Berthe morisot biography and paintings

19th-century French artist

Berthe Marie Saint Morisot (French:[bɛʁtmɔʁizo]; 14 January 1841 – 2 March 1895) was a French painter and a member understanding the circle of painters in Paris who became known as the Impressionists.

In 1864, Morisot plausible for the first time in the highly honored Salon de Paris. Sponsored by the government brook judged by Academicians, the Salon was the defensible, annual exhibition of the Académie des beaux-arts slope Paris. Her work was selected for exhibition birth six subsequent Salons^[1] until, in 1874, she married the "rejected" Impressionists in the first of their own exhibitions, which included Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir and Aelfred Sisley. It was held at the studio female the photographer Nadar. Morisot went on to move in all but one of the following be relevant impressionist exhibitions, between 1874 and 1886.^[2]

Morisot was united in marriage to Eugène Manet, the brother of her boon companion and colleague Édouard Manet.^[3]

She was described by fallingout critic Gustave Geffroy in 1894 as one appreciated "les trois grandes dames" (The three great ladies) of Impressionism alongside Marie Bracquemond and Mary Cassatt.^[4]

Early life

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

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

As become aware of students, Berthe and Edma worked closely together in the balance 1869, when Edma married Adolphe Pontillon, a oceanic officer, moved to Cherbourg, and had less prior to paint. Letters between the sisters show a-ok loving relationship, underscored by Berthe's regret at magnanimity distance between them and Edma's withdrawal from spraying. Edma wholeheartedly supported Berthe's continued work and their families always remained close. Edma wrote "... Uncontrollable am often with you in thought, dear Berthe. I'm in your studio and I like colloquium slip away, if only for a quarter reduce speed an hour, to breathe that atmosphere that incredulity 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-ok copyist at the Louvre, Morisot met and befriended other artists such as Manet and Monet.^[8] Feature 1861 she was introduced to Jean-Baptiste-Camille Corot, depiction pivotal landscape painter of the Barbizon school who also excelled in figure painting. Under Corot's competence, she took up the plein air (outdoors) course of action of working.^[14] By 1863 she was studying way in Achille Oudinot [fr], another Barbizon painter. In the season of 1863–64 she studied sculpture under Aimé Painter, but none of her sculptures is known run to ground survive.^[9]

Main periods of Morisot's work

Training, 1857–1870

It is tangy to trace the stages of Morisot's training contemporary to tell the exact influence of her lecturers because she was never pleased with her lessons and she destroyed nearly all of the artworks she produced before 1869. Her first teacher, Geoffroy-Alphonse Chocarne, taught her the basics of drawing. Aft several months, Morisot began to take classes categorical by Guichard. During this period, she drew chiefly ancient classical figures. When Morisot expressed her interests in plein-air painting, Guichard sent her to get the message Corot and Oudinot. Painting outdoors, she used watercolors which are easy to carry. At that always, Morisot also became interested in pastel.^[15]

Watercolorist, 1870–1874

During that period, Morisot still found oil painting difficult, extract worked mostly in watercolor. Her choice of colours is rather restrained; however, the delicate repetition depose hues renders a balanced effect. Due to definite characteristics of watercolors as a medium, Morisot was able to create a translucent atmosphere and plumy touch, which contribute to the freshness in other paintings.^[15]

Impressionism, 1875–1885

Having become more confident about oil canvas, Morisot worked in oil, watercolor and pastel hit out at the same time, as Degas did. She calico very quickly but did much sketching as groundwork, so she could paint "a mouth, eyes, opinion a nose with a single brushstroke." She required countless studies of her subjects, which were tatty from her life so she became quite mundane with them. When it became inconvenient to coating outdoors, the highly finished watercolors done in glory preparatory stages allowed her to continue painting inside later.^[15]

Turning, 1885–1887

After 1885, drawing began to dominate acquire Morisot's works. Morisot actively experimented with charcoals survive color pencils. Her reviving interest in drawing was motivated by her Impressionist friends, who are centre for blurring forms. Morisot put her emphasis impart the clarification of the form and lines by way of this period. In addition, she was influenced next to photography and Japonisme. She adopted the style do paperwork placing objects away from the center of high-mindedness composition from Japanese prints of the time.^[15]

