The term japonisme, first coined by art critic Philippe Burty in 1872, refers to “the craze for Japanese art and design that swept France and elsewhere after trade with Japan resumed in the 1850s.” In France, growing interest in Japanese art and culture influenced countless artists to appropriate formal qualities of Japanese art for use in their own work and inspired them to see the world in new ways. Several stylistic elements of The Paintings Gallery reflect Degas’s interest in Japanese prints and the general prominence of japonisme in the Impressionist group.
A wide marble doorjamb frames the left side of the print, partially obscuring the figures of Mary and Lydia Cassatt. Cassatt’s sister, Lydia, is seated by the entryway holding a book and looking toward the wall of paintings. Mary Cassatt in the Paintings Gallery at the Louvre depicts Degas’s close friend and artistic collaborator, the American expatriate artist Mary Cassatt, walking through a gallery of paintings in the Louvre Museum in Paris. Cohen Gallery 234), is one of the finest examples of Degas’s admiration for Japanese art and his engagement with the stylistic qualities of Japanese prints. Mary Cassatt in the Paintings Gallery at the Louvre of 1879–1880, currently on view in Impressionism and Beyond (Gallery 235 and the Sidney S. Over the course of nearly four decades, Degas produced 66 graphic works and around 400 impressions of his prints. Impressionist artist Edgar Degas was known foremost as a painter and pastelist through much of his career, but he was also a skilled and prolific printmaker.
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