The American impressionist Mary Cassatt spent her career in Europe, settling in Paris. Stifled by tradition, she regarded her exposure to the work of Edgar Degas in 1874 as a “turning point in my artistic life.” She later wrote that “Degas’s art is for the very few,” recognizing a critical sophistication required to appreciate his innovations. After her rejection by the Paris Salon of 1877, Cassatt welcomed Degas’s invitation to exhibit with the impressionists in 1879. Cassatt and Degas engaged in lively dialogues about the depiction of modern life, and their vibrant artistic exchange is evident in her willingness to model for him on several occasions. They also collected each other’s work. Degas captures the collaborative nature of their friendship in this portrait, where Cassatt is shown in what may be a photography studio holding photographs, possibly reproductions of works of art, seated, as if in the midst of conversation.

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   The American impressionist Mary Cassatt spent her career in Europe, settling in Paris. Stifled by tradition, she regarded her exposure to the work of Edgar Degas in 1874 as a "turning point in my artistic life." After her rejection by the Paris Salon of 1877, Cassatt welcomed Degas's invitation to exhibit with the impressionists in 1879. Cassatt shared their interest in the depiction of modern life and their commitment to developing innovative methods to capture fleeting moments. A lifelong friend of Degas, she served as model for him on a number of occasions. Despite her high regard for his work, Cassatt later dismissed this portrayal, commenting: "It has artistic qualities but is so painful and represents me as a person so repugnant that I would not wish it to be known that I posed for it."

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