81.28 x 66.04 cm (32 x 26 in.)
Oil on canvas

Inscriptions: Lower left: Mary Cassatt.

Classification: Paintings
Catalogue: Breeskin 73

On view in the: Sidney and Esther Rabb Gallery (European Art 1870–1900)

Mary Stevenson Cassatt, raised near Pittsburgh and first trained as a painter in Philadelphia, became nineteenth-century America's most modern painter. Like many of her contemporaries, Cassatt felt that her artistic education in the United States was inadequate, and she traveled to Europe soon after the Civil War. She studied in both Italy and France, and by 1873 she had made Paris her home. While most of her compatriots were proud of the education they received in the art schools of the French capital, Cassatt soon tired of the conservative approach taught in those academies and perpetuated by the exhibitions they organized. She felt strongly that painting needed to break free of old methods and adapt to the modern world.
Cassatt found the answer to her demand for a new kind of painting in the work of the Impressionists, a small circle of independent French artists. She approved of their disdain for juried exhibitions and soon adopted their experimental techniques and their preference for images of contemporary life. In 1877 Edgar Degas invited her to show her work with the group. Cassatt thus became one of only three women, and the only American, ever to join the French Impressionists.
In the Loge was the first of Cassatt's Impressionist paintings to be displayed in the United States, where critics described the picture as a promising sketch (but not, as Cassatt would have intended, as a finished painting). It depicts a fashionable lady dressed for an afternoon performance at the Français, a theater in Paris. Entertainments like the theater, the opera, and the racetrack were extremely popular among Parisians, who enjoyed such diversions not only for the show, but also for the opportunity to see-and to be seen by-their peers. The Impressionists took delight in painting these spectacles of modern life, and the theater, with its dazzling variety of lights and reflections, was an especially appealing subject. Many male artists, including Pierre-Auguste Renoir and Degas, had painted beautiful women in theater boxes, where they appeared as if they were on display in a gilded frame. Cassatt gave her female figure a noticeably more dynamic role, for she peers avidly through her opera glasses at the row of seats across from her. In the background at the center, a man trains his gaze upon her. The viewer, who sees them both, completes the circle. Cassatt's painting explores the very act of looking, breaking down the traditional boundaries between the observer and the observed, the audience and the performer.

This text was adapted from Davis, et al., MFA Highlights: American Painting (Boston, 2003) available at www.mfashop.com/mfa-publications.html.

Museum of Fine Arts, Boston

The Hayden Collection—Charles Henry Hayden Fund, 1910
Accession number: 10.35

Provenance/Ownership History: The artist; to J. Gardner Cassatt, the artist's brother, 1880; with Martin and Camentron, Paris, by 1893; with Durand-Ruel, New York, before 1897; with F.W. Bayley, Boston; sold by Bayley to MFA, 1910, purchased for $2,000.

This object is included in the following Selected Tour(s):

• American Paintings
• American Paintings Highlights
• MFA Images: MFA Icons
• MFA Images: American Impressionism & Related Works
• MFA Images: Performing Arts
• Wallpaper
• Archival Replicas: Brilliant American Paintings