Berthe Marie Pauline Morisot (; January 14, 1841 – March 2, 1895) was a French painter 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 Salon de Paris. Sponsored by the government and judged by Academicians, the Salon was the official, annual

exhibition An exhibition, in the most general sense, is an organized presentation and display of a selection of items. In practice, exhibitions usually occur within a cultural or educational setting such as a museum, art gallery, park, library, exhibition ...

of the Académie des beaux-arts in Paris. Her work was selected for exhibition in six subsequent Salons until, in 1874, she joined the ''"rejected"'' Impressionists in the first of their own exhibitions, which included

Paul Cézanne Paul Cézanne ( , , ; ; 19 January 1839 – 22 October 1906) was a French artist and Post-Impressionism, Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavour to a ...

Edgar Degas Edgar Degas (, ; born Hilaire-Germain-Edgar De Gas, ; 19 July 183427 September 1917) was a French Impressionist artist famous for his pastel drawings and oil paintings. Degas also produced bronze sculptures, prints and drawings. Degas is es ...

, Claude Monet,

Camille Pissarro Jacob Abraham Camille Pissarro ( , ; 10 July 1830 – 13 November 1903) was a Danish-French Impressionist and Neo-Impressionist painter born on the island of Saint Thomas, U.S. Virgin Islands, St Thomas (now in the US Virgin Islands, but t ...

Pierre-Auguste Renoir Pierre-Auguste Renoir (; 25 February 1841 – 3 December 1919) was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has been said that "R ...

and Alfred Sisley. It was held at the

studio A studio is an artist or worker's workroom. This can be for the purpose of acting, architecture, painting, pottery (ceramics), sculpture, origami, woodworking, scrapbooking, photography, graphic design, filmmaking, animation, industrial design ...

of the photographer

Nadar Gaspard-Félix Tournachon (5 April 1820 – 20 March 1910), known by the pseudonym Nadar, was a French photographer, caricaturist, journalist, novelist, balloon (aircraft), balloonist, and proponent of Aircraft#Heavier-than-air – aerodynes, h ...

. Morisot went on to participate in all but one of the following eight impressionist exhibitions, between 1874 and 1886. Morisot was married to Eugène Manet, the brother of her friend and colleague Édouard Manet. She was described by art critic Gustave Geffroy in 1894 as one of "les trois grandes dames" (The three great ladies) of Impressionism alongside Marie Bracquemond and Mary Cassatt.

Early life

Morisot was born January 14, 1841, in

Bourges Bourges () is a commune in central France on the river Yèvre. It is the capital of the department of Cher, and also was the capital city of the former province of Berry. History The name of the commune derives either from the Bituriges, t ...

, France, into an affluent bourgeois family. Her father, Edmé Tiburce Morisot, was the prefect (senior administrator) of the

department Department may refer to: * Departmentalization, division of a larger organization into parts with specific responsibility Government and military *Department (administrative division), a geographical and administrative division within a country, ...

Cher Cher (; born Cherilyn Sarkisian; May 20, 1946) is an American singer, actress and television personality. Often referred to by the media as the Honorific nicknames in popular music, "Goddess of Pop", she has been described as embodying female ...

. He also studied architecture at École des Beaux Arts. 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 ''Ancien'' may refer to * the French word for "ancient, old" ** Société des anciens textes français * the French for "former, senior" ** Virelai ancien ** Ancien Régime ** Ancien Régime in France {{disambig ...

. 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. 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.Harmon, Melissa Burdick. "Monet, Renoir, Degas...Morisot the Forgotten Genius of Impressionism." ''Biography'', vol. 5, no. 6, June 2001, p. 98. EBSCO''host'' Guichard also introduced them to the works of Gavarni. As art students, Berthe and Edma worked closely together until 1869, when Edma married Adolphe Pontillon, a naval officer, moved to

Cherbourg Cherbourg (; , , ), nrf, Chèrbourg, ) is a former commune and subprefecture located at the northern end of the Cotentin peninsula in the northwestern French department of Manche. It was merged into the commune of Cherbourg-Octeville on 28 Feb ...