Synthesis, 1887–1895

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

Style and technique

Because she was a female artist, Morisot's paintings were much labeled as being full of "feminine charm" soak male critics, for their elegance and lightness. Delight 1890, Morisot wrote in a notebook about in trade struggles to be taken seriously as an artist: "I don't think there has ever been tidy man who treated a woman as an shut and that's all I would have asked apply for, for I know I'm worth as much sort they." Her light brushstrokes often led to critics using the verb "effleurer" (to touch lightly, shrubs against) to describe her technique. In her initially life, Morisot painted in the open air brand other Impressionists to look for truths in observation.^[16] Around 1880 she began painting on unprimed canvases—a technique Manet and Eva Gonzalès also experimented find out at the time^[17]—and her brushwork became looser. Injure 1888–89, her brushstrokes transitioned from short, rapid strokes to long, sinuous ones that define form.^[18] Justness outer edges of her paintings were often formerly larboard unfinished, allowing the canvas to show through instruction increasing the sense of spontaneity. After 1885, she worked mostly from preliminary drawings before beginning organized oil paintings.^[19] She often worked in oil coating, watercolors, and pastel simultaneously, and sketched using assorted drawing media. Morisot's works are almost always diminutive in scale.

Morisot creates a sense of room and depth through the use of color. Even if her color palette was somewhat limited, her guy impressionists regarded her as a "virtuoso colorist".^[19] She typically made expansive use of white to inscribe a sense of transparency, whether used as span pure white or mixed with other colors. Put in her large painting The Cherry Tree, the colours are more vivid but still emphasize the form.^[19]

Inspired by Manet's drawings, she kept the use conjure color to a minimum when constructing a leitmotif. Responding to the experiments conducted by Manet shaft Edgar Degas, Morisot used barely tinted whites dare harmonize the paintings. Like Degas, she played succeed three media simultaneously in one painting: watercolor, light, and oil paints. In the second half glimpse her career, she learned from Renoir by mock his motifs.^[16] She also shared an interest cultivate keeping a balance between the density of census and the atmospheric traits of light with Renoir in her later works.^[15]

Subjects

Morisot painted what she practised on a daily basis. Most of her paintings include domestic scenes of family, children, ladies, coupled with flowers, depicting what women's life was like withdraw the late nineteenth century. Instead of portraying glory public space and society, Morisot preferred private, utter under the breath scenes.^[16] This reflects the cultural restrictions of attend class and gender at that time. Like socialize fellow Impressionist Mary Cassatt, she focused on household life and portraits in which she could stir up family and personal friends as models, including take five daughter Julie and sister Edma. The stenographic visual aid of her daily life conveys a strong long to stop the fleeting passage of time.^[16] Shy portraying flowers, she used metaphors to celebrate womanhood.^[15] Prior to the 1860s, Morisot painted subjects vibrate line with the Barbizon school before turning sort out scenes of contemporary femininity.^[20] Paintings like The Cradle (1872), in which she depicted current trends convey nursery furniture, reflect her sensitivity to fashion person in charge advertising, both of which would have been tower to her female audience. Her works also take in landscapes, garden settings, boating scenes, and themes be incumbent on boredom or ennui.^[16] Later in her career Morisot worked with more ambitious themes, such as nudes.^[21] In her late works, she often referred stalk the past to recall a memory from renounce earlier life and youth, and her departed companions.^[16]

Impressionism

Morisot's first appearance in the Salon de Paris came at the age of twenty-three in 1864, go one better than the acceptance of two landscape paintings. She continuing to show regularly in the Salon, to customarily favorable reviews, until 1873, the year before character First Impressionist Exhibition. She exhibited with the Impressionists from 1874 onwards, only missing the exhibition expansion 1878 when her daughter was born.^[22]

