Berthe Morisot

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Berthe Marie Pauline Morisot (fr; 14 January 1841 – 2 March 1895) was a French painter, printmaker and a member of the circle of painters in Paris who became known as the Impressionists.

In 1864, Morisot exhibited for the first time in the highly esteemed Paris Salon, listed as a student of Joseph Guichard and Achille-Francois Oudinot. 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 (15 April – 15 May 1874), which included Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley. It was held at the studio of the photographer Nadar. Morisot went on to participate in all but one of the following eight impressionist exhibitions, between 1874 and 1886.[2]

Morisot was married to Eugène Manet, the brother of her friend and colleague Édouard Manet.[3]

She was described by art critic Gustave Geffroy in 1894 as one of Script error: The function "langx" does not exist., of Impressionism alongside Marie Bracquemond and Mary Cassatt.[4]

Early life

File:Berthe Morisot 006.jpg
The Mother and Sister of the Artist (1869/70). Depicting Marie-Joséphine and Edma.

Morisot was born on 14 January 1841,[5] in Bourges, France, into an affluent bourgeois family. Her father, Edmé Tiburce Morisot, was the prefect (senior administrator) of the department of Cher. He also studied architecture at École des Beaux-Arts.[6] Her mother, Marie-Joséphine-Cornélie Thomas, was the great-niece of Jean-Honoré Fragonard, one of the most prolific Rococo painters of the ancien régime.[7] She had two older sisters, Yves (1838–1893) and Edma (1839–1921), plus a younger brother, Tiburce, born in 1848. The family moved to Paris in 1852, when Morisot was a child.

It was commonplace for daughters of bourgeois families to receive art education, so Berthe and her sisters, Yves and Edma, were taught privately by Geoffroy-Alphonse Chocarne and Joseph Guichard. Morisot and her sisters initially started taking lessons so that they could each make a drawing for their father for his birthday.[6] In 1857 Guichard, who ran a school for girls in Rue des Moulins, introduced Berthe and Edma to the Louvre gallery where from 1858 they learned by copying paintings. The Morisots were not only forbidden to work at the museum unchaperoned, but they were also totally barred from formal training.[8] Guichard also introduced them to the works of Gavarni.[9]

As art students, Berthe and Edma worked closely together until 1869, when Edma married Adolphe Pontillon, a naval officer, moved to Cherbourg, and had less time to paint. Letters between the sisters show a loving relationship, underscored by Berthe's regret at the distance between them, and Edma's withdrawal from painting. Edma wholeheartedly supported Berthe's continued work and their families always remained close. Edma wrote "I am often with you in thought, dear Berthe. I'm in your studio and I like to slip away, if only for a quarter of an hour, to breathe that atmosphere that we shared for many years".[10][11][12]

Her sister Yves married Théodore Gobillard, a tax inspector, in 1866 and was painted by Edgar Degas as Madame Théodore Gobillard (Metropolitan Museum of Art, New York City).[10][11][13]

As a copyist at the Louvre, Morisot met and befriended other artists such as Manet and Monet.[8] In 1861 she was introduced to Jean-Baptiste-Camille Corot, the pivotal landscape painter of the Barbizon school who also excelled in figure painting. Under Corot's influence, she took up the plein air (outdoors) method of working.[14] By 1863 she was studying under Achille Oudinot [fr], another Barbizon painter. In the winter of 1863–64 she studied sculpture under Aimé Millet, but none of her sculptures is known to survive.[9]

Main periods of Morisot's work

Training, 1857–1870

It is hard to trace the stages of Morisot's training and to tell the exact influence of her teachers because she was never pleased with her work and she destroyed nearly all of the artworks she produced before 1869. Morisot began her first art lessons in 1857, and her first teacher, Geoffroy-Alphonse Chocarne, taught her the basics of drawing. After several months, Morisot began to take issue with the dull and monotonic nature of Chocarne's teaching, requesting a new teacher. She subsequently began to take classes taught by Guichard. During this period, she drew mostly ancient classical figures. When Morisot expressed her interest in plein air painting, Guichard sent her to follow Corot and Oudinot. Painting outdoors, she used watercolours, which were easy to carry. At that time, Morisot also became interested in pastel.[15]