, 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…"''. Her sister Yves married Theodore Gobillard, a tax inspector, in 1866 and was painted by

as ''Mrs Theodore Gobillard'' ( Metropolitan Museum of Art, New York City). As a

copyist A copyist is a person that makes duplications of the same thing. The term is sometimes used for artists who make copies of other artists' paintings. However, the modern use of the term is almost entirely confined to music copyists, who are emplo ...

at the Louvre, Morisot met and befriended other artists such as Manet and Monet. In 1861 she was introduced to

Jean-Baptiste-Camille Corot Jean-Baptiste-Camille Corot ( , , ; July 16, 1796 – February 22, 1875), or simply Camille Corot, is a French landscape and portrait painter as well as a printmaker in etching. He is a pivotal figure in landscape painting and his vast ...

, 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. By 1863 she was studying under , another Barbizon painter. In the winter of 1863–64 she studied sculpture under

Aimé Millet Aimé Millet (September 28, 1819 – January 14, 1891) was a noted French sculptor, who was born and died in Paris. Millet was the son of miniaturist Frédéric Millet (1796–1859) and uncle to Chicago architectural decorator Julian Louis Mi ...

, but none of her sculptures is known to survive.

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. Her first teacher, Geoffroy-Alphonse Chocarne, taught her the basics of drawing. After several months, Morisot began to take classes taught by Guichard. During this period, she drew mostly ancient classical figures. When Morisot expressed her interests in plein-air painting, Guichard sent her to follow Corot and Oudinot. Painting outdoors, she used watercolors which are easy to carry. At that time, Morisot also became interested in pastel.

Watercolorist, 1870–1874

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

Impressionism, 1875–1885

Having become more confident about oil painting, Morisot worked in oil, watercolor 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 watercolors done in the preparatory stages allowed her to continue painting indoors later.

Turning, 1885–1887

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

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.

Style and technique

Because she was a female artist, Morisot's paintings were often labeled as being full of "feminine charm" by male critics, for 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 brushstrokes 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 other Impressionists to look for truths in observation. Around 1880 she began painting on unprimed canvases—a technique Manet and Eva Gonzalès also experimented with at the time—and her brushwork became looser. In 1888–89, her brushstrokes transitioned from short, rapid strokes to long, sinuous ones that define form. 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. She also worked in oil paint, watercolors, and pastel simultaneously, and sketched using various drawing media. Morisot's works are almost always small in scale. Morisot creates a sense of space and depth through the use of color. Although her color palette was somewhat limited, her fellow impressionists regarded her as a "virtuoso colorist". She typically made expansive use of white to create a sense of transparency, whether used as a pure white or mixed with other colors. In her large painting, ''The Cherry Tree'', colors are more vivid but are still used to emphasize form. Inspired by Manet's drawings, she kept the use of color to the minimum when constructing a motif. Responding to the experiments conducted by Manet and

, Morisot used barely tinted whites to harmonize the paintings. Like Degas, she played with three media simultaneously in one painting: watercolor, pastel, and oil paints. In the second half of her career, she learned from Renoir by mimicking his motifs. She also shared an interest in keeping a balance between the density of figures and the atmospheric traits of light with Renoir in her later works.

Subjects

Jeune Fille au Manteau Vert by Berthe Morisot

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 the society, Morisot preferred private, intimate scenes. It somehow 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. By portraying flowers, she used metaphors to celebrate womanhood. Prior to the 1860s, Morisot painted subjects in line with the Barbizon school before turning to scenes of contemporary femininity. 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 theme of boredom or ennui. Later in her career Morisot worked with more ambitious themes, such as nudes. In her late works, she often referred to the past to recall the memory of her earlier life and youth, and her departed companions.

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 A landscape is the visible features of an area of land, its landforms, and how they integrate with natural or man-made features, often considered in terms of their aesthetic appeal.''New Oxford American Dictionary''. A landscape includes the ...

paintings. She continued to show regularly in the Salon, to generally favorable reviews, until 1873, the year before the first Impressionist exhibition. She exhibited with the Impressionists from 1874 onwards, only missing the exhibition in 1878 when her daughter was born. Impressionism's alleged attachment to brilliant color, 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. 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...

hose A hose is a flexible hollow tube designed to carry fluids from one location to another. Hoses are also sometimes called ''pipes'' (the word ''pipe'' usually refers to a rigid tube, whereas a hose is usually a flexible one), or more generally '' ...

feminine grace is maintained amid the outpourings of a delirious mind." 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." She chose to exhibit under her full maiden name instead of using a pseudonym or her married name. 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. Edouard Manet - Berthe Morisot With a Bouquet of Violets - Google Art Project

Edouard Manet - Berthe Morisot With a Bouquet of Violets - Google Art Project

Personal life

Morisot came from an eminent family, the daughter of a government official and the great-niece of Rococo artist Jean-Honoré Fragonard. She met her longtime friend and colleague, Édouard Manet, in 1868. By the introduction of Manet, Morisot was married to Édouard's brother, Eugène Manet in 1874. On November 14, 1878, she gave birth to her only child, Julie, 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''. Morisot died on March 2, 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. She was interred in the Cimetière de Passy.

