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Berthe Morisot Paintings |
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Berthe Morisot Biography(b. Jan. 14, 1841, Bourges, Fr.--d. March 2, 1895, Paris)French painter and printmaker. The first woman to join the circle of the French impressionist painters, Berthe Morisot exhibited in all but one of their shows, and, despite the protests of friends and family, continued to participate in their struggle for recognition. |
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| 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. Berthe Morisot art was selected for exhibition in six subsequent Salons until, in 1874, the female impressionist joined the "rejected" Impressionists in the first of their own exhibitions, 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. | |||||||
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Born into a family of wealth and culture, Berthe Morisot received the conventional lessons in drawing and
oil painting. She went firmly
against convention, however, in choosing to take these pursuits seriously and make them her life's work. Having studied for a time
under Camille Corot, she later began her long friendship with
Edouard Manet,
who became her brother-in-law in 1874 and was the most important single influence on the development of her style.
She painted what she experienced on a daily basis. Berthe Morisot 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. |
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Berthe Morisot art 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. Berthe Morisot works also include landscapes, portraits, garden settings and boating scenes.
Unlike most of the other impressionists, who were then intensely engaged in optical experiments with color, Berthe Morisot and Manet agreed on a more conservative approach, confining their use of color to a naturalistic framework. He did encourage Manet to adopt the impressionists' high-keyed palette and to abandon the use of black. Her own carefully composed, brightly hued canvases are often studies of women, either out-of-doors or in domestic settings. Berthe Morisot and American artist Mary Cassatt are generally considered the most important women artists of the later 19th century. |
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