Watercolour, 1870–1874

During this period, Morisot still found oil painting difficult, and worked mostly in watercolours. Her choice of colours is rather restrained; however, the delicate repetition of hues renders a balanced effect. Due to specific characteristics of watercolours as a medium, Morisot was able to create a translucent atmosphere and feathery touch, which contribute to the freshness of her paintings.[15]

Impressionism, 1875–1885

Having become more confident about oil painting, Morisot worked in oil, watercolours and pastel at the same time, as Degas did. She painted very quickly but did much sketching as preparation, so she could paint "a mouth, eyes, and a nose with a single brushstroke." She made countless studies of her subjects, which were drawn from her life so she became quite familiar with them. When it became inconvenient to paint outdoors, the highly finished watercolours done in the preparatory stages allowed her to continue painting indoors later.[15] In 1874, Berthe's submission to the Salon was rejected; it would be the last time she would submit a piece to the exhibition. That same year, Berthe showed ten works at the First Impressionist Exhibition, notably being the only woman who exhibits.[16] She exhibited with the Impressionists from 1874 onwards, only missing the exhibition in 1879 when her daughter Julie was born.[17]

Impressionism's claimed attachment to brilliant colour, sensual surface effects, and fleeting sensory perceptions led a number of critics to assert in retrospect that this style, once primarily the battlefield of insouciant, combative males, was inherently feminine and best suited to women's weaker temperaments, lesser intellectual capabilities, and greater sensibility.[18]

During Morisot's 1874 exhibition with the Impressionists, such as Monet and Manet, Le Figaro critic Albert Wolff noted that the Impressionists consisted of "five or six lunatics of which one is a woman...[whose] feminine grace is maintained amid the outpourings of a delirious mind."[8]

Morisot's mature career began in 1872. She found an audience for her work with Durand-Ruel, the private dealer, who bought twenty-two paintings. In 1877, she was described by the critic for Le Temps as the "one real Impressionist in this group."[19] She chose to exhibit under her full maiden name instead of using a pseudonym or her married name.[20] As her skill and style improved, many began to rethink their opinion toward Morisot. In the 1880 exhibition, many reviews judged Morisot among the best, even including Le Figaro critic Albert Wolff.[21]

Turning, 1885–1887

After 1885, drawing began to dominate in Morisot's works. Morisot actively experimented with charcoals and coloured pencils. Her reviving interest in drawing was motivated by her Impressionist friends, who are known for blurring forms. Morisot put her emphasis upon the clarification of the form and lines during this period. In addition, she was influenced by photography and Japonism. She adopted the style of placing objects away from the centre of the composition from Japanese prints of the time.[15]

Synthesis, 1887–1895

Morisot started to use the technique of squaring and the medium of tracing paper to transcribe her drawing to the canvas exactly. By employing this new method, Morisot was able to create compositions with more complicated interaction between figures. She stressed the composition and the forms while her Impressionist brushstrokes still remained. Her original synthesis of the Impressionist touch with broad strokes and light reflections, and the graphic approach featured by clear lines, made her late works distinctive.[15]

Style and technique

Because she was a female artist, Morisot's paintings were often described as being full of "feminine charm" by male critics, noting their elegance and lightness. In 1890, Morisot wrote in a notebook about her struggles to be taken seriously as an artist: "I don't think there has ever been a man who treated a woman as an equal and that's all I would have asked for, for I know I'm worth as much as they."

Her light brush-strokes often led to critics using the verb "effleurer" (to touch lightly, brush against) to describe her technique. In her early life, Morisot painted in the open air, as did other Impressionists, to look for truths in observation.[22] Around 1880 she began painting on unprimed canvases—a technique Manet and Eva Gonzalès also experimented with at the time[23]—and her brush-work became looser. In 1888–89, her brush-strokes transitioned from short, rapid strokes to long, sinuous ones that define form.[24] The outer edges of her paintings were often left unfinished, allowing the canvas to show through and increasing the sense of spontaneity. After 1885, she worked mostly from preliminary drawings before beginning her oil paintings.[25] She often worked in oil paint, watercolours, and pastel simultaneously, and sketched using various drawing media. Morisot's works are almost always small in scale.