Works

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'' by Charles F. Stuckey, William P. Scott and Susan G. Lindsay, which is in turn drawn from the 1961 catalogue by Marie-Louise Bataille, Rouaart Denis and Georges Wildenstein. There are variations between the dates of execution, first showing and purchase. Titles may vary between sources.

1864–1874

* ''Étude'', 1864, oil on canvas, 60.3 × 73 cm, private collection * ''Chaumière en Normandie'', 1865, oil on canvas, 46 × 55 cm, private collection * ''La Seine en aval du pont d'Iéna'', 1866, oil on canvas, 51 × 73 cm, private collection * ''La Rivière de Pont Aven à Roz-Bras'', 1867, oil on canvas, 55 × 73 cm, private collection – Chicago * ''Bateaux à l'aurore'', 1869, pastel on paper, 19.7 × 26.7 cm, private collection *''Jeune fille à sa fenêtre'', 1869, oil on canvas, 36.8 × 45.4 cm, private collection * ''Madame Morisot et sa fille Madame Pontillon (La Lecture)'', 1869–1870, oil on canvas, 101 × 81.8 cm,

National Gallery of Art The National Gallery of Art, and its attached Sculpture Garden, is a national art museum in Washington, D.C., United States, located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. Open to the public and free of char ...

, Washington, D.C. * ''Le Port de Cherbourg'', 1871, crayon and watercolour on paper, 15.6 × 20.3 cm, private collection of Paul Mellon, Upperville, Virginia * ''Le Port de Cherbourg'', 1871, oil on canvas, 41.9 × 55.9 cm, private collection of Paul Mellon, Upperville, Virginia * ''Vue de paris de hauteurs du Trocadéro'', 1871, oil on canvas, 46.1 × 81.5 cm, Santa Barbara Museum of Art, California * ''Femme et enfant au balcon'', 1871–72, watercolor, 20.6 × 17.3 cm,

Art Institute of Chicago The Art Institute of Chicago in Chicago's Grant Park, founded in 1879, is one of the oldest and largest art museums in the world. Recognized for its curatorial efforts and popularity among visitors, the museum hosts approximately 1.5 mill ...

* ''Intérieur'', 1871, oil on canvas, 60 × 73 cm, private collection * ''Portrait de Madame Pontillon'', 1871, pastel on paper, 85.5 × 65.8 cm, Louvre – drawings cabinet gift of Madame Edma Pontillon to the Louvre in 1921, in the collection of the

Musée d'Orsay The Musée d'Orsay ( , , ) ( en, Orsay Museum) is a museum in Paris, France, on the Left Bank of the Seine. It is housed in the former Gare d'Orsay, a Beaux-Arts railway station built between 1898 and 1900. The museum holds mainly French art ...

* ''L'Entrée du port'', 1871,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'' watercolour on paper, 24.9 × 15.1 cm, ,

Bagnols-sur-Cèze Bagnols-sur-Cèze (, literally ''Bagnols on Cèze''; oc, Banhòus de Céser) is a commune in the Gard department in the Occitanie région in southern France. History A small regional center, Bagnols-sur-Cèze was quite certainly a Roman town ( ...

– drawings cabinet * ''Madame Pontillon et sa fille Jeanne sur un canapé'', 1871, watercolour on paper, 25.1 × 25.9 cm,

, Washington * ''Jeune fille sur un banc (Edma Pontillon)'', 1872, oil on canvas, 33 × 41 cm, * ''Cache-cache'', 1872, oil on canvas, 33 × 41 cm, Private collection * ''Le Berceau'', 1872, oil on canvas, 56 × 46 cm

, Paris * ''La Lecture (Edma lisant)'', also titled ''L'Ombrelle verte'', 1873, oil on canvas, 45.1 × 72.4 cm, Cleveland Museum of Art, Ohio * ''Sur la plage des Petites-Dalles'', 1873, oil on canvas, 24.1 × 50.2 cm, Virginia Museum of Fine Arts,

