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    We look slightly down onto a woman dressed in golden yellows, sitting in a pale green chair, with a nude child sitting in her lap as they both gaze into a mirror in this vertical portrait painting. Both the people have pale, peachy skin. The chair is angled to our left so the woman’s knees and child cant down toward the lower left corner of the composition, and the woman leans onto the arm closer to us. The chair is painted mint green and the rose-pink upholstery is visible on the seat and a corner behind the woman’s shoulder. To our right, the woman’s vibrant, copper-colored hair is pulled loosely to the back of her head. She has a rounded nose, flushed cheeks, and her full, coral-pink lips are closed. Her long dress has a low, U-shaped neckline. The fabric shimmers from pale, cucumber green to light sunshine yellow. The sleeves of the dress split over the shoulder and a second long, goldenrod-yellow sleeve falls from her elbow off the bottom edge of the canvas. An oversized sunflower, larger than the woman’s face, is affixed to her dress near her left shoulder, closer to us. She looks with dark eyes down toward the small, gold-rimmed mirror she holds in her right hand, farther from us. The child also holds the handle of the mirror with both hands, and in the reflection, the child looks back at us with dark eyes, a button nose, and pink lips. The child’s hair in the reflection is the same copper color as the woman’s, but the child on her lap has blond, shoulder-length hair. The woman rests one hand on the child’s left shoulder, closer to us. The child has a rounded belly and smooth, rosy limbs. The woman and child are reflected in a second mirror hanging on the wall alongside them, opposite us. Their reflections are very loosely painted. The wall behind the pair is sage green across the top and it shifts to fawn brown across the bottom. Brushstrokes are visible throughout, especially in the woman’s dress and hair, and are more blended in the bodies and faces. The artist signed the painting in the lower right corner, “Mary Cassatt.”

    Featured exhibition:

    Mary Cassatt: An American in Paris

    Now on view

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Open today 10:00–5:00

National Gallery of Art

  • Visit

    • Plan Your Visit
    • Accessibility
    • Visiting with Kids
    • Food and Drink
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    • Tours, Guides, and Maps

    Open today 10:00 a.m.–5:00 p.m.
    Admission is always free

    6th and Constitution Ave NW 
    Washington, DC 20565

    Celebrating American art and artists

    Join us as we explore 250 years of American creativity from across the nation.

    Learn more

  • Exhibitions & Events

    • Exhibitions
    • Calendar
    • Kid-Friendly Events
    We look slightly down onto a woman dressed in golden yellows, sitting in a pale green chair, with a nude child sitting in her lap as they both gaze into a mirror in this vertical portrait painting. Both the people have pale, peachy skin. The chair is angled to our left so the woman’s knees and child cant down toward the lower left corner of the composition, and the woman leans onto the arm closer to us. The chair is painted mint green and the rose-pink upholstery is visible on the seat and a corner behind the woman’s shoulder. To our right, the woman’s vibrant, copper-colored hair is pulled loosely to the back of her head. She has a rounded nose, flushed cheeks, and her full, coral-pink lips are closed. Her long dress has a low, U-shaped neckline. The fabric shimmers from pale, cucumber green to light sunshine yellow. The sleeves of the dress split over the shoulder and a second long, goldenrod-yellow sleeve falls from her elbow off the bottom edge of the canvas. An oversized sunflower, larger than the woman’s face, is affixed to her dress near her left shoulder, closer to us. She looks with dark eyes down toward the small, gold-rimmed mirror she holds in her right hand, farther from us. The child also holds the handle of the mirror with both hands, and in the reflection, the child looks back at us with dark eyes, a button nose, and pink lips. The child’s hair in the reflection is the same copper color as the woman’s, but the child on her lap has blond, shoulder-length hair. The woman rests one hand on the child’s left shoulder, closer to us. The child has a rounded belly and smooth, rosy limbs. The woman and child are reflected in a second mirror hanging on the wall alongside them, opposite us. Their reflections are very loosely painted. The wall behind the pair is sage green across the top and it shifts to fawn brown across the bottom. Brushstrokes are visible throughout, especially in the woman’s dress and hair, and are more blended in the bodies and faces. The artist signed the painting in the lower right corner, “Mary Cassatt.”

    Featured exhibition:

    Mary Cassatt: An American in Paris

    Now on view

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    Play Artle

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    • Plan Your Visit
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    • Visiting with Kids
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    • Tours, Guides, and Maps

    Open today 10:00 a.m.–5:00 p.m.
    Admission is always free

    6th and Constitution Ave NW 
    Washington, DC 20565

    Celebrating American art and artists

    Join us as we explore 250 years of American creativity from across the nation.

