Reading, 1873. The fashionable woman seated in the foreground is the artist's sister, Edma. However, the painting is not a portrait. Morisot's principal concern was to render a figure in a natural, outdoor environment. Edma's white dress-the prime vehicle for Morisot's study of reflected light-is saturated with delicate lavender, blue, yellow, and rose tonalitites. Deftly executed with quick brushstrokes, the painting resounds with a feeling of freshness, vibrancy and delicate charm. "Every day I pray that the Good Lord will make me like a child," Morisot wrote, "That is to say,
Reading, 1873. The fashionable woman seated in the foreground is the artist's sister, Edma. However, the painting is not a portrait. Morisot's principal concern was to render a figure in a natural, outdoor environment. Edma's white dress-the prime vehicle for Morisot's study of reflected light-is saturated with delicate lavender, blue, yellow, and rose tonalitites. Deftly executed with quick brushstrokes, the painting resounds with a feeling of freshness, vibrancy and delicate charm. "Every day I pray that the Good Lord will make me like a child," Morisot wrote, "That is to say, that He will make me see nature and render it the way a child would, without ; Morisot, the great granddaughter of the 18th-century French painter Jean-Honoré Fragonard, selected this painting as one of her four works shown in the first Impressionist exhibition of 1874.
Size: 14985px × 9478px
Photo credit: © Heritage Images / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: 1841-1895, 19th, art, berthe, century, cleveland, edma, fabric, france, french, heritage, morisot, museum, oil, painting, reading