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* ''Madame Boursier et sa fille'', 1873, oil on canvas, 74 × 52 cm, Virginia Museum of Fine Arts * ''Le Village de Maurecourt'', 1873, pastel on paper, 47 × 71.8 cm, private collection * ''Coin de Paris vu de Passy'', 1873, pastel on paper, 27 × 34.9 cm, private collection * ''Sur la terrasse'', 1874, oil on canvas, 45 × 54 cm, Musée du Petit Palais, Paris * ''Portrait de Madame Hubbard'', 1874, oil on canvas, 50.5 × 81 cm, Ordrupgaard museum de Copenhagen * ''Femme et enfant au bord de la mer '', 1874, watercolor on paper, 16 × 21.3 cm, private collection

1875–1884

* ''Percher de blanchisseuses '', 1875, Oil on canvas 33 × 40.8 cm,

, Washington D.C. * ''Jeune fille au miroir'', 1875, oil on canvas, 54 × 45 cm, private collection * ''Scène de port dans l'île de Wight'', 1875, oil on canvas, 48 × 36 cm private collection * ''Scène de port dans l'île de Wight'', 1875, oil on canvas, 43 × 64 cm, Newark Museum, Newark, New Jersey * ''Eugène Manet à l'île de Wight'', 1875, oil on canvas, 38 × 46 cm private collection * ''Avant d'un yacht'', 1875, watercolour on paper, 20.6 × 26.7 cm, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts * ''Femme à sa toilette'', 1875, oil on canvas, 46 × 38 cm private collection * '' Femme à sa toilette '', 1875–1880, hst, dim; 60.3 × 80.4 cm, Coll.

* ''Portrait de femme (Avant le théâtre)'', 1875, oil on canvas, 57 × 31 cm, Galerie Schröder & Leisewitz,

Bremen Bremen (Low German also: ''Breem'' or ''Bräm''), officially the City Municipality of Bremen (german: Stadtgemeinde Bremen, ), is the capital of the German state Free Hanseatic City of Bremen (''Freie Hansestadt Bremen''), a two-city-state consis ...

* ''Jeune femme au bal'' encore intitulé ''Jeune femme en toilette de bal'', 1876, oil on canvas, 86 × 53 cm

* ''Au Bal'' ou ''Jeune fille au bal'', 1875, oil on canvas, 62 × 52 cm, Musée Marmottan-Monet, Paris *''Jeune Femme arrosant un arbuste,'' 1876, oil on canvas, 40.01 × 31.75 cm, Virginia Museum of Fine Arts,

Richmond, Virginia (Thus do we reach the stars) , image_map = , mapsize = 250 px , map_caption = Location within Virginia , pushpin_map = Virginia#USA , pushpin_label = Richmond , pushpin_m ...

* ''Le Corsage noir '', 1876, oil on canvas, 73 × 59.8 cm National Gallery of Ireland, Dublin * ''Le Psyché'', 1876, oil on canvas, 65 × 54 cm, Thyssen-Bornemisza Museum, Madrid * ''Rêveuse'', 1877, pastel on canvas, 50.2 × 61 cm, Nelson-Atkins Museum of Art,

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* ''L'Été'', encore intitulé ''Jeune femme près d'une fenêtre'' 1878, oil on canvas, 76 × 61 cm, Musée Fabre,

Montpellier Montpellier (, , ; oc, Montpelhièr ) is a city in southern France near the Mediterranean Sea. One of the largest urban centres in the region of Occitania (administrative region), Occitania, Montpellier is the prefecture of the Departments of ...

* ''Jeune feme assise'', 1878–1879, oil on canvas, 80 × 100 cm, private collection New York City * ''Jeune fille de dos à sa toilette'', encore intitulé ''Femme à sa toilette'' 1879, oil on canvas, 60.3 × 80.4 cm

* ''Le Lac du Bois de Boulogne (Jour d'été)'', 1879, 45.7 × 75.3 cm, National Gallery, London * ''Dans le jardin (Dames cueillant des fleurs)'', 1879, oil on canvas, 61 × 73.5 cm,

Nationalmuseum Nationalmuseum (or National Museum of Fine Arts) is the national gallery of Sweden, located on the peninsula Blasieholmen in central Stockholm. The museum's operations stretches far beyond the borders of Blasieholmen, the nationalmuseum manag ...