    Learn more

  • Exhibitions & Events

    • Exhibitions
    • Calendar
    • Kid-Friendly Events
    We look slightly down onto a woman dressed in golden yellows, sitting in a pale green chair, with a nude child sitting in her lap as they both gaze into a mirror in this vertical portrait painting. Both the people have pale, peachy skin. The chair is angled to our left so the woman’s knees and child cant down toward the lower left corner of the composition, and the woman leans onto the arm closer to us. The chair is painted mint green and the rose-pink upholstery is visible on the seat and a corner behind the woman’s shoulder. To our right, the woman’s vibrant, copper-colored hair is pulled loosely to the back of her head. She has a rounded nose, flushed cheeks, and her full, coral-pink lips are closed. Her long dress has a low, U-shaped neckline. The fabric shimmers from pale, cucumber green to light sunshine yellow. The sleeves of the dress split over the shoulder and a second long, goldenrod-yellow sleeve falls from her elbow off the bottom edge of the canvas. An oversized sunflower, larger than the woman’s face, is affixed to her dress near her left shoulder, closer to us. She looks with dark eyes down toward the small, gold-rimmed mirror she holds in her right hand, farther from us. The child also holds the handle of the mirror with both hands, and in the reflection, the child looks back at us with dark eyes, a button nose, and pink lips. The child’s hair in the reflection is the same copper color as the woman’s, but the child on her lap has blond, shoulder-length hair. The woman rests one hand on the child’s left shoulder, closer to us. The child has a rounded belly and smooth, rosy limbs. The woman and child are reflected in a second mirror hanging on the wall alongside them, opposite us. Their reflections are very loosely painted. The wall behind the pair is sage green across the top and it shifts to fawn brown across the bottom. Brushstrokes are visible throughout, especially in the woman’s dress and hair, and are more blended in the bodies and faces. The artist signed the painting in the lower right corner, “Mary Cassatt.”

    Featured exhibition:

    Mary Cassatt: An American in Paris

    Now on view

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    We look up at two women, two young boys, and a man, all with pale skin, sitting together on a wide landing, with stairs leading up to stone buildings behind the group and a patch of vivid blue sky in the upper right corner of this horizontal painting. At the center, a woman, Mary, sits holding a nearly nude child propped on one knee. Her body is angled to our right but she turns her head to look off into the distance to our left with large, dark eyes under faint brows. Her strawberry-blond hair is pulled back under a white veil that falls down the back of her neck and across her chest. Her smooth cheeks are lightly flushed in her round face. She has a straight nose and her pink, bow lips are closed. She wears a coral-red dress under a long, azure-blue robe that wraps around her waist and covers her legs. The sandaled toes of one foot peek from under the hems, and her other foot rests up on a gold-colored, rounded urn. Mary holds one child on her lap, and the second child sits by her right side, to our left. Both toddlers have blond, curly hair, dark eyes, rounded faces, and slightly pudgy bodies. Swaths of pale gray drapery mostly cover the genitals of both. The child on her lap half-sits, half-stands on the knee propped up on the urn. She supports his belly with one hand, the other wraps around his bottom. He leans forward, toward the second child, who faces him and holds up a yellow and blush-red fruit. Behind him, to our left, an older woman sits leaning forward and facing Mary in profile. Her wrinkled face is mostly lost in shadow, and she has a hooked nose and her forehead is lined, as if her eyebrows are raised. A white veil is wrapped around her head and drapes over the shoulders of her long, canary-yellow dress. One foot is crossed behind the other ankle, and the toes of both peep out from under her dress. To our right of Mary, a bearded man, Joseph, wears an eggplant-purple robe and sits almost entirely in shadow, facing our right in profile. The leg closer to us is extended and his foot stretches out of the shadow. He has short, curly brown hair and a long gray beard. He holds a carpenter’s compass to a panel in front of him. Closest to us, a step down runs along the bottom edge of the painting. On that step, a basket with leaves and yellow and peach-colored fruit sits in front of the standing child. Near Mary’s feet is a bronze-colored urn and a shiny gold box on raised feet. Behind the older woman to our left, water trickles from a round-bellied fountain on a pedestal in front of an orange tree. One building with round columns rises behind the tree. Behind Joseph, a long stick rests against the post of a short flight of four steps, which leads to another landing. The portico of a second temple-like building with squared columns and leafy capitals rises over Mary, presumably from the upper landing. A bright, topaz-blue sky with cream-white and steel-gray clouds fills the upper right corner of the composition.
    Anonymous Artist, The Holy Family on the Steps, 1648, oil on canvas, Samuel H. Kress Collection, 1952.5.49

    The Holy Family on the Steps

    The Holy Family on the Steps

    Anonymous Artist · 1648 · oil on canvas ·  Accession ID  1952.5.49

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