| Lady at the Tea Table | |
|---|---|
 | |
| Artist | Mary Cassatt |
| Year | 1883–85 |
| Medium | Oil on canvas |
| Subject | Mary Dickinson Riddle |
| Dimensions | 73.7 cm× 61 cm(29.0 in× 24 in) |
| Location | Metropolitan Museum of Art, New York |
Lady at the Tea Table is a late 19th-century painting by American artist Mary Cassatt. The work, done in oil on canvas, is in the collection of the Metropolitan Museum of Art. [1]
The painting depicts Mary Dickinson Riddle, Cassatt's mother's first cousin, seated at a table set with a tea service. The tea set was a gift to Cassatt's family from Riddle's daughter. The tea service itself is gilded blue-and-white porcelain from Canton (modern day Guangzhou) in Qing dynasty China; In the 19th century, Canton was renowned for its exports to the Western world, as the port city was one of the centers of the Old China Trade. [2] [3] Lady itself was painted by Cassatt as a gift for the Riddle family. However, Riddle's daughter disliked the painting, thinking it portrayed her mother's nose as being too big, and thus the painting was donated to the Metropolitan Museum of Art by Cassatt in 1923. [1]
The painting exemplifies much of Cassatt's unique impressionist style; much emphasis is placed on the subject's stark outline, and Mrs. Riddle's jewelry pairs with the gold gilt on the tea service. Similarly, the faint blue hues used in the background draw the eye to the deeper blues of Riddle's eyes and the porcelain. The relative simplicity of the painting's design is also comparable to orientalist art, which Cassatt was influenced by. [1]
Mary Stevenson Cassatt was an American painter and printmaker. She was born in Allegheny, Pennsylvania, but lived much of her adult life in France, where she befriended Edgar Degas and exhibited with the Impressionists. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children.
Pottery and porcelain, is one of the oldest Japanese crafts and art forms, dating back to the Neolithic period. Kilns have produced earthenware, pottery, stoneware, glazed pottery, glazed stoneware, porcelain, and blue-and-white ware. Japan has an exceptionally long and successful history of ceramic production. Earthenwares were created as early as the Jōmon period, giving Japan one of the oldest ceramic traditions in the world. Japan is further distinguished by the unusual esteem that ceramics holds within its artistic tradition, owing to the enduring popularity of the tea ceremony.
Celadon is a term for pottery denoting both wares glazed in the jade green celadon color, also known as greenware or "green ware" ), and a type of transparent glaze, often with small cracks, that was first used on greenware, but later used on other porcelains. Celadon originated in China, though the term is purely European, and notable kilns such as the Longquan kiln in Zhejiang province are renowned for their celadon glazes. Celadon production later spread to other parts of East Asia, such as Japan and Korea as well as Southeast Asian countries such as Thailand. Eventually, European potteries produced some pieces, but it was never a major element there. Finer pieces are in porcelain, but both the color and the glaze can be produced in stoneware and earthenware. Most of the earlier Longquan celadon is on the border of stoneware and porcelain, meeting the Chinese but not the European definitions of porcelain.
Chinoiserie is the European interpretation and imitation of Chinese and other East Asian artistic traditions, especially in the decorative arts, garden design, architecture, literature, theatre, and music. The aesthetic of Chinoiserie has been expressed in different ways depending on the region. Its acknowledgement derives from the current of Orientalism, which studied Far East cultures from a historical, philological, anthropological, philosophical and religious point of view. First appearing in the 17th century, this trend was popularized in the 18th century due to the rise in trade with China and the rest of East Asia.
Chinese export porcelain includes a wide range of Chinese porcelain that was made (almost) exclusively for export to Europe and later to North America between the 16th and the 20th century. Whether wares made for non-Western markets are covered by the term depends on context. Chinese ceramics made mainly for export go back to the Tang dynasty if not earlier, though initially they may not be regarded as porcelain.
"Blue and white pottery" covers a wide range of white pottery and porcelain decorated under the glaze with a blue pigment, generally cobalt oxide. The decoration is commonly applied by hand, originally by brush painting, but nowadays by stencilling or by transfer-printing, though other methods of application have also been used. The cobalt pigment is one of the very few that can withstand the highest firing temperatures that are required, in particular for porcelain, which partly accounts for its long-lasting popularity. Historically, many other colours required overglaze decoration and then a second firing at a lower temperature to fix that.