File:Berthe Morisot 005.jpg
Grain field (c. 1875), Musée d'Orsay

Morisot created a sense of space and depth through the use of colour. Although her colour palette was somewhat limited, her fellow impressionists regarded her as a "virtuoso colourist".[25] She typically made expansive use of white to create a sense of transparency, whether used as a pure white or mixed with other colours. In her large painting The Cherry Tree, the colours are more vivid but still emphasise the form.[25]

Inspired by Manet's drawings, she kept the use of colour to a minimum when constructing a motif. Responding to the experiments conducted by Manet and Edgar Degas, Morisot used barely tinted whites to harmonise the paintings. Like Degas, she played with three media simultaneously in one painting: watercolour, pastels, and oil paints. In the second half of her career, she learned from Renoir by mimicking his motifs.[22] She also shared with Renoir an interest in keeping a balance between the density of figures and the atmospheric traits of light in her later works.[15]

Subjects

File:Berthe Morisot 008.jpg
The Cradle (1872), Musée d'Orsay

Morisot painted what she experienced on a daily basis. Most of her paintings include domestic scenes of family, children, ladies, and flowers, depicting what women's life was like in the late nineteenth century. Instead of portraying the public space and society, Morisot preferred private, intimate scenes.[22] This reflects the cultural restrictions of her class and gender at that time. Like her fellow Impressionist Mary Cassatt, she focused on domestic life and portraits in which she could use family and personal friends as models, including her daughter Julie and sister Edma. The stenographic presentation of her daily life conveys a strong hope to stop the fleeting passage of time.[22] By portraying flowers, she used metaphors to celebrate womanhood.[15] Prior to the 1860s, Morisot painted subjects in line with the Barbizon school before turning to scenes of contemporary femininity.[26] 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 also include landscapes, garden settings, boating scenes, and themes of boredom or ennui.[22] Later in her career Morisot worked with more ambitious themes, such as nudes.[27] In her late works, she often referred to the past to recall a memory from her earlier life and youth, and her departed companions.[22]

Personal life

File:Edouard Manet - Berthe Morisot With a Bouquet of Violets - Google Art Project.jpg
Édouard Manet – Berthe Morisot with a Bouquet of Violets (1872), Musée d'Orsay. In mourning for her father.

Morisot came from an eminent family, the daughter of a senior government official and the great-niece of Rococo artist Jean-Honoré Fragonard.[28] Henri Fantin-Latour, a fellow artist, introduced Morisot to Édouard Manet in 1868. She became his longtime friend and colleague, and she married his brother, Eugène Manet, in 1874. On 14 November 1878, she gave birth to her only child, Julie, later a painter and art collector, who posed frequently for her mother and other Impressionist artists, including Renoir and her uncle Édouard.

Correspondence between Morisot and Édouard Manet shows warm affection, and Manet gave her an easel as a Christmas present. Morisot often posed for Manet and there are several portrait paintings of Morisot such as Repose (Portrait of Berthe Morisot) and Berthe Morisot with a Bouquet of Violets.[29] Morisot died on 2 March 1895, in Paris, of pneumonia contracted while attending to her daughter Julie's similar illness, thus making Julie an orphan at the age of 16. The day before she died, Berthe wrote to Julie:

My little Julie, I love you as I die; I shall still love you when I am dead; I beg you not to cry, this parting was inevitable. I hoped to live until you were married.... Work and be good as you have always been; you have not caused me one sorrow in your little life. You have beauty, money; make good use of them.... Please give a remembrance to your Aunt Edma and to your cousins.[30]

Berthe Morisot was interred in the Cimetière de Passy.[31]

It has been speculated that there was a repressed love between Manet and Morisot, exemplified by the numerous portraits he did of her before she married his brother.[32][33]

Works

File:La Coiffure - Berthe Morisot.jpg
La Coiffure (1894

Selection of works

This list is incomplete, you can help by expanding it with certified entries.

This limited selection is based in part on the book Berthe Morisot, Impressionist, by Charles F. Stuckey and William P. Scott, with the assistance of Suzanne G. Lindsay, which is in turn drawn from the 1961 catalogue by Marie-Louise Bataille, Denis Rouart, and Georges Wildenstein. There are variations between the dates of execution, first showing, and purchase. Titles may vary between sources.

