“No great artist ever sees things as they really are. If he did, he would cease to be an artist.” - Oscar Wilde
For Art Sunday today, the French artist, Berthe Morisot (born January 14, 1841, Bourges, France and died March 2, 1895, Paris). Morisot 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. Her canvases are suffused with light and colour and some of her portraits of mothers and children are wonderful examples of the genre.
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 Édouard 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 quality, with an insistence on design. She did not 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 colour with, often a subdued emerald glow, they 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.
In the painting above, “In the Garden at Maurecourt”, Morisot’s style is shown well. The immediate effect of the “impression” that scene makes on the artist is apparent by the joyous brushstrokes, strong colours and the immediacy of the pose of the sitters. It is almost like a sketch in colour and yet an accomplished and finished art work.