This was created in 1931 using the finest marble, verde di prato. At just 8 inches in height, it is a work whose small size is in inverse proportion to its extraordinary presence as a work of art. The sculpture looks like it is a cultural background is that of some tribal region. In Mary Cassetts painting she creates complex, impressionistic lighting effects, a floor mirror reflects the scene in a hazy, indistinct manner. She captured the varying effects of light: pure strokes of green and gold suggest the sun flooding the artist’s studio on a summer day, and glistening touches of pale yellow highlight hair, dress, and furniture.
Moore was a sculptor with few themes, but a multitude of resonance. The motif of mother and child, along with the reclining figure, was one that obsessed and intrigued Moore throughout his life. Intrigued by the organic and natural, Moore was ultimately bewitched by the human figure, and his sculptural quest into human form was both mystical and spiritual. He strove to depict the inner essence of his subject and presence, or, as he put it, vitality.
The Cassett painting I think conveys the strongest visual meaning in terms of the relationship between mother and daughter show the classic example of the mother brushing her new born daughters hair while sitting next to a mirror. Both of the two works of art tell there own visual story at a glance. The sculpture is open for a broad imagination of interruption. The setting, culture, and religion are in the eye of the beholder. Cassetts painting shows a more exact example of mother and daughter maternal extinct. It shows the love and caring through the use of warm colors and soft tones.