Stockholm Stockholm () is the Capital city, capital and List of urban areas in Sweden by population, largest city of Sweden as well as the List of urban areas in the Nordic countries, largest urban area in Scandinavia. Approximately 980,000 people liv ...

* ''Jeune femme en toilette de bal (Young Woman in Evening Dress)'', 1879, oil on canvas, 71 x 54 cm, Musée d’Orsay, Paris * ''Hiver'', 1880, oil on canvas, 73.5 × 58.5 cm, Dallas Museum of Art * ''Deux filles assises près d'une table'', 1880, crayon and watercolour on paper 19,6 × 26.6 cm private collection Germany * ''Bateaux sur la Seine''. c. 1880, 25.5cm x 50cm. Provenance: acquired from the artist's family by the first owner, sold with a letter of authenticity from Daniel Wildenstein at Sotheby's, 1984. * ''Plage à Nice'' 1881–1882, watercolour on paper 42 × 55 cm,

* ''Le Port de Nice'', 1881–1882, oil on canvas, 53 × 43 cm private collection * ''Le Port de Nice'', 1881–1882, oil on canvas, 41 × 55 cm private collection * ''Le Port de Nice'' 1881 (?)third version format 38 × 46 cm conserved at Dallas Museum of Art * ''Le Thé'', 1882, oil on canvas, 57.5 × 71.5 cm, Fondation Madelon Vaduz, Liechtenstein * ''Le Port de Nice'', 1881–1882, oil on canvas, 53 × 43 cm private collection * ''La Fable'', 1883, oil on canvas, 65 × 81 cm private collection * ''Le Jardin (Femmes dans le jardin)'' (1882–1883) oil on canvas, 99.1 × 127 cm, Sara Lee Corporation, Chicago * ''Eugène Manet et sa fille au jardin'' 1883, oil on canvas, 60 × 73, private collection * ''Dans le jardin à Maurecourt'', 1883, oil on canvas, 54 × 65 cm, Toledo Museum of Art * ''Le Quai de Bougival'', 1883, oil on canvas, 55.5 × 46 cm, Nasjonalgalleriet, Oslo * ''Julie et son bateau (Enfant jouant)'', 1883, watercolour on paper, 25 × 16 cm, private collection * ''La Meule de foin'' 1883, oil on canvas, 55.3 × 45.7 cm, private collection, New York * ''Dans la véranda'', 1884, oil on canvas, 81 × 10 cm, private collection * ''Julie avec sa poupée'', 1884, oil on canvas, 82 × 10 cm, private collection * ''Petite fille avec sa poupée (Julie Manet)'', 1884, pastel on paper, 60 × 46 cm, private collection * ''Sur le lac'', 1884, oil on canvas, 65 × 54 cm, private collection * ''The Artist's Daughter, Julie, with her Nanny'', c. 1884, oil on canvas, Minneapolis Institute of Art

1885–1894

* ''Autoportrait'', 1885, pastel on paper, 47.5 × 37.5 cm,

* ''Autoportrait avec Julie'', 1885, oil on canvas, 72 × 91 cm, private collection * ''Jeune femme assise au Bois de Boulogne'', 1885, watercolour on paper, 19 × 28 cm, Metropolitan Museum of Art, New York City * ''La Forêt de Compiègne'', 1885, oil on canvas, 54.2 × 64.8 cm,

* ''Le Bain (Jeune file se coiffant)'', 1885–1886, oil on canvas, 81.1 × 72.3 cm,

* ''Dans la salle à manger'', 1885–1886, oil on canvas, 61.3 × 50 cm,

* ''Le Lever'', 1886, oil on canvas, 65 × 54 cm, collection Durand-Ruel * ''Intérieur à Jersey (Intérieur de cottage)'', 1886, oil on canvas, 50 × 60 cm, Musée communal des beaux-arts d'Ixelles * ''Femme s'essuyant'', 1886–1887, pastel on paper, 42 × 41 cm, Non localisé * ''Julie avec un chat'', 1887, drypoint, 14.5 × 11.3 cm, National Gallery of Art, Washington * ''Nu de dos'', 1887,

charcoal Charcoal is a lightweight black carbon residue produced by strongly heating wood (or other animal and plant materials) in minimal oxygen to remove all water and volatile constituents. In the traditional version of this pyrolysis process, cal ...

