The Child's Bath

Bathing , Madonna and Child, 1510, oil on wood, 34.3 x 27.6 cm, Metropolitan Museum of Art, New York City In the mid-1880s, there were several cholera outbreaks in France, and public health campaigns called on people to bathe regularly. Bathing was coming to be understood as a medical prevention measure against diseases. At the same time, mothers were encouraged to take care of their own children, rather than utilizing caretakers, using modern hygiene methods employed at the time. Although Cassatt's reason for specializing in such a theme was never clearly explained by the artist herself, scholars have speculated that it was led by both "pragmatic and idealistic impulses". In the depiction of mothers, Cassatt consciously avoided using the female nude, which she considered as an appeal to men's treatment of women as erotic objects. Rather, she wished to emphasize the "moral sensibility and totality" of women's lives and only to suggest their sexuality through maternal relationships. The act of touching between the mother and the child in her works serves to indicate emotional and physical gratification as well as a feeling of protection and intimacy. On the other hand, Cassatt limits herself to include the nude body of children, but such nudity carries no sexual implication; instead, it is "natural and sensual" and symbolizes "goodness, purity, and lack of artifice". Combining the fully clothed mother with a partially dressed child, she rejected any sexual feelings; she moves the sensuality to a proper condition, the motherhood in which physical intimacy is allowed and appropriate. == Description ==

The genre painting depicts a mother bathing a young child: an everyday scene that is "special by not being special". It is signed to the lower left "Mary Cassatt". The woman is sitting on an oriental carpet, with the child on her knees. The child has a white cloth swathed around their abdomen, and the woman is wearing a dress with strong vertical stripes of green, pink and white. The woman holds the infant firmly and protectively around its waist with her left hand while the other hand carefully washes the child's bare limbs in a basin of water, resting on the floor beside a jug decorated with a floral pattern. The chubby left arm of the child braces against the mother's leg, while their other hand grips the child's own right thigh. The mother's right hand presses firmly but still gently on the child's right foot in the basin, mimicking the child's own pressure on her thigh. In the background are floral patterns of painted furniture and wallpaper. To indicate depth, Cassatt painted the faces receding into space. The paint strokes are layered and rough, creating thick lines that outline the figures and make them stand out from the patterned background. The hand of the artist is evident through the roughness of the strokes. ==Stylistic analysis==

Patterns and colors Many scholars have noted that The Child’s Bath recaptures the qualities present in her previous work by utilizing similar techniques. The composition is divided into two parts: the patterned area in the background and the pink and white area of the figure. Cassatt employed rich patterns, such as the floral wallpaper and the striped dress of the mother, to create a contrast with the plain torso of the child, making the child more prominent. Angle of vision The most distinctive feature of the painting is the angle of vision, which creates the sense of hovering above the scene. This perspective draws the viewer's attention to the two figures while giving a complete view of the surrounding space, but it serves more than a decorative purpose. Due to this tilted angle of vision, the obscured facial expressions of the mother and the child create a psychological distance, but their gazes at the reflections of the water guide the audience to concentrate on the activity of bathing. Composition Cassatt also created a cohesive composition through the gestures of the figures and geometrical resonances. The stripes of the mother's dress echo her straight arms, coinciding with the child's linear limbs. The oval shapes of the figures’ heads resemble that of the basin below; the shapes are connected by the diagonals created by the figures. Interlocking gestures also unify the scene: the contacts of hands on the knee, and the touching of the feet in the basin tie the painting together while conveying the underlying themes of intimacy and tenderness. Overall, art historian Griselda Pollock suggests that unlike Cassatt's previous works, in which these formal devices were used to convey “unexpected symbolic meaning” within an ordinary action, The Child’s Bath underscores the actions of the mother and child rather than their relationship in particular. However, Nancy Mowll Mathews suggests that the two figures appear to be serious and solemn, rather than playful and fully relaxed; this formality of the scene makes the mother and her child seem to be “engaging in a sacred site” and resembles “Madonna washing the feet of the Christ Child”. ==Influences==

Both the subject matter and the unusual perspective of the painting, viewing the foreshortened subjects from above, were inspired by Japanese prints and Degas. "Japanese printmakers were more interested in decorative impact than precise perspective." , Woman at Her Toilette, 1900-1905, pastel on tracing paper, 75 × 72 cm, The Art Institute of Chicago Comparison with Edgar Degas Cassatt was heavily influenced by some of her Impressionist peers, especially Edgar Degas. The first Impressionist painting to travel to the United States was a pastel by Degas in 1875 that she purchased. Cassatt began to exhibit with the Impressionists in 1877, where she met other fellow Impressionists such as Claude Monet and Berthe Morisot. The devices Cassatt deployed in The Child’s Bath were influenced by Degas: particularly, the subject of bathing and the acute angle of vision. However, Cassatt's manipulation carries a different focus and evokes more heightened emotions. Both artists often depicted their bathers with "a lack of self-consciousness”, She worked on a series of prints inspired by the Japanese works in the next few years, with cropped subjects, a flattened perspective and decorative patterns. This 1893 painting can be viewed as a culmination of that work. Like her previous works, the composition of The Child’s Bath resembles the shape of Japanese prints by utilizing an “extended vertical format” along with the long straight limbs of the figures. Additionally, the seeing-from-above perspective which was used widely in Japanese art is also prominent in Cassatt's painting. File:行水-Bathtime (Gyōzui) MET DP135590.jpg|Kitagawa Utamaro's woodcut print , c.1801, , Metropolitan Museum of Art File:The Bath MET DP819589.jpg|Mary Cassatt's 1890-91 drypoint etching and aquatint The Bath, , Metropolitan Museum of Art ==Provenance==

During the late 1880s to 1890s, France favored domestic artists, and this made Cassatt feel excluded, prompting her to turn her attention back to her native country, the United States. Even though she was initially met with ambivalence from critics, the assistance of Paul Durand-Ruel was able to assure her success and status as an American artist. The artist sold the painting to Durand-Ruel and it was exhibited at the Durand-Ruel gallery in Paris in late 1893 under the title ''La Toilette de l'Enfant. It was sold to Connecticut industrialist and art collector Harris Whittemore in 1894, but lent back to Durand-Ruel for an exhibition at their New York gallery in 1895 under the title La Toilette''. In order to help Cassatt achieve her goals in the U.S., Durand-Ruel explored new ways to expand Cassatt's American audience: through museums and institution exhibitions. When the artist returned home in 1897, Durand-Ruel first submitted The Child’s Bath and Reverie (Also known as Woman with a Red Zinnia) to the annual exhibition at Pennsylvania Academy of the Fine Arts in early 1898. Afterward, Durand-Ruel helped to circulate Cassatt's The Child’s Bath along with her other works in multiple major cities in the U.S. from 1897 to the early 1900s, and this successfully established Cassatt as an American artist. The painting was sold to the Art Institute of Chicago in 1910. ==See also==