1864–1874

1875–1884

1885–1894

Portraits of Morisot

Art market

File:Berthe Morisot - After Lunch, 1881.jpg
After Lunch (1881)

Morisot's work sold comparatively well. She achieved the two highest prices at a Hôtel Drouot auction in 1875, the Interior (Young Woman with Mirror) sold for 480 francs, and her pastel On the Lawn sold for 320 francs.[125][126] Her works averaged 250 francs, the best relative prices at the auction.[127]

In February 2013, Morisot became the highest priced female artist, when After Lunch (1881), a portrait of a young redhead in a straw hat and purple dress, sold for US$10.9 million at a Christie's auction. The painting achieved roughly three times its upper estimate,[128][129][130] and it exceeded the 2012 record of US$10.7 million for a sculpture by Louise Bourgeois.[128]

Legacy

She was portrayed by actress Marine Delterme in a 2012 French biographical TV film directed by Caroline Champetier. The character of Beatrice de Clerval in Elizabeth Kostova's The Swan Thieves is largely based on Morisot.[131]

From Melissa Burdick Harmon, an editor at Biography magazine, "While some of Morisot's work may seem to us today like sweet depictions of babies in cradles, at the time these images were considered extremely intimate, as objects related to infants belonged exclusively to the world of women."[8]

In 2019, the Musée d'Orsay devoted a temporary exhibition to Berthe Morisot to pay tribute to her work.[132]

Exhibition

Selected Berthe Morisot Solo Exhibitions Date
Paris, Boussod, Valadon et Cie. Exposition de tableaux, pastels et dessins par Berthe Morisot. 1892, 25 May – 18 June
Paris, Galerie Durand-Ruel. Berthe Morisot (Madame Eugene Manet): exposition de son œuvre. 1896, 5–23 March
Paris, Galerie Durand-Ruel. Exposition Berthe Morisot. 1902, 23 April – 10 May
Paris, Galerie E. Druet. Exposition Berthe Morisot. 1905, January–February
Paris, Galerie Manzi-Joyant. Exposition Berthe Morisot. 1912
Paris. Galerie Manzi-Joyant. Exposition Berthe Morisot. 1914, April
Paris, Galerie Bernheim-Jeune. Cent oeuvres de Berthe Morisot (1841–1895). 1919, 7–22 November
Paris, Galerie Marcel Bernheim. Réunion d'oeuvres, par Berthe Morisot. 1922, 20 June – 8 July
Chicago, Arts Club of Chicago. Exposition of Paintings by Berthe Morisot. 3 p. 1925, 30 January – 10 March
London, Ernest Brown & Phillips, Leicester Galleries. Berthe Morisot Exhibition. 1930, March–April
New York, Wildenstein Gallery. Berthe Morisot Exhibition. 1936, 24 November – 12 December
Paris, Musée de l'Orangerie. Berthe Morisot, 1841–1895. 1941, Summer
Paris, Galerie Weil. Berthe Morisot, retrospective. 1947
Copenhagen, Ny Carlsberg Glyptotek. Berthe Morisot, 1841–1895: Mälningar: Olja och Akvarellsamt Teckningar. 1949, 20 August – 23 October
Boston, Museum of Fine Arts. Berthe Morisot: Drawings, Pastels, Watercolours. 1960, 10 October – 10 December
Paris, Musée Jacquemart-André. Berthe Morisot. 1961
Paris, Galerie Hopkins-Thomas. Berthe Morisot. 1987–88, April – 9 May
London, JPL Fine Arts. Berthe Morisot (1841–1895). 1990–91, 7 November – 18 January
Paris, Galerie Hopkins-Thomas. Berthe Morisot. 1993, 15 October – 30 November
Lille, Palais des Beaux-Arts, Berthe Morisot 2002, 10 March – 9 June
Martigny, Fondation Pierre Gianadda, Berthe Morisot 2002, 20 June – 9 November
Washington DC, National Museum of Women in the Arts, Berthe Morisot: An Impressionist and Her Circle.[133] 2005, 14 January – 8 May
Madrid, Thyssen-Bornemisza Museum, Berthe Morisot: The Woman impressionist. 2012, 15 November – 12 February
Québec, Musée National des Beaux-arts du Québec, Berthe Morisot: Woman Impressionist.[134] 2018, 21 June – 23 September
Dallas, Dallas Museum of Art, Berthe Morisot, Woman Impressionist 2019, 24 February – 26 May
London, Dulwich Picture Gallery, Berthe Morisot: Shaping Impressionism. 2023, 31 March – 10 September
Genoa, Palazzo Ducale, Impression Morisot 2024, 12–2 October – 2025, 23 February
Turin, GAM (Gallery Modern Art), Berthe Morisot. Pittrice impressionista 2024, 16–2 October – 2025, 9 March