on paper, 57 × 43 cm, private collection * ''Éventail en médaillon'', 1887, watercolour on silk fan, private collection * ''Portrait de Paule Gobillard'', 1887, coloured pencil on paper, 27.9 × 22.9 cm, Reader's Digest Association, New York * ''Le Lac du Bois de Boulogne'', 1887, watercolour on paper, 29.5 × 22.2 cm, National Museum of Women in the Arts, Washington * ''Fillette lisant (La lecture)'', 1888, oil on canvas, 74.3 × 92.7 cm, Museum of Fine Arts (St. Petersburg, Florida) * ''Berthe Morisot and Julie Manet'', c.1888–1890, drypoint, 18.42 x 13.49 cm, Minneapolis Institute of Art, Minneapolis * ''La Cueillette des oranges'', 1889, pastel, 61 × 46 cm, Musée d'art et d'histoire de Provence, Grasse *''Sous l'oranger (Julie)'', 1889, oil on canvas, 54 × 65 cm, private collection *''L'Île du Bois de Boulogne'', 1889, oil on canvas, 68.4 × 54.6 cm,

, Washington *''Le Flageolet (Julie Manet et Jeanne Gobillard)'', 1891, oil on canvas, 56 × 87 cm, private collection *''Le Cerisier 1891'', 1891, oil on canvas, 138 × 88.9 cm, private collection, Washington *'' Étude pour Le Cerisier'', 1891, pastel on paper, 45.7 × 48.9 cm, The Reader's Digest Association *''Julie Manet avec son lévrier'', 1893, oil on canvas, 73× 80 cm, Musée Marmottan-Monet, Paris *''Les Enfants de Gabriel Thomas'', 1894, oil on canvas, 100 × 80 cm, Musée d'Orsay, Paris *''La Coiffure'', 1894, oil on canvas, 100 × 80 cm, Museo Nacional de Bellas Artes (Buenos Aires) *''Jeune fille aux cheveux noirs'', 1894, pencil and watercolour, 23.1 × 16.8 cm,

Philadelphia Museum of Art The Philadelphia Museum of Art (PMoA) is an art museum originally chartered in 1876 for the Centennial Exposition in Philadelphia. The main museum building was completed in 1928 on Fairmount, a hill located at the northwest end of the Benjamin Fr ...

, Philadelphia

Gallery

File:Girl on Divan ca. 1885 – Berthe Morisot.jpg, ''Girl on Divan (ca. 1885)'' File:Berthe Morisot, The Sisters, 1869, NGA 42285.jpg, ''The Sisters'', 1869,

File:The Artist's Sister at a Window A16570.jpg, ''The Artist's Sister at a Window'', 1869,

File:Berthe Morisot 001.jpg, ''On the Balcony (Femme et enfant au balcon),'' 1872, New York City File:Berthe Morisot Reading.jpg, L'ombrelle verte, ''Reading (portrait of Edma Morisot),'' 1873, Cleveland Museum of Art File:Berthe Morisot - Le Berceau.jpg, ''Le Berceau'' (''The Cradle''), 1872,

File:1875 Morisot Laundry.jpg, ''Suspendre le linge pour sécher (Hanging the Laundry out to Dry)'', 1875,

File:Berthe Morisot 002.jpg, ''Eugène Manet on the Isle of Wight'', 1875, Musée Marmottan Monet File:Berthe Morisot - Sommertag - 1879.jpeg, ''Jour d'été

Summer's Day ''Summer's Day'' (or ''Jour d'eté'') is an oil on canvas painting by the French Impressionist painter Berthe Morisot, created in 1879. The painting depicts two women seated in a row boat, and was painted in the Bois de Boulogne. It is held at the ...

'', 1879, National Gallery, London Alternative title: French: Le Lac du bois de Boulogne The Lake in the Bois de Boulogne File:Berthe Morisot Winter aka Woman with a Muff.jpg, ''Winter aka Woman with a Muff (Hiver)'', 1880,

Dallas Museum of Arts The Dallas Museum of Art (DMA) is an art museum located in the Arts District of downtown Dallas, Texas, along Woodall Rodgers Freeway between St. Paul and Harwood. In the 1970s, the museum moved from its previous location in Fair Park to the Ar ...

