<div class="description">
A decade of practice and experimentation as a printmaker culminated in a suite of ten color prints made in 1890–91. Combining glaze-like, layered tones of aquatint with the textured surfaces of softground etching and the pure, clear outline of drypoint, Cassatt's innovative prints astonished and amazed her contemporaries. Camille Pissarro, himself a printmaker as well as a painter, admired the perfection of her prints, describing the colors as "subtle, delicate, adorable blues, fresh rose, etc." The result for him was "admirable, as beautiful as Japanese work."<em> In the Omnibus</em> is the only scene in the series that does not have an interior setting. The theme of travel was appealing to artists in 19th-century Paris—it represented a public space where people of different classes and genders were juxtaposed in close proximity. A quintessential modern life subject, Cassatt depicts a bourgeois lady accompanied by her baby and a nursemaid doing errands in the city. While the nanny and the child interact, the mother's gaze is directed elsewhere, wandering to the world beyond.</div>
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Mary Cassatt</div>
<a rel="nofollow" class="external free" href="https://clevelandart.org/art/1941.71">https://clevelandart.org/art/1941.71</a>