See also

Notes

  1. ↑ The scene L'Entrée du port is often confused with L'Entrée du port de Cherbourg purchased in 1874 by Durand-Ruel, or confused with Le Port de Cherbourg
  1. ↑ 1.0 1.1 Title in French: Jeune femme à sa fenêtre or Portrait de Madame Pontillon
  2. ↑ Title in French: Madame Morisot et sa fille Madame Pontillon (La Lecture)
  3. ↑ Title in French: Vue du petit port de Lorient
  4. ↑ 4.0 4.1 Title in French: Femme et enfant au balcon
  5. ↑ drawings cabinet[48] gift of Madame Edma Pontillon to the Louvre in 1921, in the collection of the Musée d'Orsay[49]
  6. ↑ Title in French: Le Berceau
  7. ↑ 7.0 7.1 Title in French: L'ombrelle verte or La Lecture (Edma lisant)
  8. ↑ Title in French: Dans le parc
  9. ↑ 9.0 9.1 Title in French: Suspendre le linge pour sécher
  10. ↑ 10.0 10.1 Title in French: Eugène Manet à l'île de Wight
  11. ↑ 11.0 11.1 11.2 11.3 Title in French: Femme à sa toilette
  12. ↑ Title in French: Jeune femme en toilette de bal
  13. ↑ Title in French: Jeune fille au bal
  14. ↑ 14.0 14.1 Title in French: La Psyché
  15. ↑ 15.0 15.1 Title in French: Le Lac du Bois de Boulogne (Jour d'été)
  16. ↑ Title in French: Jeune femme en toilette de bal
  17. ↑ Provenance: acquired from the artist's family by the first owner, sold with a letter of authenticity from Daniel Wildenstein at Sotheby's, 1984.
  18. ↑ 18.0 18.1 Title in French: Enfant dans les roses trémières
  19. ↑ 19.0 19.1 Title in French: Le Bain (Jeune file se coiffant)
  20. ↑ 20.0 20.1 Title in French: Dans la salle à manger
  21. ↑ 21.0 21.1 Title in French: Jeune Fille dans un parc
  22. ↑ 22.0 22.1 Title in French: Le Flageolet (Julie Manet et Jeanne Gobillard)
  23. ↑ Also as Julie Manet et son Lévrier Laerte

