Berthe Morisot: An Impressionist in The Garden
In comparing the portrait of Marisot by Manet and the artist’s own self portrait, important differences can be discerned. Manet (not to be confused with Monet) depicts a woman of direct charm and beauty; a woman whose compelling qualities are set off by her costume all in black. There is an underlying eroticism at play here. In Morisot’s self portrait the artist stands upright; her expression is forthright and without guile. Frippery such as costume and their props are deemed unneccesary to reveal truth.
Born into the Haute Bourgeois, Berthe and her sister Edmé were given art lessons as a natural course of instruction for certain young women of the day. What set them apart was the dedication to their art beyond conventions; a determination beyond all odds to utilize it in art, taste and new ways of expression. In 1858 Madame Morisot inspired her daughters to paint. She desired that the girls take art lessons so that they could present a birthday gift to their father. She sent them first to the academic painter Geoffrey Alphonse Chocarne who focused his teachings on drawing, and soon afterward to Joseph Benoît Guichard, a former student of both Ingres and Delacroix. Edmé and Berthe enthusiastically applied themselves to his instruction. Under Guichard’s tutelage, the Morisot sisters began to journey to the Louvre in order to study the old masters first hand.
After three years of studio work under the supervision of Guichard, Berthe decided that she wished to study the plein air motif under master landscapist Corot. Edmé joined her sister with these weekly lessons. As part of Corot’s instruction, the family embarked on summer-long painting trips to picturesque locales. In 1862, they rode mules through the Pyrenees. In order to accommodate these expeditions, the Morisot family organized their holidays around Berthe and Edme’s art work for there was no question that the two would have set off on such an experience unchaperoned.
In this painting, we can infer much: the desire to reach out to the outside world, even though it is the cloistered terrace of the home. The subject’s ribbons are like a yoke, the fetters now broken and free and in the same value as the bars to the right of the composition. The cumbersome dress is held up in a natural way, a subtle protest towards the lack of freedom of movement in dress. In this painting, what at first seems a charming scene, is in fact a manifesto for the emancipation of women.
In a personal breakthrough of subject and style, Morisot defines the Impressionistic method with this revolutionary painting, executed in triumphant plein air. All is conditioned by light and natural effects. The viewer is no longer dispassionate, but one with the atmosphere. There is no horizon line, no mythological “other” to inform the scene but what it is: a modern wet nurse and a child. The honesty of this composition and painterly approach cannot be underestimated.
Morisot produced many paintings of varied scenes. I have selected a few of those which relate to the garden. In her mature work there is a dynamic painterly approach which adresses Morisot’s concern with capturing the ephemeral.
In this remarkable pastel on paper, Morisot treats her subject, pears on pendulous, leafy branches, by dispensing with the subjective; these pears are not a literal representation, nor, indeed an Impressionist reflection. Here, Morisot takes the great conceptual leap of the artist in depicting the idea of pears. In this composition of color and line, Morisot has prefigured the 20th century concern for abstraction in art, and in doing so takes her place in the canon of not only Impressionistic art, but in the revolutionary approaches in thought and the depiction of modern art to follow.
In one of my favorite works by Morisot, the artist is personally direct in this self portrait with her daughter with an economy of line and shade on unprimed canvas. A tour de force of meaning and truth, Morisot deconstructs the process of painting to its most elemental.
The gardens depicted in the paintings by Berthe Morisot always include the family: mothers and children, at times fathers and friends. The immediacy and experience of the natural world is what is celebrated here; the comfort and delight that a garden setting affords to families, and a platform for the artist is what had meaning for Morisot. The ideas found in Berthe Morisot’s paintings are eternal and relevant, and can yet inform us today.
Beautiful and informative post Zoe. I love the paintings. Interesting difference between the artist’s self portrait and the portrait by Manet. My favorite is the Garden at Bougival.
Comment by chey — 17. July 2008 @ 21:11
What a delightful post and so nice to revisit the work of Berthe Morisot - some of these paintings I know - and some are new to me.
Regards
Karen
Comment by Karen - An Artists Garden — 18. July 2008 @ 00:29
She is one of my favorite Impressionists. What a wonderful post.
Comment by Curmudgeon — 18. July 2008 @ 00:30
Thanks Chey for the comments.