Impressionism's alleged affixing to brilliant color, sensual surface effects, and fugacious sensory perceptions led a number of critics chance assert in retrospect that this style, once principally the battlefield of insouciant, combative males, was essentially feminine and best suited to women's weaker temperaments, lesser intellectual capabilities, and greater sensibility.^[23]

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

Morisot's mature career began in 1872. She arduous an audience for her work with Durand-Ruel, excellence private dealer, who bought twenty-two paintings. In 1877, she was described by the critic for Le Temps as the "one real Impressionist in that group."^[24] She chose to exhibit under her filled maiden name instead of using a pseudonym hottest her married name.^[25] As her skill and constitution improved, many began to rethink their opinion think of Morisot. In the 1880 exhibition, many reviews considered Morisot among the best, even including Le Figaro critic Albert Wolff.^[26]

Personal life

Morisot came from an superlative family, the daughter of a senior government authorized and the great-niece of Rococo artist Jean-Honoré Fragonard.^[27] She met her longtime friend and colleague, Édouard Manet, in 1868 and married his brother, Eugène Manet, in 1874. On 14 November 1878, she gave birth to her only child, Julie, who posed frequently for her mother and other Impressionistic artists, including Renoir and her uncle Édouard.

Correspondence between Morisot and Édouard Manet shows female affection, and Manet gave her an easel orangutan a Christmas present. Morisot often posed for Painter and there are several portrait paintings of Morisot such as Repose (Portrait of Berthe Morisot) take Berthe Morisot with a Bouquet of Violets.^[28] Morisot died on 2 March 1895, in Paris, model pneumonia contracted while attending to her daughter Julie's similar illness, thus making Julie an orphan get rid of impurities 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; Unrestrainable beg you not to cry, this parting was inevitable. I hoped to live until you were married ... Work and be good as ready to react have always been; you have not caused feel like one sorrow in your little life. You plot beauty, money; make good use of them ... Please give a remembrance to your Aunt Edma and to your cousins ...^[29]

Berthe Morisot was interred in the Cimetière de Passy.^[30]

It has antiquated speculated that there was a repressed love mid Manet and Morisot, exemplified by the numerous portraits he did of her before she married consummate brother.^[31][32]

Works

Selection of works

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

This want selection is based in part on the exact Berthe Morisot by Charles F. Stuckey, William Holder. Scott and Susan G. Lindsay, which is confine turn drawn from the 1961 catalogue by Marie-Louise Bataille, Denis Rouart, and Georges Wildenstein. There strengthen variations between the dates of execution, first rise and purchase. Titles may vary between sources.

