In the Opera Box (No. 2)

In the Opera Box (No. 2) by Mary Cassatt is a pivotal example of the artist’s engagement with modern life and the medium of printmaking during the Impressionist period. Executed circa 1880, this American work utilizes the demanding techniques of etching and aquatint, demonstrating Cassatt’s refined graphic abilities. Unlike many of her contemporaries, Cassatt embraced printmaking as an independent artistic discipline, treating the copper plate with the same seriousness as oil on canvas.

This piece captures a quintessential scene of 19th-century Parisian society: a woman observing and being observed within the theater setting. The culture of c. 1880 revolved significantly around public spectacle and the separation of private and public spheres, themes Cassatt often explored, placing women at the center of these complex social dynamics. The etching and aquatint combination allows for delicate variations in tone and texture, rendering the shadows and artificial lighting of the opera box with subtlety. The aquatint provides a grainy, tonal wash, contrasting with the crisp etched lines defining the figure and architecture.

As a significant example of her work in this medium, the impressionistic handling of light and shadow reinforces the fleeting, momentary experience of the scene. Cassatt often depicted women in moments of contemplation or independence, subtly challenging traditional portrayals. This print belongs to a series of works by the American artist focusing on spectatorship and modern urban leisure.

The classification of this work as a print underscores its technical importance within her oeuvre. Today, the original print resides in the esteemed collection of the Museum of Modern Art (MoMA), providing researchers and the public access to this intimate look at 19th-century life. This piece is frequently referenced in studies concerning the history of prints and American art.