Berthe Morisot @bmorisot - Tumblr Blog

Berthe Morisot, Julie Reveuse, "Julie Daydreaming" 1894. Paint.

Subject Matter: Julie (Berthe's Daughter) Daydreaming

Content: This portrait of Berthe's daughter was her last picture completed before her passing. The style "individual portrait" shows how she has evolved back to this style such as one of first paintings like 1871 canvas, "Young Woman."

Medium: Berthe uses oil paint on canvas to emphasize the moment as her daughter day dreams and shows the emotion of her. Also, through the impressions conveyed to the senses of the picture.

History Piece: The portrait of Julie Berthe painted in 1894, is slightly before her passing. It shows the way Berthe has evolved back into her inital painting style. As she began painting individual portraits, and an individual or individuals within a landscape background.

Balance: The composition of individual is at eye level as it thrusts and directs the viewer's eye to its focal point of the model, Julie. Furthermore, the posture of her shoulder's are placed in an angle to appeal as she is relaxed, laid back and dreaming. This also identifies that the models affect towards the artist is calm,positive and flowing as Julie is in the mood. Lastly, Berthe does a good job as far as covering the canvas as the body of the model is balanced within the photo.

Colour and Light: The various shades, from light on the model to the dark background implies the changing emotions of hope and hopelessness. The artist shines light on the model as she is the focus of the picture and the background is painting a darker colour to show away from the main focus of her daughter. The arrangement of the lighting appears flat but contrasted enough for the focus of the image to be visible and appareant.

Berthe Morisot, The Cradle, 1872. Paint, 46 cm x 56 cm. Musee d’Orsay, Paris.

Subject Matter: A mother (her sister Edma) tending to her newborn baby (Blanche)

Content: This was Morisot’s first painting involving motherhood. This is a huge aspect of her career because she focused on the domestic life of women, and as time went on motherhood became a typical subject in her paintings. Morisot had her own baby girl 6 years later after this painting was created.

Medium: Paint – Morisot uses oil on canvas to depict the beauty of this intimate moment. The softness of the texture is a suitable medium for the subject matter.

History of Piece: Undoubtedly Berthe Morisot's most famous painting, The Cradle was painted in Paris in 1872. This piece was presented at the Impressionist exhibition of 1874, and Morisot was the first female to exhibit with the group. During the exhibition the painting was barely noticed aside from significant critics describing it using words such as “grace and elegance”. This painting was composed only four years after meeting Manet, and experiencing his influence. An interesting fact about this photo is that it was not sold or regarded until 1930 when it was purchased at the Louvre.

Colour Palette: Morisot’s use of colours in this painting are very similar and subtle. Aside from the dark shades used in her jacket, the pink tone in the ribbon hanging from the cradle stands out. The soft hint of pink leads the viewer’s eyes along the cradle and down to her right hand. The powerful use of pastels bring a sense of light to the atmosphere. Each pastel colour is carefully blended and contrasts small specks as well as shadows of colour from other objects in the painting.

Brushwork: The finest brushstrokes in the painting are on the mothers face. Although drawn delicately, her facial features reveal a sense of definition. Her jacket contains chunkier brush strokes depicting the texture of the jacket in the creases and folds. Morisot's typical feathery, loose brushwork is evident in this painting especially in the women’s hair and the cradle. Manet’s influence is not completely obvious but a comparable brushwork I found was his “Two Roses on a Tablecloth” painting, created in 1883.

