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The societal role and stature of women continues to be an eternal topic. In an age once the pictures of girls were expected to be associated with marriage, motherhood, along with national matters, few Americans might have thought of a young girl in an upper-middle class family could pursue expert study of art in Europe from the late nineteenth century. Nevertheless, jealousy and critics both drop on the young artist, Mary Cassatt (1844 - 1926). Within this paper, I will show how two historians contrast concerning the their perspectives of this female artist, as well as their methodological approaches. The first one is from Susan Fillin Yeh. In her essay "Mary Cassatt's Images of Woman," she asserts the Cassatt's images of girls, unique within the context of Impressionism, challenging the male criteria (marriage, motherhood, and domestic matters), include representations of women as independent public people: women could pursue interests that are not directed toward the demands of others, like needs of husbands and families; and additionally, girls could enjoy the company of other women, rather than be some sort of "possession" of guys. Cassatt defined her world through girls, where her art offers a fresh vision of their unconsidered facts of everyday bourgeois life. She challenge stereotypes, in her oeuvre of figures who are oblivious to the outside world, the moms and children, who depart from convention in their mutual absorption, since she acknowledges the strong emotions that are the human character of their relationship. The article introduces several categories of Cassatt's paintings, all commanded by female characters. From the paintings of spectacle of theaters, she created the picture of women who have their interests not dominated by others' opinions. Rathe...