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

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

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