Who painted The Bath?

The Bath was painted by Mary Cassatt in 1890.

Where can I see The Bath?

The Bath is held by National Gallery of Art.

What movement is The Bath?

The Bath is associated with Impressionism.

Artwork

The Bath

Mary Cassatt , 1890

The Bath is an ink print by the Impressionist artist Mary Cassatt. It dates from 1890 and is held in the collection of the National Gallery of Art. Created in 1890, this print combines color drypoint, soft‑ground etching and aquatint on a sheet of Japanese paper.

About this work

Overview

Created in 1890, this print combines color drypoint, soft‑ground etching and aquatint on a sheet of Japanese paper. The composition presents a domestic scene in which a mother, dressed in a vivid yellow garment, holds her infant while the child reaches toward a blue basin of water. The work exemplifies the artist’s sustained interest in intimate, everyday moments within the private sphere.

Subject & Meaning

The image captures a quiet ritual of care: a mother gently cradles her baby during a bathing routine. The calm expression on the woman's face and the tender gesture of the child’s hand convey a sense of nurturing intimacy. By focusing on this ordinary act, the piece underscores the emotional bond between mother and child, a recurring theme in the artist’s oeuvre.

Technique & Style

Aquatint adds tonal washes of color, creating subtle gradations of light and shadow that suggest the translucency of water and the softness of skin.

The print’s surface results from a layered process. Drypoint provides the crisp, incisive lines that define the figures, while soft‑ground etching yields softer edges and textures, especially in the fabric patterns. Aquatint adds tonal washes of color, creating subtle gradations of light and shadow that suggest the translucency of water and the softness of skin. The combination yields a balance of precise outlines and atmospheric shading.

History & Provenance

The work was produced by an American artist living in France who was closely linked to the Impressionist circle and exhibited alongside its leading members. It reflects the period’s fascination with Japanese paper as a support for printmaking. The piece has remained within the artist’s print series that highlighted domestic life, and it continues to be cited in studies of late‑19th‑century women’s representation in art.