Artwork
The Coiffure

The Coiffure 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.
About this work
Overview
The Coiffure, created by Mary Cassatt in 1890, is a print combining color drypoint, softground etching, and aquatint on laid paper. It captures a serene, intimate moment between two women engaged in personal grooming.
Subject & Meaning
The print depicts two women in a simple, domestic setting, one seated on a bed brushing her hair with her back turned, the other standing bare-backed, adjusting her hair in a mirror. The scene emphasizes the quiet, bonding moment between them, reflecting Cassatt’s interest in portraying everyday, intimate interactions, especially among women.
Technique & Style
The work showcases Cassatt’s skill in printmaking, utilizing a blend of techniques to achieve smooth lines, subtle textures, and a nuanced interplay of light and dark tones. The style, while aligned with Impressionist principles, prioritizes simplicity and the capture of a fleeting domestic moment over detailed rendering.
History & Provenance
As an American expatriate in France, Cassatt was closely tied to Edgar Degas and the Impressionist movement, with this piece reflecting her association through its subject matter and artistic approach. However, specific provenance details for *The Coiffure* are not provided.
Context
Created during Cassatt’s period of active engagement with the Impressionists, *The Coiffure* fits within her thematic preoccupation with domesticity and female relationships, distinguishing her work within the broader movement.
Legacy
While *The Coiffure* exemplifies Cassatt’s mastery of printmaking techniques and her contribution to Impressionist themes, its broader impact and legacy within Cassatt’s oeuvre and the Impressionist movement are not explicitly detailed in the provided information.
Artist & collection
Artist
Mary Stevenson Cassatt (; May 22, 1844 – June 14, 1926) was an American painter and printmaker.














