Similarities Between Mary Cassatt And Bessie Porter Vonnoh

The role of women in American society in the nineteenth and twentieth centuries was focused entirely on motherhood. During this period, artists continuously portrayed this social expectation. For example, Mary Cassatt’s Mother and Child painted in 1889 shows this intimate relationship. Similarly, Bessie Porter Vonnoh depicts a mother and child together in sculpture. This idea of representing the mother and child relationship in art is timeless; there are various works of Madonna and Child composed by many Old Masters such as Raphael and Michelangelo. Vonnoh’s work was different though, the use of medium and texture allows her to bring this sacred connection of mother and child into everyday life.
A Young Mother is sculpted in bronze, although

it is not monumental in size it is extremely detailed. Vonnoh’s use of bronze gives the work a very realistic feeling. The way the light reflects off of the mother’s dress and the blankets highlights the flowing motion of the material. Although bronze is a hard medium, Vonnoh is able to manipulate its exposure giving it a softened appearance. Along with the choice of medium, her utilization of texture also gives it a relatable, realistic view. Unlike classical sculpture that is entirely smooth, Vonnoh uses texture to connect the piece of work to everyday life. This complexity in medium and texture is seen throughout the work.
At the base of the sculpture, the mother’s dress drapes gently onto the ground. The gradual descent of the fabric to the ground elicits a relaxed feeling. The artist’s use of a minor gradient in relief depicts a delicate and gradual reflection of light. Peaking out from underneath the dress is the mother’s foot resting on a stool beneath the rocking chair. This detail suggests that she is in a comfortable position, soothing her child swaddled in her arms.
This detail is also seen in the mother’s knees, which are not level with each other. Her weight appears to be completely off of her legs and shifted back into the chair. From both sides of the sculpture the artist shows the detailed wooden frame of a rocking chair. The front of the arced base of the chair appears to be lifted and tipped back. This can be interpreted as the mother rocking back and forth, possibly soothing her child to sleep. Rocking chairs were widely used as a way to help rock a child to sleep. The detail utilized in depicting the wood grain and complexity of the rocking chair can be seen as a connection to reality. Vonnoh’s choice to vividly illustrate a rocking chair instead of another piece of furniture brings this piece of work to the average mother.
Moving up from the knees and base of the chair, the mother’s arms and the blanket that swaddles the baby are extremely textured.

The bottom of the blanket delicately lies across the mothers left leg. It blends with the draping of the mother’s dress, creating a literal representation of the inevitable bond between the two. The baby is cradled comfortably in the mother’s arms. The artist does not suggest any muscle tension with the use smooth arms and gradual angles. This use of flowing lines brings a sense of gentleness. The mother appears to be resting; the duty of caring for her child is a natural and innate ability. The arrangement of her arms around the baby also suggests the natural motherly instinct. Holding the baby securely and against the chest highlights the closeness of the relationship, both physically and

emotionally.
Their emotional connection is most intimately represented through their facial expressions.

The eyes in both the mother and child are not very detailed, but are on a paralleled connection between each other. Vonnoh sculpted the eyes with simple small slits and a slit rounding to emphasis the shape and dimension. This generalized depiction of the eyes allows the viewers to place themselves in the work. This is part of the reason that Vonnoh’s sculpture is seen as more down to earth. The slight tilt in the mother’s head and her gaze at the child’s face emphasizes her adoration and care for the child. The child’s eyes appear closed suggesting they are asleep, completely comfortable and safe in the mother’s arms. Aside from this, the child’s lips and cheeks are sculpted with a slight downward arc, further supporting a sense of relaxation. On the other hand, the mother’s brow appears to be furrowed and her lips a bit pursed. This tension can be interpreted as a concern for the child that all mother’s experience.
This concept of caring and concern is also depicted in the mother’s body position. Her body is offset from the center of the chair. Her right shoulder brought forward towards the viewer, somewhat enclosing the child. This can be seen as a protective position, such that is seen in all types of animals. Although there is the protective aspect, Vonnoh counterbalances this with the extensive use of smooth arcs and gradual changes in depth. This allows for a softened appearance

of the mothers expression and position. The protective position is out of love and care for the child.
Aside from the focal points, the back of the sculpture depicts a blanket draped over the rocking chair. This draping creates regularity between the chair, the mother’s dress and the child’s blanket. Her use of modulation of depth with smooth waves connects these all as one item. This is the depiction of motherhood; a mother relaxing while comforting, caring for and adoring her child. The mother and child relationship depicted by Vonnoh is much more realistic than many classical sculptures such as Madonna of Burges by Michelangelo. This new depiction of motherhood is much more relatable. It shows some stability in the rapidly changing America of the 1900’s.
Overall, Vonnoh has brought the holy depiction of motherhood down to earth through sculpture. A major component of her work that she utilized to accomplish this was her choice of medium. Bronze allows for a more natural and spontaneous appearance to sculpture. This irregularity is often interpreted as a correlation to life. In reality, the human isn’t as smooth and perfect as depicted in marble sculpture. Vonnoh’s work is similar to genre art. She has composed a sculpture that elicits a strong personal connection to the average person.