Reine and Margot Seated on a Sofa (No. 2)

Reine and Margot Seated on a Sofa (No. 2) is an intimate drypoint print created by American artist Mary Cassatt in 1902. This work belongs firmly within the period of 1901 to 1925, a mature phase in Cassatt’s career where she continued her dedicated, Impressionist-influenced exploration of the private, domestic sphere, often focusing intently on the quiet dignity of women and the unselfconscious behavior of children. Cassatt, though spending the majority of her artistic life in France, remained fundamentally an American artist whose sensibilities provided a unique counterpoint to the French Impressionists she associated with.

Cassatt was internationally recognized as a master printmaker, excelling in techniques such as etching, aquatint, and, notably, drypoint, the medium used for this specific composition. Drypoint is an intaglio process where the artist draws directly onto the copper plate with a sharp needle; this action pushes up a burr of metal alongside the line. When the plate is inked and wiped, this burr catches the ink, producing a characteristic velvety, rich line quality that often softens the image’s edges and provides deep atmospheric texture.

In this piece, Cassatt captures the two young models, Reine Lefebvre and Margot, in a moment of quiet companionship. The sparse composition and emphasis on the textural quality achieved through the drypoint method highlight the figures' expressions and their psychological connection. The simplicity of the interior setting allows the viewer’s attention to remain entirely focused on the subjects and the subtle variations in shadow and light.

This example of Cassatt’s early 20th-century work demonstrates her enduring commitment to naturalism and deeply observed figures. As a classified print, the work reflects the artist's dedication to making her images accessible. Today, Reine and Margot Seated on a Sofa (No. 2) is held within the distinguished prints and drawings collection of the National Gallery of Art, Washington D.C., where it serves as a significant record of American art during this transitional period.