She exhibited work on several occasions at the prestigious Salon de Paris before choosing to move away from this mainstream setup in order to work more independently, alongside her fellow Impressionists. It was in the 1860s that this artist's career really took off. Many found these domestic scenes refreshing and a change from the other Impressionists concentration on landscape scenes and cityscapes. The lives of most women were restricted much beyond home life and this ensured a high prominence of family, children and female friends within her work. This contributed heavily to the content used by Morisot in her paintings as much of her life was lived from a domestic viewpoint. The mid to late 19th century was a traditional time in terms of the role of women, still along way from the changes that we appreciate in today's society. One of the most obvious differences between Morisot and her male counterparts was the subjects used in her work - frequently she would cover topics from a female perspective, which was obviously very rare for that period. To be able to call upon such artists for advice and ideas put her in a very fortunate position but her success was still predominantly due to a high level of natural ability and technical understanding. Some of Morisot's later paintings display the influence of Renoir, specifically in the way in which he would balance figurative detail with the impact of light. Morisot's colour palette was considered less developed than some of the other great names listed here, but she was still respected in the way that she used it to produce form. Berthe herself chose smaller canvases for much of her work as compared to her colleagues, perhaps in line with her gender's reputation for being slightly more cautious and less desiring for attention. The Impressionists as a whole appreciated pastels for figurative drawings and they were also used frequently by Claude Monet and Edgar Degas.
BERTHE MORISAT TAINING PERIOD ARTWORK PROFESSIONAL
Morisot would also start to produce study sketches prior to commencing the oil painting itself, a sign that she was aiming for a high quality of work and starting to consider herself as a genuine professional artist.Īs her confidence and experience grew, this artist would widen her choice of media, taking in pastels, watercolours and oils - sometimes even combining them together in the same artwork. Some of these changes may have been influenced by the likes of Edouard Manet and Eva Gonzalès but were mainly down to her own making. She started to use longer brush strokes, for example, and also spend more time on each artwork. The artist would slowly develop and amend her artistic techniques as her career progressed. The sociable strength of this group also provided her with moral support as she challenged the beliefs of some critics as to who could be considered an artist. It's rejection of traditional ideas made her it an appropriate movement for a female artist to flourish within, something considered unthinkable in previous centuries. She also spent a lot of time in the company of other members of this close-knit group, allowing influence to flow both ways. She possessed the lightest of touches with her brush which allowed her to differentiate herself from other members of the Impressionist movement.
Morisot was considered to be a sensitive artist, both in personality and also technical style.
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One is full of loose, energetic, spontaneous brushstrokes.
To the right, a detail of the portrait of Madame Moitessier (completed 1856) by Neoclassical artist Dominique Ingres (1780- 1867). His paintings (though never as much as Morisot did) To the left, a detail of the painting, 'Summer's Day' (1879) by Berthe Morisot. The lives of these two artists were closely intertwined, both professionally and also personally. The painting featured here was a portrait of Berthe Morisot by Edouard Manet, titled Berthe Morisot with a Bouquet of Violets.
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