Comment by admin — 18. July 2008 @ 00:38
Karen,
I am so pleased you liked it. I had so much fun doing this. There is a quality to her work which just puts you in a good mood.
Regards,
Philip
Comment by admin — 18. July 2008 @ 00:40
Curmudgeon! I am so pleased to hear from you. I sincerely appreciate your comments!
Regards,
Philip
Comment by admin — 18. July 2008 @ 00:41
My heart leaped as your post loaded on my screen.
Brilliant post and choice of paintings.
Their sublime use of black translated even through the internet - and the white goes without saying.
The zombie-like disconnect of the wet-nurse is sad and beautiful- The black tie on Young Woman With Watering Can is so poignant…and..and words can’t express.
Well, I gush - but can’t help it. thanks for the pleasure of this post, Philip.
Comment by Shauna — 18. July 2008 @ 20:32
Shauna,
My heart leaped with your comments! I sincerely appreciate them. In researching this and trying to find the best way to express my thoughts in my own words I found there was so much that was profound beyond pretty paintings.
Your description of the Zombie quality of the wet nurse is very interesting and perceptive. You open my eyes to another element. What fun it is to discuss art and ideas with you!
I have a garden I love, but what really inspires me is the ideas behind the garden; why and not necessarily what we plant (although I could go on about poppies and sweet peas and berries on the vine!)
Very Best Regards,
Philip
Comment by admin — 18. July 2008 @ 21:05
Dear Phillip,
You have an engaging writing style and I enjoyed my venture into your art world. Though I lack formal training in art appreciation, I have an impressionable spirit and inquisitive eye. You’ve inspired me to look a little closer at your art offerings and reflect deeper about the artist’s intentions. Thanks!
Shirley
Comment by Shirley "EdenMaker" — 19. July 2008 @ 06:07
Thank you for this lovely post Philip. How nice to see one of the female Imprssionists discussed. I still struggle with the movement but appreciate any chance to learn more about it.
-Jean
Comment by jean bradbury — 19. July 2008 @ 16:00
Shirley,
Thanks for the comment! I do this kind of thing( research on fine period antiques and antiquities for clients for a living) so I apply that here, but this is just for fun for me. Delving into something is always new and surprising. Thanks for coming along with me in the discovery!
Regards,
Philip
Comment by admin — 19. July 2008 @ 17:25
Hi Jean!
Thanks for your comments! I love your work. I agree, the impressionists are overdone. I thought this was a bit different, with a point of view not always seen. I would love to hear more of your thoughts!
Regards,
Philip
Comment by admin — 19. July 2008 @ 17:29
Would it be ok to put a copy of your photo of irises (from ages ago) on my blog, together with a link to yours?
Lucy
<a href=”http://looseandleafy.blogspot.com/” rel=”nofollow”>LOOSE AND LEAFY</a>
Comment by Lucy Corrander — 19. July 2008 @ 19:33
Thats fine lucy. That was a fliker photo sharing image in the public domain so please do not give me credit as the photographer because I am not.
Best,
Philip
Comment by admin — 20. July 2008 @ 00:20
Lucy,
Yes please use the Barrow park! that is mine and I am honored if you would use that!
Philip
Comment by admin — 20. July 2008 @ 01:12
Wow. An onslaught of comments here Philip. You have obviously touched people with these images. Thanks for dropping by my own blog and leaving such sweet comments. I am glad that you are still speaking to me after my Impressionist rant.
(-: Jean
Comment by jean bradbury — 20. July 2008 @ 01:39
Philip, I think you do not participate in all these award games, but I put you in my list of winners, anyway. I do not expect you to play the game, but I do hope you will find time to come by and read the post. Your work with your blog is very much appreciated.
Comment by Barbee' — 20. July 2008 @ 02:36
Philip~ My apologies for the mixup. I ended up on your beautiful blog somehow after I visited Zoe’s . Thinking I was on the same site I addressed you as Zoe. Perhaps I shouldn’t make comments so late at night:).
Beautiful post Philip! I really enjoyed it.