File:Berthe Morisot Kind zwischen Stockrosen.jpg, ''Child among the Hollyhocks (Kind zwischen Stockrosen) (Enfant dans les roses trémières)'', 1881, Wallraf-Richartz Museum File:Morisot TheArtistsDaughterJulieWithHerNanny MIA 9640.jpg, ''The Artists' Daughter Julie With Her Nanny'', c.1884, Minneapolis Institute of Art File:Berthe Morisot The Bath.jpg, ''The Bath (Girl Arranging Her Hair)'', 1885–86, Clark Art Institute File:Berthe Morisot 003.jpg, ''In the Dining Room'', 1886

File:Before the Mirror by Berthe Morisot.jpg, ''Before the Mirror (1890)'' File:Berthe Morisot - Woman at Her Toilette - 1924.127 - Art Institute of Chicago.jpg, ''Woman at her Toilette'', 1875 The Art Institute of Chicago File:Berthe Morisot - The Flute Player.jpg, ''Le Flageolet (The Flute Player) 1890'' File:Berthe Morisot - Girl with Greyhound - 1893.jpg, ''Julie Manet et son Lévrier Laerte'', 1893, Musée Marmottan Monet

Portraits of Morisot

Image:Édouard Manet - Le Balcon.jpg, Detail from '' The Balcony'' by Édouard Manet, with the portrait of Berthe in the foreground, 1868 Image:Édouard Manet - Le repos.jpg, Berthe Morisot posing for ''The Rest'', 1870, By Édouard Manet Image:Édouard Manet - Berthe Morisot on a divan.jpg, ''Berthe Morisot on a divan couch'', 1872, by Édouard Manet Image:Berthe Morisot Manet Lille 2918.jpg, Portrait of '' Berthe Morisot with a Fan'', 1874 by Édouard Manet Image:Marcellin Desboutin - Portrait Berthe Morisot.jpg, ''Portrait of Berthe Morisot'', 1876, by Marcellin Desboutin Image:Manet - Berthe Morisot ruhend.jpg, ''Portrait of Berthe Morisot'', 1882, By Édouard Manet Image:Édouard Manet - Berthe Morisot au soulier rose.jpg, ''Berthe Morisot au soulier rose'', 1872 By Édouard Manet. Hiroshima Museum of Art Image:Pierre Auguste Renoir - Portrait Berthe Morisot and daughter Julie.jpg, ''Berthe Morisot and her daughter Julie Manet'', 1894, by

Image:Renoir Berthe Morisot.jpg, ''Berthe Morisot'', 1892, by Renoir

Art market

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. Her works averaged 250 francs, the best relative prices at the auction. 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 $10.9 million at a

Christie's Christie's is a British auction house founded in 1766 by James Christie (auctioneer), James Christie. Its main premises are on King Street, St James's in London, at Rockefeller Center in New York City and at Alexandra House in Hong Kong. It is ...

auction. The painting achieved roughly three times its upper estimate,Kelly Crow and Mary M. Lane (February 6, 2013)
Christie's Breaks World Record Price for Female Artist
'' The Wall Street Journal''.Ellen Gamerman and Mary M. Lane (April 18, 2013)
Women on the Verge
'' The Wall Street Journal''. exceeding the $10.7 million for a sculpture by Louise Bourgeois in 2012.

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. She was featured as the "A First Impressionist" in an article written by Anne Truitt in the ''New York Times'' on June 3, 1990. 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." In 2019, the

devoted a temporary exhibition to Berthe Morisot to pay tribute to her work.

Exhibition

Notes

References

Sources

* * Denvir, B. (2000). ''The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists''. London: Thames & Hudson. * Higonnet, Anne (1995). ''Berthe Morisot''. Berkeley: University of California Press. * Turner, J. (2000). ''From Monet to Cézanne: late 19th-century French artists''. Grove Art. New York: St Martin's Press. * Manet, Julie, Rosalind de Boland Roberts, and Jane Roberts. ''Growing Up with the Impressionists: The Diary of Julie Manet''. London: Sotheby's Publications, 1987 * Shennan, Margaret (1996). ''Berthe Morisot: The First Lady of Impressionism''. Stroud: Sutton Publishing.

External links

* * *
Edma Morisot, 1865, ''Berthe Morisot painting at her easel'' Private collection.

Berthe Morisot
at the WebMuseum
Biography of Berthe Morisot
* * {{DEFAULTSORT:Morisot, Berthe 1841 births 1895 deaths Artists from Bourges 19th-century French painters French women painters French Impressionist painters Burials at Passy Cemetery 19th-century French women artists