References

  1. ↑ Denvir, 2000, pp. 29–79.
  2. ↑ Solomon, Tessa (27 July 2020). "The Women of Impressionism: Berthe Morisot, Mary Cassatt, and Other Pioneering Figures Who Shaped the Movement". ARTnews.com. ARTnews. Retrieved 29 July 2020.
  3. ↑ Smith, Hazel (7 January 2019). "Berthe Morisot and Édouard Manet: Painters in Paris". France Today. Retrieved 4 October 2021.
  4. ↑ Geffroy, Gustave (1894), "Histoire de l'Impressionnisme", Le Vie Artistique: 268.
  5. ↑ "Berthe Morisot - Biography, Art, Paintings, & Facts". Encyclopædia Britannica. Retrieved 9 July 2021.
  6. ↑ 6.0 6.1 Adler, Kathleen (1987). Berthe Morisot. Ithaca, New York: Cornell University Press. pp. 9. ISBN 0801420539.
  7. ↑ Higonnet, p. 5
  8. ↑ 8.0 8.1 8.2 8.3 Harmon, Melissa Burdick. "Monet, Renoir, Degas...Morisot the Forgotten Genius of Impressionism." Biography, vol. 5, no. 6, June 2001, p. 98. EBSCOhost
  9. ↑ 9.0 9.1 Higonnet, Anne (1990). Berthe Morisot. New York: Harper & Row, Publishers. pp. 11–25. ISBN 0-06-016232-5.
  10. ↑ 10.0 10.1 "Yves peinte par Degas". Metropolitan Museum of Art.
  11. ↑ 11.0 11.1 Template:Harvsp
  12. ↑ "Edma and Berthe by Nancy Bea Miller". Women in the Act of Painting. 9 November 2012.
  13. ↑ Higonnet, Anne (8 June 1995). Berthe Morisot. University of California Press. p. 32. ISBN 9780520201569.
  14. ↑ Garb, T. (2003). "Morisot, Berthe(-Marie-Pauline)". Grove Art Online.
  15. ↑ 15.0 15.1 15.2 15.3 15.4 15.5 15.6 Mathieu, Marianne; Musée Marmottan (2012). Berthe Morisot : 1841–1895. Paris: Editions Hazan. ISBN 9780300182019. OCLC 830199379.
  16. ↑ Patry, Sylvie; Kang, Cindy; Searls, Damion; Musée national des beaux-arts du Québec; Dallas Museum of Art; Barnes Foundation; Musée d'Orsay, eds. (2018). Berthe Morisot: woman impressionist. New York, NY: RizzoliElecta. ISBN 978-0-8478-6131-6.
  17. ↑ Chadwick, Whitney (2012). Women, Art, and Society (Fifth ed.). London: Thames & Hudson Inc. p. 253. ISBN 978-0-500-20405-4.
  18. ↑ Lewis, M.T. "Book Reviews: Berthe Morisot." Art Journal, vol. 50, no. 3, Fall91, p. 92. EBSCOhost,
  19. ↑ Chadwick, Whitney (2012). Women, Art, and Society (5th ed.). London: Thames & Hudson Ltd. p. 234. ISBN 978-0-500-20405-4.
  20. ↑ Higonnet, Anne (1990). Berthe Morisot. New York: Harper & Row, Publishers, Inc. p. 139. ISBN 0-06-016232-5.
  21. ↑ Higonnet, Anne (1990). Berthe Morisot. New York: Harper & Row, Publishers, Inc. p. 158. ISBN 0-06-016232-5.
  22. ↑ 22.0 22.1 22.2 22.3 22.4 22.5 Rey, Jean-Dominique (2010). Berthe Morisot. Foreword by Sylvie Patry. Paris: Flammarion. ISBN 9782080301680. OCLC 646401344.
  23. ↑ National Museum of Women in the Arts: "The Cage". Retrieved 24 November 2014.
  24. ↑ Mongan, Elizabeth (1960). Berthe Morisot, Drawings Pastels, Watercolours. New York: Shorewood Publishing Co. p. 20.
  25. ↑ 25.0 25.1 25.2 Stuckey, Charles F.; Scott, William P. (1987). Berthe Morisot: Impressionist. New York: Hudson Hills Press. pp. 187–207. ISBN 0-933920-03-2.
  26. ↑ Higonnet, Anne (1990). Berthe Morisot. New York: Harper & Row, Publishers, Inc. p. 26. ISBN 0-06-016232-5.
  27. ↑ Higonnet, Anne (1990). Berthe Morisot. New York: Harper & Row, Publishers, Inc. p. 102. ISBN 0-06-016232-5.
  28. ↑ "Berthe Morisot - French painter". Encyclopædia Britannica. Retrieved 29 March 2018.
  29. ↑ Brodskaya, Nathalia. Impressionism. New York. ISBN 9781780428017. OCLC 778448857.
  30. ↑ Barnes, Julian. "The Morisot Sisters"; also quoted in Higonnet, Anne. Berthe Morisot, p. 221.
  31. ↑ Commire, Anne, ed. (2001). Women in World History: A Biographical Encyclopedia. 11. Waterford: Yorkin Publications, Gale Group. p. 448. ISBN 978-0-78764-070-5.
  32. ↑ "MORISOT / SACRISTE". Musée Marmottan Monet. 2023. Archived from the original on 15 December 2023. Retrieved 15 January 2024.
