Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . , whichinclude her figure pictures, almost all executed in Paris; land-scapes, painted chiefly at Pontoise, Compiegne, Fontainebleau,Bougival; seascapes painted on the coast of Normandy, at Nice,in Jersey, and in England. In addition she produced pastelsand drawings in red and coloured chalks. She excelled especi-ally in her water-colours, which are delightfully delicate andtransparent. In 1874 Berthe Morisot married Eugene Manet, the youngerbrother of the painter. She continued t
Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . , whichinclude her figure pictures, almost all executed in Paris; land-scapes, painted chiefly at Pontoise, Compiegne, Fontainebleau,Bougival; seascapes painted on the coast of Normandy, at Nice,in Jersey, and in England. In addition she produced pastelsand drawings in red and coloured chalks. She excelled especi-ally in her water-colours, which are delightfully delicate andtransparent. In 1874 Berthe Morisot married Eugene Manet, the youngerbrother of the painter. She continued to sign her works by hermaiden name after her marriage, and we will continue to callher by it. Both she and her husband had inherited considerablewealth. They lived in a house which they had built in the HueVillejust. The rooms which they occupied included a largepicture-gallery, in which Manets works held the first place, andafter them those of Berthe Morisot herself. The circle of theirfriends was limited but select; the principal were the paintersDegas, llenoir, Pissarro, Claude Monet, and the poet Stephane. BERTHE MORISOT 175 Mallarme. The latter literally worshipped Berthe Morisot. Headmired her talent as an artist, and was attracted by her charmas a woman. Owing to his exertions on her behalf, she had thegreat satisfaction of seeing one of her works admitted to theMusee du Luxembourg. The position which Berthe Morisot held in society continuallyobscured her reputation as an artist. The critics who talkedabout the exhibitions of the Impressionists usually ignored her ortreated her merely as a kind of dilettante. Herein they were doingher an injustice. In virtue of her early studies, and her assiduouspursuit of art, into which she threw her whole soul, she knewherself to be the equal of any other artist, and she was secretlyhurt at being treated as an amateur. In the Caillebotte collec-tion a body of Impressionist paintings had been admitted intothe Luxembourg, but it conta
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