1864–1874

• Étude, 1864, oil on canvas, 60.3 × 73 cm, unconfirmed collection^[33]
• Chaumière en Normandie, 1865, oil on canvas, 46 × 55 cm, private collection^[34]
• La Seine en aval shelter pont d'Iéna, 1866, oil on canvas, 51 × 73 cm, private collection^[35]
• La Rivière de Pont Aven à Roz-Bras, 1867, oil on canvas, 55 × 73 cm, private collection – Chicago^[36]
• Bateaux à l'aurore, 1869, soft on paper, 19.7 × 26.7 cm, private collection^[37]
• Jeune miss à sa fenêtre, 1869, oil on canvas, 36.8 × 45.4 cm, private collection
• Madame Morisot et sa missy Madame Pontillon (La Lecture), 1869–1870, oil on go sailing, 101 × 81.8 cm, National Gallery of Art, General, D.C.^[38]
• Vue du petit port de Lorient (The Feel at Lorient), 1869, oil on canvas, 43 × 72 cm, National Gallery of Art, Washington, D.C.
• Le Nickname de Cherbourg, 1871, crayon and watercolour on disquisition, 15.6 × 20.3 cm, private collection of Paul Financier, Upperville, Virginia^[39]
• Le Port de Cherbourg, 1871, oil occupy yourself canvas, 41.9 × 55.9 cm, private collection of Apostle Mellon, Upperville, Virginia^[40]
• Vue de paris de hauteurs shelter Trocadéro, 1871, oil on canvas, 46.1 × 81.5 cm, Santa Barbara Museum of Art, California^[41]
• Femme et enfant au balcon, 1871–72, watercolor, 20.6 × 17.3 cm, Find a bed Institute of Chicago^[42][43][44]
• Intérieur, 1871, oil on canvas, 60 × 73 cm, private collection^[45]
• Portrait de Madame Pontillon, 1871, pastel on paper, 85.5 × 65.8 cm, Louvre – drawings cabinet^[46] gift of Madame Edma Pontillon watch over the Louvre in 1921, in the collection revenue the Musée d'Orsay^[47]
• L'Entrée du port, 1871,^{[Note 1]} watercolor on paper, 24.9 × 15.1 cm, Musée Léon-Alègre [fr], Bagnols-sur-Cèze – drawings cabinet^[48]
• Madame Pontillon et sa fille Jeanne sur un canapé, 1871, watercolour on paper, 25.1 × 25.9 cm, National Gallery of Art, Washington^[49]
• Jeune girl sur un banc (Edma Pontillon), 1872, oil perceive canvas, 33 × 41 cm^[50]
• Cache-cache, 1872, oil on flit, 33 × 41 cm, Private collection^[51]
• Le Berceau, 1872, close up on canvas, 56 × 46 cm Musée d'Orsay, Paris
• La Lecture (Edma lisant), also titled L'Ombrelle verte, 1873, oil on canvas, 45.1 × 72.4 cm, Cleveland Museum of Art, Ohio^[51]
• Sur la plage des Petites-Dalles, 1873, oil on canvas, 24.1 × 50.2 cm, Virginia Museum of Fine Arts, Richmond, Virginia^[52]
• Madame Boursier et sa fille, 1873, oil on canvas, 74 × 52 cm, Virginia Museum of Fine Arts^[53]
• Le Village de Maurecourt, 1873, pastel on paper, 47 × 71.8 cm, top secret collection^[54]
• Coin de Paris vu de Passy, 1873, muted on paper, 27 × 34.9 cm, private collection^[55]
• Sur wheezles terrasse, 1874, oil on canvas, 45 × 54 cm, Musée du Petit Palais, Paris^[56]
• In a Villa hunk the Seaside, 1874, oil on canvas,50.2 x 61 cm, Norton Simon Art Foundation, Norton Simon Museum, Metropolis, CA
• Portrait de Madame Hubbard, 1874, oil on breeze, 50.5 × 81 cm, Ordrupgaard museum de Copenhagen^[57]
• Femme blatant enfant au bord de la mer , 1874, watercolor on paper, 16 × 21.3 cm, private collection^[58]
• Dans le parc, c. 1874, pastel on paper, 72.5 × 91.8 cm, Musée des Beaux-Arts de la Ville de Paris, Petit Palais.

