to the right are painted loosely with sage green and mustard yellow. Buildings in the distance fill the top quarter of the composition, and are loosely painted with strokes of slate and aquamarine blue. The sky above is streaked with pale blush pink and ice blue. The artist signed the painting in the lower right corner, “Mary Cassatt.”

Mary Cassatt
Young Girl at a Window, c. 1883–1884 
oil on canvas 
overall: 100.3 x 64.7 cm (39 1/2 x 25 1/2 in.) 
framed: 133.99 x 96.52 x 12.7 cm (52 3/4 x 38 x 5 in.) 
National Gallery of Art, Corcoran Collection (Museum Purchase, Gallery Fund) 
2014.79.9 

In honor of the centennial of her death in 1926, Mary Cassatt: An American in Paris celebrates the National Gallery’s unparalleled collection of works by this impressionist master, the only American and one of only three women artists who participated in the movement. Mary Cassatt was among the most radically innovative artists working in Paris in the late 19th and early 20th centuries. She is widely viewed through an art historical lens as a French artist—she lived in France for most of her life and was deeply immersed in the city’s culture for over four decades. Within France, however, she was and continues to be regarded unequivocally as American.  

Featuring some 40 works largely drawn from the National Gallery’s collection, including paintings and works on paper, the exhibition foregrounds how her work across media was mutually informative. Rarely seen color prints inspired by an exhibition of Japanese woodcuts Cassatt saw in Paris in 1890 are shown alongside preparatory drawings, multiple states, and unique proofs that underscore the development of her complex creative process. In preparation for the exhibition, five of the National Gallery’s paintings have been cleaned and studied.

The show begins with a work from Cassatt’s travels to Italy and Spain between 1871 and 1874, where she established herself as a professional artist. It then follows her return to Paris, where she depicted city life from a woman’s perspective. There, in some of her most iconic works, she explored the emotional and psychological dimensions of the domestic sphere—portraying women engaged in everyday activities. It concludes by interrogating Cassatt’s experimental approach to paint handling, printmaking, and drawings. She developed her method through the serial exploration of women’s lived experience in the later 19th- and early 20th-century France: going out to the opera, socializing, bathing, meditating, and taking care of children.

The exhibition is organized by the National Gallery of Art, Washington.

The exhibition is curated by Rena Hoisington, curator and head, department of old master prints; Mary Morton, curator and head, department of French paintings; and Kimberly A. Jones, curator of 19th-century French paintings, all from the National Gallery of Art.

 

In the Library: Mary Cassatt’s American Legacy

In conjunction with Mary Cassatt: An American in Paris, the National Gallery of Art Library presents an installation of archival photographs, rare catalogs, and documentation—including Cassatt’s correspondence—that explore the artist’s American ties.  

Drawn from the wide-ranging research collections of the National Gallery, this special installation highlights lesser-known aspects of the renowned impressionist’s life, particularly her role as an artistic adviser to American audiences. Born and educated in Pennsylvania, active in Paris for most of her career, Cassatt made art that reflected a cosmopolitan identity. She fused her American training with a deep engagement with Japanese prints—especially those of Hiroshige, Hokusai, and Utamaro—and European painting, from old masters like El Greco and Diego Velázquez to the innovations of the French avant-garde.  

Cassatt shared her artistic interests and insights with her American network of family and friends, shaping private collections, cultivating support for her own work, and guiding acquisitions for public institutions. In doing so, Cassatt fostered American appreciation for both the avant-garde and the old masters, securing her legacy as an artist and cultural mediator.

Curated by Elisabeth Narkin, image specialist for architecture, and Ellen Prokop, image specialist for French art to 1900, this installation is on view from February 16 through May 15, 2026, in the East Building Library Atrium from 11:00 a.m. to 4:30 p.m., Monday through Friday. 

Press Kit

Exhibition Announcement: Mary Cassatt: An American in Paris

Order Press Images

Exhibition Checklist (PDF, 892.5 MB)

Curator Biographies:
Rena Hoisington, curator and head, department of old master prints
Mary Morton, curator and head, department of French paintings
Kimberly A. Jones, curator of 19th-century French paintings

Contact Information

You may also like

We hover over the bottle-green surface of a river as it rushes toward a horseshoe-shaped waterfall that curves away from us in this horizontal landscape painting. The water is white and frothy right in front of us, where the shelf of the riverbed changes levels near the edge of the falls. Across from us, the water is also white where it falls over the edge. A thin, broken rainbow glints in the mist near the upper left corner of the painting and continues its arc farther down, between the falls. The horizon line is just over halfway up the composition. Plum-purple clouds sweep into the composition at the upper corners against a lavender-colored sky. Tiny trees and a few buildings line the shoreline to the left and right in the deep distance.

Press Release:  Niagara Falls: Mist and Majesty

Niagara Falls: Mist and Majesty probes the layered histories of Niagara Falls from the early 19th century to today. 

Press Release:  First-of-Its-Kind Exhibition Opening at the National Gallery of Art Explores Photography’s Role in the Black Arts Movement

Photography and the Black Arts Movement, 1955–1985 investigates the role of African American photographers and artists working with photographs in developing and fostering a distinctly Black perspective on art and culture.