The signatures of Rosa Bonheur, Mary Cassatt, and six other historical women artists are engraved on a small stretch of sidewalk on Manhattan’s Upper East Side.
“If the world is to be saved, it will be the women who save it,” said the American Impressionist, who led a headstrong life as a woman abroad.
The Swiss artist Nicolas Party is both the subject and curator of Pastel, an extraordinary exhibition examining the under-appreciated, fugitive medium and its history.
The American Impressionist lived what seems like a dream life.
The exhibit at the Legion of Honor Museum includes paintings by Impressionists, along with period hats and bonnets embellished with silk flowers, ribbons, plumes, and feathers.
Up in a hallway off the Rose Main Reading Room of the New York Public Library is a small exhibition of prints from one of Impressionism’s iconic artists. Created between 1878 and 1898 by Mary Cassatt, the quiet depictions of women in repose with family pets or viewing the opera might not immediately catch the eye of those who happen to pass by, but they represent not just the early experimentations of Cassatt, but one of New York’s greatest overlooked art collections.
Perhaps the most frustrating thing about being an art historian is being asked, “Who is your favorite artist?” or “What is your favorite kind of art?” These questions are always difficult for me to answer honestly in less than few sentences. Perhaps because I am a talker, or because on any given day or even hour, my answer may be different. My frustration heightens with the questioner’s following claim, “Impressionism is my favorite.” Honestly, this statement just pisses me off more than anything else about being an art historian.