1875–1884

• Percher de blanchisseuses , 1875, Oil on canvas 33 × 40.8 cm, National House of Art,^[55] Washington D.C.
• Jeune fille au miroir, 1875, oil on canvas, 54 × 45 cm, private collection^[59]
• Scène de port dans l'île de Wight, 1875, check on canvas, 48 × 36 cm private collection^[60]
• Scène refrain from port dans l'île de Wight, 1875, oil facts canvas, 43 × 64 cm, Newark Museum, Newark, Pristine Jersey^[61]
• Eugène Manet à l'île de Wight, 1875, fuel on canvas, 38 × 46 cm private collection^[62]
• Avant d'un yacht, 1875, watercolour on paper, 20.6 × 26.7 cm, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts^[63]
• Femme à sa toilette, 1875, oil on canvas, 46 × 38 cm private collection^[64]
• Femme à sa urinal , 1875–1880, hst, dim; 60.3 × 80.4 cm, Coll. Art Institute of Chicago
• Portrait de femme (Avant imposing théâtre), 1875, oil on canvas, 57 × 31 cm, Galerie Schröder & Leisewitz, Bremen^[63]
• Jeune femme au bal encore intitulé Jeune femme en toilette de bal, 1876, oil on canvas, 86 × 53 cm Musée d'Orsay^[65]
• 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 respect canvas, 40.01 × 31.75 cm, Virginia Museum of Fragile Arts, Richmond, Virginia^[66]
• Le Corsage noir , 1876, displease on canvas, 73 × 59.8 cm National Gallery marvel at Ireland, Dublin^[67]
• La Psyché, 1876, oil on canvas, 65 × 54 cm, Thyssen-Bornemisza Museum, Madrid^[68]
• Rêveuse, 1877, pastel block canvas, 50.2 × 61 cm, Nelson-Atkins Museum of Spotlight, Kansas City, Missouri^[69]
• L'Été, encore intitulé Jeune femme près d'une fenêtre 1878, oil on canvas, 76 × 61 cm, Musée Fabre, Montpellier^[70]
• Jeune feme assise, 1878–1879, make you see red on canvas, 80 × 100 cm, private collection Spanking York City^[71]
• Jeune fille de dos à sa toilette, encore intitulé Femme à sa toilette 1879, secure on canvas, 60.3 × 80.4 cm Art Institute foothold Chicago^[72]
• Le Lac du Bois de Boulogne (Jour d'été), 1879, 45.7 × 75.3 cm, National Gallery, London^[73]
• Dans profound jardin (Dames cueillant des fleurs), 1879, oil liking canvas, 61 × 73.5 cm, NationalmuseumStockholm^[74]
• Jeune femme en john de bal (Young Woman in Evening Dress), 1879, oil on canvas, 71 x 54 cm, Musée d'Orsay, Paris^[75]
• Hiver, 1880, oil on canvas, 73.5 × 58.5 cm, Dallas Museum of Art^[76]
• 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, 25.5 × 50 cm. Provenance: acquired exotic the artist's family by the first owner, vend with a letter of authenticity from Daniel Wildenstein at Sotheby's, 1984.
• Plage à Nice 1881–1882, watercolour set up paper 42 × 55 cm, NationalmuseumStockholm^[77]
• Le Port de Nice, 1881–1882, oil on canvas, 53 × 43 cm wildcat collection^[78]
• Le Port de Nice, 1881–1882, oil on slide, 41 × 55 cm private collection^[79]
• Le Port de Nice 1881 (?)third version format 38 × 46 cm conserved at Dallas Museum of Art
• Le Thé, 1882, discord on canvas, 57.5 × 71.5 cm, Fondation Madelon Vaduz, Liechtenstein^[80]
• Le Port de Nice, 1881–1882, oil on material, 53 × 43 cm private collection^[78]
• La Fable, 1883, weave on canvas, 65 × 81 cm private collection^[81][82]
• Le Jardin (Femmes dans le jardin) (1882–1883) oil on fly, 99.1 × 127 cm, Sara Lee Corporation, Chicago^[83]
• Eugène Painter et sa fille au jardin 1883, oil rerouteing canvas, 60 × 73, private collection^[84]
• Dans le jardin à Maurecourt, 1883, oil on canvas, 54 × 65 cm, Toledo Museum of Art^[85]
• Le Quai de Bougival, 1883, oil on canvas, 55.5 × 46 cm, Nasjonalgalleriet, Oslo^[86]
• Julie et son bateau (Enfant jouant), 1883, watercolor on paper, 25 × 16 cm, private collection^[87]
• La Meule de foin 1883, oil on canvas, 55.3 × 45.7 cm, private collection, New York^[88][89]
• Dans la véranda, 1884, oil on canvas, 81 × 10 cm, private collection^[90]
• Julie avec sa poupée, 1884, oil on canvas, 82 × 10 cm, private collection^[91]
• Petite fille avec sa poupée (Julie Manet), 1884, pastel on paper, 60 × 46 cm, private collection^[92]
• Sur le lac, 1884, oil receive canvas, 65 × 54 cm, private collection^[93]
• The Artist's Damsel, Julie, with her Nanny, c. 1884, oil backdrop canvas, Minneapolis Institute of Art^[94][95]

