Invisible impressionists. Berthe Morisot.
Berthe Morisot was a talented artist. She worked consistently and hard every day. Over her 54 years, she has created more than 800 works.
Perhaps the most important talent for women at that time was the capacity to get noticed. Painting was a non-female affair. She created her own version of impressionist style. Like no one. Tender, gentle and very feminine.
“The destiny of a woman is to be in the shadow of a man,” wrote Edward Manet to Camille Pissarro. The Impressionists accepted her in their circle, but the fate of being a shadow of a man always remained with her. That is why the work of Berthe Morisot is a honey female and childish images, household chores, landscapes. There are no outstanding events in her work. Maybe this was the reason for the public’s lack of appreciation. When the second exhibition of the Impressionists opened in the spring of 1876 in Paris, one witty critic called exhibitors “five or six crazies, one of whom is a woman.” The woman of course was Berthe Morisot.
In her life was much that helped her to forever remain in the history of painting. She was supported by her parents and who gave her an excellent education. Women artists were not allowed to study at the Academy of Fine Arts, to draw nudity, it was not recommended to paint men, even dressed. Therefore, Berta and her sister had private teachers. The girls could not even appear unaccompanied in the Louvre to copy the work of the masters, as required by the canons for training artists. They were always accompanied by devoted mother.
Joseph Guichard, from whom Berta learned the basics of painting, described in a letter to her mother his feeling after he visited impressionist exhibition: “When I entered there, dear Madame Morisot, I was overcome by a feeling of depression when I saw your daughter’s work in this unhealthy environment … If you look in good faith, then, of course, you can find excellent works in some places, but all of them are not entirely normal to one degree or another. Mademoiselle Berthe was also the victim of this insanity; her brains went a little crazy …”
Madame Morisot did not heed of the teacher’s warnings and allowed her daughter to realize their talents. A studio for young artists was built in the garden of their house, and family trips were planned with the aim of that the girls could work in the open air.
Everything in her life revolved around her family and creativity. From Berta’s letter to her Sister Edma, “I have long ceased to hope for a beautiful and ambitious future. It is important for me right now to understand what surrounds me and this is more important to me than all ambitions. How to convey Julia’s fleeting pose, her elusive smile. How to draw this branch with blooming buds. Fallen fruit from a tree in the garden. For me in these moments are everything. And that’s enough for me.”
She was 33 years old when she married Eugene Manet, brother of the artist Eduard Manet. He was the most faithful admirer of her talent. He carried her an easel, helped at exhibitions.
After the wedding, Bert wrote to her sister: “I married a beautiful, honest young man. I think he sincerely loves me. I have long chased after illusions that did not make me happy, now real life begins.”
Berthe Morisot did not have to sacrifice anything for her art. Neither painting, nor the opportunity to start a family. She built her version of artistic life.
Here is what Camille Pissarro wrote to his son: “I stayed in Paris to be at the funeral of our old comrade Berthe Morisot; she died of influenza. You can’t imagine how we were struck and saddened by the death of this charming artist, who adorned our impressionist group with such a charming feminine talent.”