Title: Mother and Child
Painter: William Merritt Chase
This painting depicts the artist’s wife, Alice Gerson Chase and their firstborn child, Alice Dieudonnee Chase. The child is holding a coral whistle and looks over her mother’s shoulder, who is dressed in a japanese-inspired costume. According to Katherine Metcalf Roof, Chase biographer, the col
William Merritt Chase was born in the United States of America on November 1, 1849 in Williamsburg (now Nineveh), Indiana, to the family of a local businessman. Chase worked in all media. He was most fluent in oil painting and pastel, but also created watercolor paintings and etchings. He is perhaps best known for his portraits, his sitters including some of the most important men and women of his time in addition to his own family. Chase often painted his wife Alice and their children, sometimes in individual portraits, and other times in scenes of domestic tranquility: at breakfast in their backyard, or relaxing at their summer home on Long Island and the children playing on the floor.
Title: Mother and Child
Painter: Frances Hodgkins
The artist has drawn mother and child together in the intimacy of an embrace. The reduction of details allows bringing together of the two figures, as does the pool of shadow bonding the faces of mother and child. Hodgkins seems to focus on the inner feelings of the mother whose eyes are closed so that we become private participants in a private moment with her baby.
Frances Hodgkins (1869-1947) is one of the most highly regarded New Zealand painters, even though her overseas reputation does not extend beyond Britain where her works are known but not seen as of great impotance. She gradually developed her style and left her provincial origins behind, so that by 1930s and 1940s she was acclaimed as a leading British painter.
Title: Mother and Child with a Rose Scarf
Painter: Mary Cassatt
This painting was painted near the end of Mary Cassatt’s career. Studies and related works reveal the painstaking method by which she composed the painting. These include three watercolors and two pencil studies for the position and interaction of the figures, an oil sketch of the child’s head-length figures. The seated woman, wearing a pale green dress with a rose scarf, embraces a blue-eyed child. The back of the woman’s head is reflected in an oval mirror above a marble-topped mahogany console. A gilded blue and white vase with pink, crimson, and yellow flowers rests on the white marble top. The figures, although posed asymmetrically, form a pyramid in the classical manner; and the interplay of vertical and horizontal lines in the background maintains the symmetry. This subtle arrangement is underscored by the curving forms of the figures and the cropped oval mirror.
Mary Stevenson Cassatt was an American painter and printmaker. She lived much of her adult life in France, where she first befriended Edgar Degas and later exhibited among the Impressionists. She often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children
Title: Mother and Child
Painter: Pablo Picasso
The almost monochromatic use of blue in this period, and its traditional association with the Madonna, are superbly combined to produce a set of haunting, almost ghostly images. Notably, many of the Blue Period women are bowed as if carrying a heavy emotional burden. Here the handling of space has a distinctive feel. The spatial structure is clearly defined and organized in horizontal bands crossed by the vertical lines of the upright chair. This grid-work of lines is beautifully disturbed by the gentle motion of the mother’s lovingly bent head kissing the child.
Pablo Picasso was a Spanish painter, sculptor, printmaker, ceramicist, and stage designer who spent most of his adult life in France. Picasso’s Blue Period (1901–1904) consists of somber paintings rendered in shades of blue and blue-green, only occasionally warmed by other colors. Many paintings of gaunt mothers with children date from this period. The highly expressive style is reminiscent of the 16th-century Spanish Mannerist master, El Greco (1541-1614), whom Picasso studied during his brief time in Madrid in 1896, reflected in the exaggerated, enlarged hands and the long, tapering fingers.
Title: A mother feeding her Child
Painter: Willem Van Mieris
In this traditional domestic interior, Willem treated the middle-class mother and her children as rather elegant, generalized types. He employed the refined, enamel-like painting technique associated with the artists of Leiden, achieving a surface that shows no obvious traces of the brush.
Willem van Mieris was a Dutch painter. He was born in Leiden, a son of Frans van Mieris Sr. and brother of Jan van Mieris. His father, Frans van Mieris, was also a leading practitioner in this field. While Frans’s subjects were often satirical, Willem responded to the fashion for more dignified, classicizing subjects that emerged in the last decades of the 17th century. He opened an art academy in 1649 but it closed in 1736 because he was partially blind.