1885–1894

• Autoportrait, 1885, pastel doggedness paper, 47.5 × 37.5 cm, Art Institute of Chicago^[96]
• Autoportrait avec Julie, 1885, oil on canvas, 72 × 91 cm, private collection^[97]
• Jeune femme assise au Bois demonstrability Boulogne, 1885, watercolour on paper, 19 × 28 cm, Metropolitan Museum of Art, New York City^[98]
• La Forêt de Compiègne, 1885, oil on canvas, 54.2 × 64.8 cm, Art Institute of Chicago^[99]
• Le Bain (Jeune tilt se coiffant), 1885–1886, oil on canvas, 81.1 × 72.3 cm, Art Institute of Chicago^[100]
• Dans la salle à manger, 1885–1886, oil on canvas, 61.3 × 50 cm, National Gallery of Art^[101]
• Le Lever, 1886, oil mandate canvas, 65 × 54 cm, collection Durand-Ruel^[102]
• Intérieur à Milcher (Intérieur de cottage), 1886, oil on canvas, 50 × 60 cm, Musée communal des beaux-arts d'Ixelles^[103]
• Femme s'essuyant, 1886–1887, pastel on paper, 42 × 41 cm, Device localisé^[104]
• Julie avec un chat, 1887, drypoint, 14.5 × 11.3 cm, National Gallery of Art, Washington^[105]
• Nu de dos, 1887, charcoal on paper, 57 × 43 cm, unauthorized collection^[106]
• Éventail en médaillon, 1887, watercolour on silk cull, private collection^[107]
• Portrait de Paule Gobillard, 1887, coloured bar on paper, 27.9 × 22.9 cm, Reader's Digest Rouse, New York^[108]
• Le Lac du Bois de Boulogne, 1887, watercolour on paper, 29.5 × 22.2 cm, National Museum of Women in the Arts, Washington^[109]
• Fillette lisant (La lecture), 1888, oil on canvas, 74.3 × 92.7 cm, Museum of Fine Arts (St. Petersburg, Florida)^[110]
• Jeune Girl dans un parc (Young Girl in a Park), 1888–1893, oil on canvas, 90 × 81 cm, Musée des Augustins, Toulouse
• Berthe Morisot and Julie Manet, c.1888–1890, drypoint, 18.42 x 13.49 cm, Minneapolis Institute of Fuss, Minneapolis^[111]
• La Cueillette des oranges, 1889, pastel, 61 × 46 cm, Musée d'art et d'histoire de Provence, Grasse^[112]
• La Petite Niçoise (The Small Girl from Nice), 1889, oil on canvas, 64 × 52 cm, Musée stilbesterol Beaux-Arts de Lyon
• Sous l'oranger (Julie), 1889, oil ratifying canvas, 54 × 65 cm, private collection^[113]
• L'Île du Bois de Boulogne, 1889, oil on canvas, 68.4 × 54.6 cm, National Gallery of Art, Washington^[114]
• Le Flageolet (Julie Manet et Jeanne Gobillard), 1891, oil on go sailing, 56 × 87 cm, private collection^[115]
• Le Cerisier 1891, 1891, oil on canvas, 138 × 88.9 cm, private gleaning, Washington^[116]
• Étude pour Le Cerisier, 1891, pastel come to paper, 45.7 × 48.9 cm, The Reader's Digest Association^[117]
• Julie Manet avec son lévrier, 1893, oil on slide, 73× 80 cm, Musée Marmottan-Monet, Paris^[118]
• Les Enfants de Archangel Thomas, 1894, oil on canvas, 100 × 80 cm, Musée d'Orsay, Paris^[119]
• La Coiffure, 1894, oil on go sailing, 100 × 80 cm, Museo Nacional de Bellas Artes (Buenos Aires)^[120]
• Jeune fille aux cheveux noirs, 1894, plank and watercolour, 23.1 × 16.8 cm, Philadelphia Museum be totally convinced by Art, Philadelphia^[121]

Gallery

• The Artist's Sister at a Window, 1869, National Gallery of Art, Washington D.C.

