Contribution by Sylvie Patry and Cindy Kang and Marianne Mathieu and Bill Scott and Nicole R. Myers
Accompanying a major traveling exhibition, this comprehensive volume examines Berthe Morisot’s remarkable body of work, painterly innovations, and leading role within the Impressionist canon.
Today Berthe Morisot (1841–1895) is considered a major Impressionist artist, a recent development despite the respect received in her lifetime from peers Edgar Degas, Édouard Manet, Claude Monet, and Pierre-Auguste Renoir. As the only female member of the Impressionist group at its founding in late 1873, Morisot played a major and multifaceted part in the movement, and her works were prized by pioneering dealers and collectors.
Lush illustrations from throughout Morisot’s career depict her daring experimentations and her embrace of modern subjects in the city and at the seaside: fashionable young women, and intimate, domestic interiors. Texts examine her in the context of her contemporaries, the critical reception of her work, the subjects and settings she chose, and the state of Morisot scholarship. Berthe Morisot, Woman Impressionist makes an important contribution to the field, with never-before-published letters, interdisciplinary scholarship, and a specific focus on Morisot’s pioneering developments as a painter first, woman second.
About The Author
Sylvie Patry is deputy director for curatorial affairs and collections at the Musée d’Orsay, Paris, and consulting curator at the Barnes Foundation, Philadelphia. Cindy Kang is associate curator at the Barnes Foundation. Marianne Mathieu is deputy head of collections and communication at the Musée Marmottan, Paris. Nicole R. Myers is the Lillian and James H. Clark Curator of European Painting and Sculpture at the Dallas Museum of Art. Bill Scott is an artist and independent scholar based in Philadelphia. Amalia Wojciechowski is a PhD candidate in the history of art at Bryn Mawr College.