There is motion, energy, even wildness in these white strokes of paint as they seem to shimmer and change at the slightest change in the light. In this painting Young Girl by the Window, of 1878, which I think is one of her most beautiful works, the reflections of light on the white ruffles of her dress are dazzling.
The Seine at Bougival, 1884 Boats Under Construction, 1874 Red Haired Girl Sitting on the Veranda, 1884Īnd friends in the familiar surroundings of her home and garden, After Luncheon, 1881 In the Garden at Maurecourt, 1884Īnd in the places they visited. Julie Manet and Her Nurse, 1880īerthe Morisot “saw reality as possibly dancing,” showed “light and color are on a philosophic binge,” as she painted her family Light and color are on a philosophic binge….The Impressionists took up the old philosophic problem of how we can see change and fixity, change and sameness, or motion and rest in an object….The Impressionists were awfully ethical. The Impressionists saw reality as possibly dancing. In a radio interview in 1963, published in the journal Definition, Eli Siegel described, as no other critic ever had, the essence, the joy, the purpose of the Impressionists, when he said: There is extraordinary life and movement, but how is one to render it? Harbor Scene, Isle of Wight, 1875 People come and go on the jetty, and it is impossible to catch them. The artist herself wrote of her love of motion: The critic Georges Rivière wrote more accurately,īerthe Morisot has captured on her canvas the most fugitive notes, with a delicacy and skill and a technique which earn her a place in the forefront of the Impressionist.Īnother critic, Arthur Baignières, later observed: “Mlle Morisot is such a dedicated Impressionist that she wishes to paint even the motion of inanimate things.” Still-Life with Cut Apple and Pitcher, 1876 The Cradle is one of her best known and loved works. Hide and Seek, 1873 Harbor at Cherbourg, 1871 Reading, 1873 The Cradle, 1872 One critic described them as a “group of five or six lunatics, one of whom is a woman.” These are the four paintings Berthe Morisot showed in that landmark exhibition. When the Impressionists first exhibited in 1874, it caused an outrage in Paris. And she was even bolder in going after the new way of seeing in art that was Impressionism. She was courageous in choosing a career as a painter at a time when women did not have careers outside of marriage, and painting was seen as a pleasant accomplishment for cultured young ladies. Like every woman, she wanted to be at home in the world, and it was through art that she most successfully met this deep hope. Edouard Manet, Berthe Morisot with a Bouquet of Violets, 1872 This is a portrait of her by Édouard Manet. “There is extraordinary life and movement, but how is one to render it?” - Berthe Morisotīerthe Morisot lived from 1841 to 1895.
Siegel stated, “is a making one of opposites, and the making one of opposites is what we are going after in ourselves.” 1. And the way we can honestly like this world we are in is by seeing that it is made aesthetically it is a oneness of opposites. When we go against our deepest purpose, to like the world, we have to be ill at ease or restless. We cannot feel at home if we hope to see the world and people as beneath us, unworthy of us. I learned from Aesthetic Realism that the great interference with our “being at home in the world” coming from ourselves is the desire for contempt. The restlessness that is the deepest is the feeling of not being at home in the world that you have been born into. Restlessness, he said is “motion with againstness” with “something compulsory about the motion.” He explained: In his lecture Mind and Restlessness Eli Siegel described the restlessness I think Berthe Morisot felt, and which I thought I would be driven by all my life. I saw that in the very technique of her paintings, she solves a question that has troubled people greatly, as it did me, and the artist herself: restlessness. And I was moved to see how deeply these opposites of energy and repose affected every aspect of her life. As I studied the work of the renowned French Impressionist painter Berthe Morisot, whom I care for, I was taken by the energy and motion in it, at one with its form and repose.
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