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The book's first plate, "The Bacchante," lets viewers know what MARY CASSATT: PAINTINGS AND PRINTS were all about: women communicating with others and hinting at states of mind behind beautifully lighted and shaded fabrics, such as "Woman with a Red Zinnia"; flesh, such as the swiftly scribbled modeling to "Mother, Young Daughter and Son"; and furnishings, such as the Opera House banquette and chandelier ovals taking up the ovals from the figure and reflected figure of her sister "Lydia Leaning on her Arms, Seated in a Loge." Art critic and historian Frank Getlein backs his well-written text with 72 well-chosen plates. His book and Griselda Pollock's MARY CASSATT: PAINTER OF MODERN WOMEN give the perfect examples for Michel Melot's THE IMPRESSIONIST PRINT, Paul Smith's IMPRESSIONISM, Gary Tinterow's ORIGINS OF IMPRESSIONISM, and Helene Barbara Weinberg et al's AMERICAN IMPRESSIONISM AND REALISM.
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It can broaden our minds by making us aware of the oppression in East Timor and learn about the aikido techniques.
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