臺灣博碩士論文加值系統

論文摘要
瑪麗‧史帝文森‧卡莎特(Mary Stevenson Cassatt,1844-1926)，四次參加印象主義畫展，是當時唯一的女性美國藝術家。她與印象主義團體之間的創作精神與風格取向有何關聯？終身未婚的卡莎特，為何選擇母愛系列作為她後期主要的創作題材？欲了解一位十九世紀末二十世紀初的女性藝術家，終其一生投入在藝術的領域中，到底是什麼因素決定了她的藝術創作，並進而為大眾所接受與喝采。不論是對藝術的執著或者作品風格的形成背景都是本論文探討之問題。
一般而言，對瑪麗‧卡莎特的作品印象大多是關於家庭生活的描繪以及後期較為著名的母與子系列。事實上，關於藝術家早期研習階段的探究是必要的，特別是瑪麗‧卡莎特這位保有隱私的藝術家而言甚是。透過早期藝術家與摯友之間往來書信可以一窺其獨特性格與天份。由於瑪麗‧卡莎特本身撰寫的資料有限，對於其創作思想的探討則有必要循著藝術家的生平活動，依序對於養成教育的過程與作品風格的形成進行理解。因此，在本文的第一章中包括藝術家的養成教育，從家庭背景、早年在賓州的教育遠赴歐洲研習、旅行等重要經歷。其中論及少數存留的作品。瑪麗‧卡莎特個人的天賦特質，促使其自我發展並且能反映時代精神，延續其感染力，她接受了1870年代巴黎印象主義，這個當時被稱之為「現代生活繪畫」，一個令人震驚的新藝術。在論文第二章則是將焦點集中在瑪麗‧卡莎特參加印象主義畫展的作品風格與印象主義團體的關係。藝術家晚期創作卓越的母與子系列作品，使她成為當時重要的畫家。在論文第三章則希望從大量母子畫作之風貌中瞭解印象主義或其他藝術風格的影響。
綜觀瑪麗‧卡莎特藝術生涯的成就，這位獨立、勇敢、極富企圖心的十九世紀女性藝術家，就當時女性艱困的立場而言，在她們的歷史時代所獲取的堅固地位，確實是一位傑出女性應得的非凡成就。

緒 論　I　　　　　　　　　
第一章 徘徊於傳統與現代女性之間 1
第一節 獨立的人格特質 1
第二節 傳統學院的教育 15
第三節 風俗畫的洗禮 23
第二章 卡莎特與印象主義 42
第一節 從落選沙龍到德加的邀約 42
第二節 卡莎特與德加、畢沙賀、賀諾瓦、莫莉索、莫內 65
第三章 卡莎特藝術風格的新貌 94
第一節 走出印象主義風格的藩籬 94
第二節 「現代女性」壁畫 106
第三節 獨立的性格與大愛 120
結 論 131
卡莎特生平年表 143
參考書目 164
圖 錄 171
圖 版 182
人名索引 229

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