  33. ↑ "Berthe Morisot par Edouard Manet, le désir en peinture". Le Monde. 18 October 2023. Archived from the original on 18 October 2023. Retrieved 18 October 2023. Tous les portraits de Berthe Morisot par Manet sont magnifiques, pleins de son amour pour celle qui avait épousé son frère Eugène. Ils disent un désir qui n'a pu s'exprimer et c'est autour de cette part manquante que j'ai imaginé mon exposition.
  34. ↑ Template:Harvsp
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  39. ↑ "The Artist's Sister at a Window by Berthe Morisot". nga.gov. National Gallery of Art Washington. Retrieved 24 May 2026.
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  46. ↑ "Berthe Morisot, Femme et enfant au balcon (On the Balcony) (1871–72)". Art Institute of Chicago.
  47. ↑ Template:Harvsp
  48. ↑ Template:Harvsp
  49. ↑ "Madame Pontillon, descriptif actuel". Musée d'Orsay.
  50. ↑ Template:Harvsp
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  53. ↑ 53.0 53.1 Template:Harvsp
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  69. ↑ "Jeune Femme arrosant un arbuste (Primary Title) - (83.40)". Virginia Museum of Fine Arts. Retrieved 9 January 2020.
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  122. ↑ Template:Harvsp
  123. ↑ Template:Harvsp
  124. ↑ Morisot, Berthe. "Woman at Her Toilette". Art Institute of Chicago. Retrieved 24 May 2021.
  125. ↑ Chadwick, Whitney (2012). Women, Art, and Society (5th ed.). London: Thames & Hudson Ltd. p. 235. ISBN 978-0-500-20405-4.
  126. ↑ Higonnet, Anne (1990). Berthe Morisot. New York: Harper & Row, Publishers, Inc. p. 124. ISBN 0-06-016232-5.
  127. ↑ Shennan, Margaret (1996). Berthe Morisot: The First Lady of Impressionism. Stroud: Sutton Publishing Limited. p. 173. ISBN 0-7509-1226 X.
  128. ↑ 128.0 128.1 Kelly Crow and Mary M. Lane (6 February 2013), Christie's Breaks World Record Price for Female Artist The Wall Street Journal.
  129. ↑ Ellen Gamerman and Mary M. Lane (18 April 2013), Women on the Verge The Wall Street Journal.
  130. ↑ Katya Kazakina (14 May 2014), Billionaires Help Christie's to Record $745 Million Sale Bloomberg.
  131. ↑ Trisha Ping, ed. (17 November 2009). "Sneak peek: Elizabeth Kostova's 'The Swan Thieves'". bookpage.com. Archived from the original on 6 November 2019. Retrieved 17 March 2012.
  132. ↑ Berthe Morisot (1841-1895), from 18 June 18 to 22 September 2019
  133. ↑ "Berthe Morisot: An Impressionist and Her Circle - Exhibition". National Museum of Women in the Arts. Retrieved 26 March 2026.
  134. ↑ This exhibition was subsequently shown at the Barnes Foundation in Philadelphia, the Dallas Museum of Art and Musée d'Orsay in Paris. Cohen, Rachel. "Berthe Morisot comes into her own" Apollo. 6 October 2018.

Sources

Template:Americana Poster

  • Bataille, Marie-Louise; Wildenstein, Georges (1961). Berthe Morisot : Catalogue des peintures, pastels et aquarelles. Paris: Les Beaux-Arts. OCLC 490107208.
  • Denvir, Bernard (1993). The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists. London: Thames & Hudson. OCLC 43339405
  • Higonnet, Anne (1990). Berthe Morisot. New York: Harper & Row.
  • Turner, Jane (2000). From Monet to Cézanne: Late 19th-century French Artists. Grove Art. New York: St. Martin's Press. ISBN 0-312-22971-2
  • Manet, Julie, Rosalind de Boland Roberts, and Jane Roberts (1987). Growing Up with the Impressionists: The Diary of Julie Manet. London: Sotheby's Publications.
  • Shennan, Margaret (1996). Berthe Morisot: The First Lady of Impressionism. Stroud: Sutton Publishing. ISBN 0-7509-2339-3

Further reading

External video
video icon Morisot's The Mother and Sister of the Artist on YouTube, (3:35)
video icon Video Postcard: Woman at Her Toilette (1875/80) on YouTube, (1:58) Art Institute of Chicago

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