Canton or Cantonese porcelain is the characteristic style of ceramic ware decorated in Guangzhou, the capital of Guangdong and the sole legal port for export of Chinese goods to Europe. As such, it was one of the major forms of exportware produced in China in the 18th and 20th centuries.
Gideon Nye was an American diplomat, art collector, writer and merchant in the East Indian and China trade, known both for his art collection and for his books on China.
Chinese influences on Islamic pottery cover a period starting from at least the 8th century CE to the 19th century. This influence of Chinese ceramics has to be viewed in the broader context of the considerable importance of Chinese culture on Islamic arts in general.
Chinese porcelain in European painting is known from the 16th century, following the importation of Chinese porcelain wares into Europe.
Little Girl in a Blue Armchair is an 1878 oil painting by the American painter, printmaker, pastelist, and connoisseur Mary Cassatt. It is in the collection of the National Gallery of Art, Washington D.C. Edgar Degas made some changes in the painting.
The Sydney punchbowls, made in China during the Jiaqing Emperor's reign (1796–1820) over the mid-Qing dynasty, are the only two known examples of Chinese export porcelain hand painted with Sydney scenes and dating from the Macquarie era. The bowls were procured in Canton about three decades after the First Fleet's arrival at Port Jackson where the British settlement at Sydney Cove was established in 1788. They also represent the trading between Australia and China via India at the time. Even though decorated punchbowls were prestigious items used for drinking punch at social gatherings during the 18th and 19th centuries, it is not known who originally commissioned these bowls or what special occasion they were made for.
Persian pottery or Iranian pottery is the pottery made by the artists of Persia (Iran) and its history goes back to early Neolithic Age. Agriculture gave rise to the baking of clay, and the making of utensils by the people of Iran. Through the centuries, Persian potters have responded to the demands and changes brought by political turmoil by adopting and refining newly introduced forms and blending them into their own culture. This innovative attitude has survived through time and influenced many other cultures around the world.
China painting, or porcelain painting, is the decoration of glazed porcelain objects such as plates, bowls, vases or statues. The body of the object may be hard-paste porcelain, developed in China in the 7th or 8th century, or soft-paste porcelain, developed in 18th-century Europe. The broader term ceramic painting includes painted decoration on lead-glazed earthenware such as creamware or tin-glazed pottery such as maiolica or faience.
The Wyndham Sisters: Lady Elcho, Mrs. Adeane, and Mrs. Tennant is an 1899 painting by John Singer Sargent. It is part of the collection of the Metropolitan Museum of Art. The painting was hailed by the critics and dubbed “The Three Graces” by the Prince of Wales.
Japanese export porcelain includes a wide range of porcelain that was made and decorated in Japan primarily for export to Europe and later to North America, with significant quantities going to south and southeastern Asian markets. Production for export to the West falls almost entirely into two periods, firstly between the 1650s and 1740s, and then the period from the 1850s onwards.
The Boating Party is an 1893 oil painting by American artist Mary Cassatt. It has been in the collection of the National Gallery of Art since 1963.
Mother and Child is a painting by Mary Cassatt. It is in the collection of the Metropolitan Museum of Art.
The Cup of Tea is a painting by Mary Cassatt which is in the collection of the Metropolitan Museum of Art.It was painted in Paris around 1880 to 1881. Cassat used her sister, Lydia as the model.
The Vase with the Poet Zhou Dunyi is a traditional Chinese porcelain vase produced in 1587, during the Ming Dynasty. The Vase can be identified by its Wanli Mark and period qualities, constituting its cobalt blue paintings decorating the transparent glazed porcelain. The Vase is now in the Metropolitan Museum of Art in New York City, purchased via the credit line of the Rogers Fund within the Museum. The structure and shape of the vase in accompaniment to the complex iconography is notable as it is meant to encouraging the viewer to read and understanding the image presented and their value in Chinese literati culture.
| Paintings |
|  |
|---|---|---|
| Prints |
| |
| Related |
| |