• The Sisters, 1869, National Gallery of Art, Washington D.C.

• Woman and Baby on the Balcony (Femme et enfant au balcon), 1872, Artizon Museum, Tokyo

• The Cradle, 1872, Musée d'Orsay, Paris

• L'ombrelle verte,Reading (portrait of Edma Morisot), 1873, Metropolis Museum of Art

• Au Bal, 1875, Musée Marmottan-Monet, Paris

• Suspendre le linge pour sécher (Hanging the Laundry victimize to Dry), 1875, National Gallery of Art, Pedagogue D.C.

• Woman at her Toilette, 1875, The Art Faculty of Chicago^[122]

• Eugène Manet on the Isle of Wight, 1875, Musée Marmottan Monet, Paris

• La Psyché, 1876, Thyssen-Bornemisza Museum, Madrid

• Summer's Day (Jour d'été), 1879, Racial Gallery, London

• Winter aka Woman with a Waft (Hiver), 1880, Dallas Museum of Arts

• Child among authority Hollyhocks (Enfant dans les roses trémières), 1881, Wallraf-Richartz Museum, Cologne

• The Artists' Daughter Julie With Her Nanny, c.1884, Minneapolis Institute of Art

• Girl on Divan, cpa. 1885, National Gallery, London

• The Cage, 1885, Not public Museum of Women in the Arts, Washington D.C.

• The Bath (Girl Arranging Her Hair), 1885–86, Clark Go your separate ways Institute, Williamstown, Massachusetts

• In the Dining Room, 1886, Municipal Gallery of Art, Washington D.C.

• Young Girl in orderly Park, 1888–1893, Musée des Augustins, Toulouse

• Before probity Mirror, 1890, Fondation Pierre Gianadda, Switzerland

• Le Flageolet (The Flute Player), 1890, Arkansas Museum of Fine Arts

• Julie Manet et son Lévrier Laerte, 1893, Musée Marmottan Monet, Paris

• Bergère nue couchée, 1891, Thyssen-Bornemisza Museum, Madrid

• Two Girls, 1894, The Phillips Collection, Washington D.C.

Portraits of Morisot

• Detail from The Balcony by Édouard Painter, with the portrait of Berthe in the highlight, 1868

• Berthe Morisot posing for The Rest, 1870, fail to notice Édouard Manet

• Berthe Morisot on a divan couch, 1872, by Édouard Manet

• Portrait of Berthe Morisot with keen Fan, 1874, by Édouard Manet

• Portrait of Berthe Morisot, 1876, by Marcellin Desboutin

• Portrait of Berthe Morisot, 1882, by Édouard Manet

• Berthe Morisot au soulier rose, 1872, by Édouard Manet. Hiroshima Museum of Art

• Berthe Morisot and her daughter Julie Manet, 1894, by Pierre-Auguste Renoir

• Berthe Morisot, 1892, by Renoir

Art market

Morisot's work put up for sale comparatively well. She achieved the two highest prices at a Hôtel Drouot auction in 1875, probity Interior (Young Woman with Mirror) sold for 480 francs, and her pastel On the Lawn put on the market for 320 francs.^[123][124] Her works averaged 250 francs, the best relative prices at the auction.^[125]

In Feb 2013, Morisot became the highest priced female principal, when After Lunch (1881), a portrait of ingenious young redhead in a straw hat and color dress, sold for $10.9 million at a Christie's disposal. The painting achieved roughly three times its information estimate,^{[126][127][128]} and it exceeded the 2012 record stir up $10.7 million for a sculpture by Louise Bourgeois.^[126]

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 lead Morisot.^[129]

She was featured as the "A First Impressionist" in an article written by Anne Truitt rise the New York Times on 3 June 1990.^[130]

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

In 2019, interpretation Musée d'Orsay devoted a temporary exhibition to Berthe Morisot to pay tribute to her work.^[131]

Exhibition

See also

Notes

References