Impressionism, Realism, and Gender Roles as Expressed by Mary Cassatt and Thomas Eakins

Claude Monet Impression Sunrise, 1872 

         Throughout history, new ideas have either been praised as advancements of society, or scorned as defects emanating from radical minds.  The late 19th century saw an emergence of a new style of painting in France.  Artists utilizing this radical style were called "Impressionists," a name derived from Claude Monet's work Impression Sunrise.  Mary Cassatt, a native from Pennsylvania, was one such artist who was influenced by this style of painting.  Her contemporary and fellow American Thomas Eakins, however, painted in a more realistic style.  This essay will discuss the two art styles and how the aforementioned artists' paintings were representative of these movements.  The issue of gender roles in art will also be discussed using Cassatt and Eakins'
works as examples.
Impressionism was a movement defined by an emphasis on brush stroke,
depiction of light and color en plein air, and a rejection of chiaroscuro
(Eisenman 359).  Artists who painted in this style had a small following but
were mainly scorned by the more prominent art community and critics. Their
paintings were mocked as simple, unfinished sketches.  It wasn't until the late
19th century that Impressionist works became more commonplace and accepted as an
art form.
Realism was another movement prominent during the 19th century.  This
style was defined by an objective, third person view of people and events.  It
rejected the overly dramatic and stylized depictions found in Classical and
Romantic works.  The differences in styles between Realism and Impressionism can
be explained through an analysis of the works of Cassatt and Eakins.

Mary Cassatt The Boating Party, 1893-4

Mary Cassatt's style and view on gender roles can be summed up in her work The Boating Party.  This piece shows a mother holding her child with an
oarsman in the foreground.  Cassatt rejects spatial depth and instead relies on influence from Japanese prints and Manet as seen in her drawing of shapes and forms in the painting.  The water in the background is painted with visible brush strokes and shades of blue, representative of Impressionist style.  In regards to gender role, Cassatt portrays the woman as the central figure and being served by the oarsman.  The oarsman on the other hand faces away from the viewer showing his comparative unimportance to the woman and child.  The man is no longer the leader using his strength to display superiority.  Instead he uses his strength as a form of service to the woman.  The woman also confidently
holds her rambunctious child with ease.  In this manner, Cassatt portrays
motherhood not as a sign of submission, but rather as a heroic
choice.

Thomas Eakins The Gross Clinic, 1875

Thomas Eakins painted in a more Realist sense.  In The Gross Clinic, Eakins depicts a scene where a famous doctor is leading the operation of a young victim.  Eakins concentrates on representing the heroism of American professional achievement (Eisenman 378) with the intellectual stoicism displayed by the assistants and spectators in the background.  The figures in the foreground are detailed and focused.  Contrasting Cassatt's confident woman, Eakins portrays the only woman in this painting as a weak, emotional figure.  The woman, the mother of the victim, looks away and seems to be cowering as illustrated by her clenched hands brought close to her body.  In this sense, the woman is not a heroic figure with her child, but an irrational and emotional being.
New ideas will always be met with opposition.  Those who vehemently adhere to traditions will without a doubt reject progressive views. Cassatt and Eakins clearly show this dichotomy of not only art styles, but also gender viewpoints through their works.  But as history has proven countless times,
progression is an inevitable part of an educated society.

Works Cited/ References:
Eisenman, Stephen F. Nineteenth Century Art A Critical History Fourth Edition

All images courtesy of Wikipedia.

Link to locations of Mary Cassatt's works in museums

The Philadelphia Museum of Art