In the Omnibus, 1890-91. A decade of practice and experimentation as a printmaker culminated in a suite of ten colour prints made in 1890-91. Combining glaze-like, layered tones of aquatint with the textured surfaces of softground etching and the pure, clear outline of drypoint, Cassatt's innovative prints astonished and amazed her contemporaries. Camille Pissarro, himself a printmaker as well as a painter, admired the perfection of her prints, describing the colours as "subtle, delicate, adorable blues, fresh rose, ; The result for him was "admirable, as beautiful as Japane
In the Omnibus, 1890-91. A decade of practice and experimentation as a printmaker culminated in a suite of ten colour prints made in 1890-91. Combining glaze-like, layered tones of aquatint with the textured surfaces of softground etching and the pure, clear outline of drypoint, Cassatt's innovative prints astonished and amazed her contemporaries. Camille Pissarro, himself a printmaker as well as a painter, admired the perfection of her prints, describing the colours as "subtle, delicate, adorable blues, fresh rose, ; The result for him was "admirable, as beautiful as Japanese ; In the Omnibus is the only scene in the series that does not have an interior setting. The theme of travel was appealing to artists in 19th-century Paris—it represented a public space where people of different classes and genders were juxtaposed in close proximity. A quintessential modern life subject, Cassatt depicts a bourgeois lady accompanied by her baby and a nursemaid doing errands in the city. While the nanny and the child interact, the mother's gaze is directed elsewhere, wandering to the world beyond.
Size: 3503px × 4949px
Photo credit: © Heritage Images / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: 1844-1926, 19th, america, american, art, cassatt, century, cleveland, heritage, mary, museum, print