Comment by chey — 20. July 2008 @ 03:46
What a beautiful post! I did not know of this artist and enjoyed reading about her life and challenges. I’m glad I don’t have to dress like that and do feel much less burdened. I like that her mother cared enough to support her talent and understood it. It seems to me that this artist progressed to a modern style. I don’t know how to describe art but would put it as modern with less traditional methods. I wouldn’t have see her daughter in the last picture if you hadn’t pointed that out. Thank you for the time and effort it took to write the post–very much a learning experience for me.
Comment by Anna — 20. July 2008 @ 07:08
Hi Jean!
I look forward to seeing more of your wonderful blog and artwork. I would love to hear more about what you think about art. I find it very interesting!!
Thanks for your comments
Best Regards,
Philip
Comment by admin — 20. July 2008 @ 16:38
Barbee!
Thanks you so much!
What an wonderful way to start my day. I sincerly appreciate the award. Yes, I will play! The best part is I can pass it on to others.
I feel very humbled and grateful for your comments. Thank you so much.
Sincerely,
Philip
Comment by admin — 20. July 2008 @ 17:20
<p>Chey! That is ok! I was just glad you came by. I love your site “A Maritime Gardener” It is superb! It is a pleasure to read your blog. I enjoy it very much<br />
:)<br />
Thank you so much!!<br />
Regards,<br />
Philip</p>
Comment by admin — 20. July 2008 @ 17:22
Anna!
I just discovered your new site “Woody and Herbaceous”. I enjoyed “flower Garden Girl” and I must have missed that you have this one! I love it! I am looking forward to reading it. I enjoyed the town hall and sunflowers.
I enjoyed your comments here and sincerely appreciate them.
Regards,
Philip
Comment by admin — 20. July 2008 @ 17:29
Thank you Philip–I’ve been trying to tell everyone that the reason my first two blogs were shut down rather quickly was that my home had two attempted break-ins back to back. The sheriff suggested it might be my blog–it wasn’t, but left me nont knowing if I was going to blog again. I missed it of course and here I am back at it. Hope to see you back at my new blog–Thanks!
Comment by Anna — 20. July 2008 @ 18:08
I loved this post: it was great to see the work of an artist being explored in this way. Her style is so assured, isn’t it? I thought the contrast between the simpering Manet portrait and the rather businesslike demeanour in her own version was very amusing, but it does make you wonder whether, if she hadn’t been a woman, she would have become a household name in the way that Manet is now.
Comment by Victoria — 21. July 2008 @ 00:21
I just noticed Jean’s comments above and I had to laugh a little bit. The first time I visited her very cool site, she was right - she was lambasting (though giving “begrudging credit”
to ) the Impressionists. I hope she doesn’t think you’re getting her back! ASnother fascinating post, Philip. Thank you so much for your wonderful input. I don’t believe I have missed a post of yours since I found you.
Comment by Steve — 21. July 2008 @ 01:49
Hi Steve,
Thank you for commenting and for reading my posts!
I sincerely appreciate it!
Regards,
Philip
Comment by admin — 21. July 2008 @ 03:47
It is a pleasure to hear from you. I love your blog “Victoria’s Backyard”. I love the interesting foliage contrasts and subtropical species you have included. I will certainly be checking out what a cube of sugar does to my coffee tomorrow!
What fun!
Victoria, your comments are very thoughtful and I loved reading them. I agree that she has not been given the recognition that was afforded to her contemporaries. In her own lifetime and immediatly following her death, however, she was highly respected by her fellow impressionists. The influential gallery owner Paul Durand- Ruel organized a major show of French Artists in New York where Morisot was featured (and indeed the only woman artist included) It was this show which introduced the American audience to Impressionism which enthusiastically embraced the style. I personally like to compare Durand-Ruel as the Leo Castelli of his day (New York art dealer who promoted abstract impressionism,pop art etc) It was Durand-Ruel who, after Morisot’s death, staged the Morsiot retrospective. So, it curious that art critics in the 20th century either ignored her, or relegated her work to the second tier. Certainly sexism comes into play. Morisot is certainly being recognized today and has taken her rightful place as an important figure, not only of the period but in a larger context.
I thoroughly enjoyed immersing myself in her work. I came to find that her work was quite direct and assured, as you described. There is also something quite “pensive” about her, and honest. In all of this, I came to like who she was as a person.
Thanks for your comments, Victoria
Sincerely,
Philip
Comment by admin — 21. July 2008 @ 04:31