Self Portrait, 1885
(January 14, 1841 – March 2, 1895) was a French painter and printmaker who exhibited regularly with the Impressionists and, despite the protests of friends and family, continued to participate in their struggle for recognition.
The daughter of a high government official (and a granddaughter of the important Rococo painter Jean-Honoré Fragonard), Morisot decided early to be an artist and pursued her goal with seriousness and dedication. From 1862 to 1868 she worked under the guidance of Camille Corot. She first exhibited paintings at the Salon in 1864. Her work was exhibited there regularly through 1874, when she vowed never to show her paintings in the officially sanctioned forum again. In 1868 she met Edouard Manet, who was to exert a tremendous influence over her work. He did several portraits of her (e.g., Repose, c. 1870). Manet had a liberating effect on her work, and she in turn aroused his interest in outdoor painting.
Morisot's work never lost its Manet-like qualityan insistence on designnor did she become as involved in colour-optical experimentation as her fellow Impressionists. Her paintings frequently included members of her family, particularly her sister, Edma (e.g., The Artist's Sister, Mme Pontillon, Seated on the Grass, 1873; and The Artist's Sister Edma and Their Mother, 1870). Delicate and subtle, exquisite in colouroften with a subdued emerald glowthey won her the admiration of her Impressionist colleagues. Like that of the other Impressionists, her work was ridiculed by many critics. Never commercially successful during her lifetime, she nevertheless outsold Claude Monet, Pierre-Auguste Renoir, and Alfred Sisley. She was a woman of great culture and charm and counted among her close friends Stéphane Mallarmé, Edgar Degas, Charles Baudelaire, Émile Zola, Emmanuel Chabrier, Renoir, and Monet. She married Édouard Manet's younger brother Eugène.
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by Josephine Bindé – Hardcover: 192 pages; Koenemann (Jun 1, 2020)
Morisot's works show the bourgeois life of their time with bright colours. With over 150 illustrations, the volume shows the impressive work of the impressionist painter.
by Collectif, Sylvie Patry – Hardcover: 312 pages; Flammarion (Jun 26, 2019)
Berthe Morisot, Woman Impressionist
by Cindy Kang, Marianne Mathieu, Nicole R. Myers, Sylvie Patry, Bill Scott – Hardcover: 248 pages; Rizzoli Electa (Jun 26, 2018)
Lush illustrations from throughout Morisot’s career depict her daring experimentations and her embrace of modern subjects in the city and at the seaside: fashionable young women, and intimate, domestic interiors. Texts examine her in the context of her contemporaries, the critical reception of her work, the subjects and settings she chose, and the state of Morisot scholarship. Berthe Morisot, Woman Impressionist makes an important contribution to the field, with never-before-published letters, interdisciplinary scholarship, and a specific focus on Morisot’s pioneering developments as a painter first, woman second.
by Jean-Dominique Rey, Sylvie Patry (Foreword) – Hardcover: 200 pages; Flammarion (Jan 11, 2011)
Art historian Jean-Dominique Rey’s new book, Berthe Morisot (Flammarion, 2011), with an introduction by Musée d’Orsay curator Sylvi Patry, presents a comprehensive tribute to the life and career of the remarkable French artist, from her precocious talent as a child drawing and painting with her sister, to her strikingly loose works produced during the last years of her life. -Women in the Arts
Berthe Morisot: Le Secret de la Femme en Noir
by Dominique Bona Paperback: 378 pages; Grasset (Feb 1, 2012)Reader review:
Dominique Bona has produced a fine portrait of this woman who was the only représentant of her sex among the impressionists. Berthe Morisot had a close relationship with Edouard Manet (she married his brother Eugene).Along the way,the book lets you know the other artists of this movement: Monet, Degas, Renoir etc. The struggles of their acceptance is well documented. Nowadays,the literature about the impressionist school is abondant. After all,this was the beginning of modern art. Dominique Bona is a gifted writer who wrote other biographies and a few novels.
by Anne Higonnet Paperback: 240 pages; University California Press (Jun 1995)
Berthe Morisot (1841-1895) was one of the founders of Impressionism. She was also a brilliant interpreter of femininity. Morisot's luminous images of women's daily experience tapped the resources of both a widespread women's amateur painting tradition and an elite artistic avant-garde. Anne Higonnet, Assistant Professor of Art History at Wellesley College and a noted authority on Morisot, describes the development of the artist's style, subject matter, and career. She shows how Morisot, by participating in the most radical art movement of her time, became able to express her unique vision.
