The Joy of Childhood: Mary Cassatt’s Children Playing on the Beach

In this article, we’re diving into Children Playing on the Beach by Mary Cassatt. This particular piece resonates deeply with me, as I hope to create something similar featuring my daughters, Elora and Arabella. This painting is one of the few coastal pieces by Cassatt, as she primarily focused on indoor scenes. It was also part of the eighth and final Impressionist Exhibition in Paris in 1886.

“Oh, my God! those babies! How those portraits have made my flesh crawl, time and again!—A whole passel of English and French smearers has painted them in such stupid, pretentious poses! . . . For the first time, thanks to Mlle. Cassatt, I have seen effigies of enchanting tots, calm and bourgeois scenes, painted with an utterly charming sort of delicate tenderness.” A critic on Cassatt’s candid and authentic portrayal of children. (Source)

Diverse Degrees of Realism

The first element that captivates me in this painting is the different levels of realism depicted. The children are rendered with greater precision and detail, while the surrounding environment is portrayed in a more abstract and impressionistic manner. This contrast creates a compelling focal point.

One of the challenges of this technique lies in ensuring the various elements harmoniously come together. Cassatt accomplished this beautifully; the children seem neither misplaced nor overly polished. Instead, they simply exist in focus. A close examination reveals that Cassatt maintained an impressionistic style throughout. Observe the scumbling, fragmented colors, outlines, and simplified details. However, it is also more precise and refined compared to the rest of the composition. This approach mirrors real life—how we perceive sharper details on what we concentrate on while everything else remains merely an impression.

Now, let’s take a closer look at the rocks and boats in the background. Up close, their representation is simple and abstract. However, in the context of the overall painting, they come across as somewhat realistic, allowing us to discern that it’s a rocky shoreline with boats in the distance. This illustrates how straightforward brushwork can effectively convey a scene if the right colors are placed in appropriate spots for both the subject and its environment. The viewer’s eyes do the rest.

Contrast in Saturation

Saturation contrast is a significant aspect of this painting. In the image below, observe the rosy hues of the child’s cheeks and lips, which contribute to her youthful imagery. You will also notice vibrant pops of deep red around her ear and shoulder.

Cassatt appears to have used nearly pure ultramarine blue for many outlines, particularly on the children and their digging tools. Interestingly, the ultramarine adds vibrant accents without overwhelming the composition or seeming out of place.

The close-up below highlights both the vibrant red and blue outlines encircling the child’s hand that is clutching the bucket. A subtle interplay of warm and cool colors emerges, but you need to look closely to appreciate it.

Technique and Brushwork

For the backdrop, Cassatt maintained a relaxed technique, revealing parts of the bare (perhaps stained?) surface beneath the paint. This adds a rustic texture. The depiction of the rocks and boats suggests that she employed a wet-on-wet approach combined with multicolored strokes to create the illusion of detail.

On the children’s clothing and hat, observe the heavy scumbling with white and yellow highlights, emulating the bright sunlight.

The highlight on the child’s lip exhibits sharp detail and intricacy.

For the children, Cassatt’s strokes emphasize the contours and forms, as evidenced in the child’s arm and legs shown below.

The close-up of the two hands is quite insightful. It evokes thoughts of Steve Huston’s techniques, with its zig-zagging strokes that define and explore the subject matter. Observing the hand holding the digger, notice how Cassatt allowed the edges between her fingers to appear soft, while the other hand displays greater definition. This comparison gives the impression that her hand grasping the bucket is presented more front-and-center, with dark accents becoming more prominent. Try this for yourself—clench your fist and observe it from different angles. Notice how the edges appear to shift.

Value Composition

Regarding value—which refers to the lightness or darkness of colors—the painting predominantly resides within a middle to light-value range, accented by a few lighter and darker areas. While the painting portrays a sense of light, it is not the focal point as seen in the works of artists like Joaquín Sorolla. The light’s presence is somewhat muted and subtle.

Pay attention to the girl’s cheek. In the grayscale image, it doesn’t stand out as much as it does in color. This indicates that saturation contrast plays a significant role rather than value contrast. This optical illusion is fascinating—I initially assumed her cheeks were significantly darker. Often, our eyes deceive us, mistaking saturation contrast for value contrast. Colors can often appear different than they truly are!

Interestingly, the painting is notably devoid of cast shadows, with only a slight darkening observed in the sand beneath the children. This may suggest an abundance of light diffusing throughout the scene, limiting shadow formation. Alternatively, it could be a deliberate artistic choice or even an oversight. Regardless, this aspect does not detract from the painting’s overall impact.

Emphasis on Anatomy

The Impressionist movement frequently faces criticism for being sloppy and less formal. However, many Impressionist artists possessed strong foundational skills; they simply opted for a more relaxed painting style. This artwork serves as a prime example. Painting children poses a challenge, given their continually changing forms and proportions. Nevertheless, Cassatt successfully illustrated their anatomy and structure, ensuring all essential details are accurately placed.

Composition Insights

The composition in this piece is tightly arranged, drawing attention to the children engrossed in digging in the sand. Cassatt’s choice to crop out one of the child’s feet is intriguing. While it may defy traditional composition rules, it surprisingly works well.

The positioning of the girls is compelling, showcasing an overlap that suggests a close relationship. Perhaps they are siblings? Their matching outfits reinforce this idea. Cassatt never confirmed the identities of the children, leading to speculation that it may represent a nostalgic image of Cassatt and her late sister, Lydia, who passed away in 1882.

The painting strikes a pleasing balance between active and passive spaces. Cassatt provides the viewer’s eyes with various areas ideal for resting. Most detail and contrast are centralized around the girls and specific aspects of the background, while the majority of the composition remains open and calm. This serves as a powerful lesson in composition—sometimes less is more! Unless, of course, you’re aiming for a busy scene.

Have you noticed the overarching diagonal theme? Initially, I planned to discuss only the diagonal line created by the shore, but I recognized that diagonals permeate the entire painting. Observe the image below; it creates a subtle zig-zag motion. Our eyes traverse from Cassatt’s signature, to the playful children, the right edge of the shore, the left-side rocks, and finally to the two boats. This structural quality is subtle enough to become almost unnoticed at first glance.

If this analysis captured your interest, consider joining my Exploring the Masters email series. Each week, I will introduce you to a new artist worth discovering.

Thank you for engaging with this article! I would love to hear your thoughts in the comments below.

Best regards,

Dan Scott