Berthe Morisot, The Harbor at Lorient, 1869. Oil on Canvas, 43.5 x 73 cm. National Gallery of Art, Washington. Subject Matter: Woman relaxing by the seascape (sister Edna) Content: Morisot’s sister Edma was a huge motivation and support system in her life as she pursued her career. When Edma left her sister in Paris to marry, Morisot was upset and consistently visited her sister, and captured her in many paintings, drawings and watercolours. This was one of the paintings captured when Morisot was visiting Edma in Lorient during the summer of 1869. History of Piece: The two sisters had been close from a young age and had studied art together under the teaching of Jean-Baptiste-Camille Corot, a key figure in what would later be called French realism (National Gallery of Art). Through their acquaintance with Corot, the sisters were exposed to the technique and tradition of painting outdoors, “en plein air”. It was unusual for this practice to be taken up by a female painter, in fact it was deemed as rare in the nineteenth century. This experience altered Morisot’s style significantly. It directed Morisot to value the effects of light and colour, qualities afterwards supported by the impressionists. Colour Palette: Morisot’s skillful colour use shapes this whole painting. It is evident in this photo that her use of colour was delicate and faint. Even in her earlier years she never used black or greys in shadows but instead would display an “emerald glow with specks and dabs [reflecting] light” (National Gallery of Art). Morisot used a colour palette with comparable cool tones creating a calm environment, and leaving a soothing impression.

Brushwork: The radiant seascape is portrayed with Morisot’s very loose brushstrokes, yet somehow the painting still grasps such clarity and definition. The ship masts are painted specifically more defined and detailed then every other object in the painting. The fine brush strokes allow the clear formation and engage the viewer. The water glistening and reflecting the clear blue sky adds a sense of realism to the painting because of the impeccable brushwork. The Harbor at Lorient demonstrates Corot’s influence on Morisot: she depicted the scene with great accuracy and used brushwork typical of Corot’s late work (National Gallery of Art).

This painting also affirms the critical moment in Morisot’s career, as grew to combine her mentor’s influence with new ideas and formed what would become her own style and destiny.

Berthe Morisot, The Water's Edge, 1864. Paint; Collection of Mr. and Mrs. Fred Schoneman

Subject Matter: Portrait of Edma Morisot (Berthe's sister) laying by a river.

Content: Being the very first picture Morisot had painted, she choose her sister, Edma as the model placed in a forest like atmosphere. Morisot very much appreciated and loved her sister as they were close and she would often be influenced by her. Thus, using her sister as a model for her first portrait.

Medium: Berthe choose's to do an oil based image on a canvas to highlight the stillness of the calm image of her sister in a comfortable environment.

History of Piece: The modern 19th century impressionist artist has a feminist style. She depicts the lifestyle, clothing and bourgeise of mainly females and individuals she's in relation too like her sister, mother, daughter and or husband. This being her first piece she uses her sister, Edma as the model as she greatly looks up to her and is influence by her art as well.

Mood: The image alerts a viewer because of the feeling, thought and skill put into it. Its almost as if the artist felt what the model was feeling and portray it through the painting. Edma seems to be sad, confused and maybe even vulnerable.

Movement: The picture as a whole is dynamic in the sense that the model is still, laid back and laying down with one of her legs out and another tucked in, arm by her head and the other on her knee. However the climax is uncertain, it could be any of the motions mentioned. In continuation, the figure within the portrait is visible from right to left in a gentle and peacefull motion.

Berthe Morisot. Child Among Staked Roses, 1881. Wallraf-Richartz Museum.

Subject Matter: The subject of this piece is the little girl, Julie Manet. Julie is Berthe’s daughter.

Content: This was one of many pieces of Berthe’s daughter as the subject. She loved her daughter almost as much as her artwork, so she included her daughter in many of her paintings.

Medium: Paint- Berthe, once again, used oil paints on a canvas to paint this piece. This was crucial in order to define the brushwork seen on the canvas.

Colour Palette: The many different colours used in this piece create a vivid landscape. The bright green shades contrast with the darker shades around it to add intensity. The brown colours also act to neutralize the vibrant greens and create a stable, balanced picture. The many other colours (blue, white, orange hair) add to the detail of the picture as well.

Brushwork: The brushwork is very visible in this piece. It is a primary factor in characterizing this piece. The brushwork is most evident in the centre of the trees. The way that Berthe created the treetop shapes is evident. This also reflects the mood she was in while painting this piece. It creates a swift, yet accurate and appealing look.