Berthe Morisot: Impressionist
by Charles F. Stuckey, W. P. Scott, Suzanne G. Lindsay Hardcover: 228 pages; Rizzoli; 1st edition (Oct 1987)
Morisot was a gutsy pioneer among the French impressionists. As a standard-bearer of the avant-garde, she created a scandal by helping to organize a public auction of their works, something very few artists had dared to do. Defying the advice of her parents and Manet, she remained in Paris when Prussian troops besieged the city. In her artistic technique she was no less daring. Around 1874, in pictures of tourists and yacht-filled rivers, she broke through to an abbreviated, shorthand style ahead of her contemporaries. Disregarding her own view that Monet had taken landscape painting to its farthest limits, her late oils of gardens are brilliant fireworks of color.
Berthe Morisot: The First Lady of Impressionism
by Margaret Shennan Paperback: 352 pages; Sutton Publishing (Jun 2000) Midwest Book Review:
This biographical portrait of the first lady of Impressionism provides college-level readers with an in-depth study of Morisot's life and contributions to the art. Mystery and myth have surrounded her life and contributed to many fallacies: Shennan's research contributes to a very different view of Morisot's personality and achievements.
by Jean-Dominique Rey, Sylvie Patry – Hardcover: 224 pages; Flammarion (Apr 3, 2018)
A detailed and highly personal account of the life and works of one of the most influential female Impressionist painters: Berthe Morisot.
A Short Biography of Mary Cassatt
by Lilit Sadoyan – Hardcover: 32 pages; Benna Books (May 11, 2017)The Short Biographies
series from Applewood's Benna Books imprint features short, intriguing, and entertaining biographies of world-renowned figures. Each beautiful hardcover book includes an interesting retelling of a single person's life, suitable for young adults and adults alike. These little gems will become beloved souvenirs of a favorite artist or a memorable trip to a museum.
by Marianne Mathieu – Paperback: 264 pages; Editions Hazan, Paris (Aug 28, 2012)
Over one hundred full-color paintings, graphic works, watercolors, and pastels are reproduced in this volume, and are accompanied by original commentaries that follow the artist's career from her training with Jean-Baptiste-Camille Corot to her final work.
Women Impressionists: Berthe Morisot, Mary Cassatt, Eva Gonzalès, Marie Bracquemond
by Ingrid Pfeiffer, Linda Nochlin, Sylvie Patry, Griselda Pollock, Anna Havemann, Pamela Ivinski, Max Hollein – Hardcover: 360 pages; Hatje Cantz (Apr 1, 2008)
The female members of the nineteenth-century Impressionist movement are usually painted out of official art history, although Edouard Manet, for one, testified to the talents of his friends Berthe Morisot (whose "Harbor at Lorient" of 1869 he so admired that she gave it to him) and Eva Gonzalès (the only pupil Manet ever took), and discussed matters of painting with them as readily as with male peers like Edgar Degas. Even Degas himself, notoriously misogynistic, invited Mary Cassatt to exhibit with him (she was the only American to do so); and Marie Bracquemond also exhibited at the Impressionist exhibitions of 1879, 1880 and 1886, despite the discouragement of her husband. All of these women practiced and supported Impressionism from its earliest days, when it was still a popular sport to deride it. Nonetheless, for Morisot, Gonzalès, Bracquemond and Cassatt, the chances of equivalent long-term recognition were predictably slim, and while their own individual oeuvres were too strong and too omnipresent in their own time to be entirely eradicated from the annals of art, they have rarely received due attention in the hands of subsequent commentators.
This stunning 400-page compendium, published to accompany the important traveling exhibition which goes to San Francisco in the summer of 2008, corrects this longstanding oversight, presenting these pioneering painters alongside each other for the first time, reproducing their oil paintings, pastels, watercolors, drawings and etchings and offering a cogent rebuttal of familiar Impressionist narratives.
by Charles F. Stuckey, William P. Scott, Suzanne G. Lindsay, Paul Anbinder (Editor), Berthe Morisot (Illustrator) – Hardcover: 228 pages; Hudson Hills Press; 1st edition (Oct 1, 1987)
by Kathleen Adler, Tamar Garb Paperback: 128 pages; Phaidon Press; Reprint edition (Oct 1995)
by Hugues Wilheml Paperback Fondation Pierre Gianadda (Jul 10, 2002)