Berthe Morisot
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| Berthe Morisot | |
 Édouard Manet, Berthe Morisot with a Bouquet of Violets, 1872 |
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| Birth name | Berthe Morisot |
| Born | January 14, 1841 Bourges, Cher, France |
| Died | March 2, 1895 (aged 54) Paris |
| Nationality | French |
| Field | Painting |
| Movement | Impressionism |
Berthe Morisot (January 14, 1841 – March 2, 1895) was a painter and a member of the circle of painters in Paris who became known as the Impressionists. Undervalued for over a century, possibly because she was a woman, she is now considered among the first league of Impressionist painters.
In 1864, she exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government, and judged by academicians, the Salon was the official, annual exhibition of the Académie des beaux-arts in Paris. Her work was selected for exhibition in six subsequent Salons[1] until, in 1874, she joined the "rejected" Impressionists in the first of their own exhibitions, which included Paul Cézanne, Edgar Degas, Claude Monet, Morisot, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley. It was held at the studio of the photographer Nadar.
She became the sister-in-law of her friend and colleague, Édouard Manet, when she married his brother, Eugène.
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[edit] Education
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Morisot was born in Bourges, Cher, France into a successful bourgeois family. Both she and her sister Edma Morisot chose to become painters. Once Berthe Morisot settled on pursuing art, her family did not impede her career.
She was born into a family that, according to family tradition, had included one of the most prolific Rococo painters of the ancien régime, Fragonard,[2] whose handling of colour and expressive, confident brushwork influenced later painters. By age twenty, she had met and befriended the important, and pivotal, landscape painter of the Barbizon School, who excelled in figure painting as well, Camille Corot.
The older artist instructed Berthe and her sister in painting and introduced them to other artists and teachers. Under Corot's influence, Morisot took up the plein air method of working. As art students, Berthe and Edma worked closely together until Edma married, had children, and no longer had time to paint so intensely as Berthe. Letters between them show a loving and cordial relationship, underscored by Berthe's regret at the distance between them and about Edma's withdrawal from painting. Edma wholeheartedly supported Berthe's continued work and the families of the two sisters always remained close.
[edit] Manet and impressionism
Morisot's first appearance in the Salon de Paris came at the age of twenty-three in 1864, with the acceptance of two landscape paintings. She continued to show regularly in the Salon, to generally favorable reviews, until 1873, the year before the first Impressionist exhibition.
Meanwhile, in 1868 Morisot became acquainted with Édouard Manet. He took a special interest in Morisot, as is evident from his warm portrayal of her in several paintings, including a striking portrait study of Morisot in a black veil, while in mourning for her father's death (displayed at the top of the article). Correspondence between them bespeaks affection. He once gave her an easel as a Christmas present. He also interfered in one of her Salon submissions when he was engaged to transport it. Manet mistook one of Morisot's self-criticisms as an invitation to add his corrections, which he did, much to Morisot's dismay.
Although traditionally Manet has been related as the master and Morisot as the follower, there is evidence that their relationship was a reciprocating one.[3] Morisot had developed her own distinctive artistic style. Records of paintings show Manet's approval and appreciation of certain stylistic and compositional decisions that Morisot originated. He incorporated some of these characteristics into his own work.
It was Morisot who convinced Manet to attempt plein air painting, which she had been practicing since having been introduced to it by Corot. [4]
She also drew Manet into the circle of painters who soon became known as the Impressionists. In 1874, Morisot married Manet's brother, Eugene, and they had one daughter, Julie.
As a doctrinaire Impressionist as well as a member of the haute bourgeoisie, Morisot painted what she experienced on a daily basis. Her paintings reflect the 19th century cultural restrictions of her class and gender. She avoided urban and street scenes as well as the nude figure and, like her fellow female Impressionist Mary Cassatt, focused on domestic life and portraits in which she could use family and personal friends as models. Paintings like The Cradle, 1872 in which she depicted current trends for nursery furniture reflect her sensitivity to fashion and advertising, both of which would have been apparent to her female audience.
Her works include not only landscapes, portraits, garden settings, and boating scenes, but also subjects portraying the comfort and intimacy of family and domestic life, as did her colleagues, Pierre-Auguste Renoir and Mary Cassatt.
Berthe Morisot died on March 2, 1895 in Paris and was interred in the Cimetière de Passy.
[edit] Gallery
 The Harbor at Lorient, National Gallery of Art, Washington, DC 1869 |
 The Mother and Sister of the Artist (Reading), National Gallery of Art, Washington, DC c.1869-70 |
 On the Balcony, New York 1872 |
 Reading, Cleveland Museum of Art 1873 |
 Chasing Butterflies, Musée d'Orsay, Paris 1874 |
 At the Ball, Musée Marmottan Monet, Paris 1875 |
 Lady at her Toilette, 1875 |
 Eugene Manet on the Isle of Wight, Private Collection 1875 |
 The Dining Room, National Gallery of Art, Washington, DC c. 1875 |
 Summer Day National Gallery, London 1879 |
 Winter aka Woman with a Muff, Dallas Museum of Arts 1880 |
 Dame a L'ombrelle 1881 |
 Rose Trémière, Musée Marmottan Monet, Paris, 1884 |
 Young Girl with Cage, 1885 |
 The Bath (Girl Arranging Her Hair), Sterling and Francine Clark Art Institute, Williamstown, Massachusetts 1885-86 |
 Julie Manet et son Lévrier Laerte, Musée Marmottan Monet, Paris 1893 |
[edit] See also
[edit] Notes
- ^ Denvir, 2000, pp. 29-79.
- ^ Higonnet, p. 5
- ^ Turner, 2000, p. 319.
- ^ Berthe Morisot (1841-1895). Paul van Rensburg Gallery of Art.
[edit] References
- Denvir, B. (2000). The Chronicle of Impressionism: An Intimate DIary of the Lives and World of the Great Artists. London: Thames & Hudson. OCLC 43339405
- Higonnet, Anne (1995). Berthe Morisot. Berkeley: University of California Press. ISBN 0-520-20156-6
- Turner, J. (2000). From Monet to Cézanne: late 19th-century French artists. Grove Art. New York: St Martin's Press. ISBN 0-312-22971-2
[edit] External links
- Berthe Morisot at the WebMuseum
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