Marmottan exposition berthe morisot biography
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Past: March 8 → July 1,
The Musée Marmottan presents the first major retrospective of the work of Berthe Morisot () to be held in Paris for almost half a century. One hundred and fifty paintings, pastels, watercolours and drawings in red chalk and charcoal, from museums and private collections all over the world, retrace the career of the Impressionist movement’s best-known woman painter. Works selected for the exhibition cover the whole of Berthe Morisot’s artistic career, from her earliest works c. , to her untimely death at the age of 54, in
The exhibition opens with an exceptional group of self-portraits, and portraits of Morisot by Edouard Manet (the celebrated painter of Olympia was her brother-in-law). As a founder member of the Impressionist group, and a leading figure in Paris’s artistic and literary circles, Berthe Morisot was also a close friend and associate of Degas, Renoir, konstnär (claude monet), and the poet Stéphane Mallarmé.
Berthe Morisot’s artistic training, in company
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Berthe Morisot
19th-century French artist
Berthe Morisot | |
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Berthe Morisot | |
| Born | Berthe Marie Pauline Morisot ()14 January Bourges, Cher, France |
| Died | 2 March () (aged&#;54) Paris, France |
| Resting place | Cimetière de Passy |
| Known&#;for | Painting |
| Movement | Impressionism |
| Spouse | Eugène Manet &#; &#; (m.&#;; died&#;)&#; |
Berthe Marie Pauline Morisot (French:[bɛʁtmɔʁizo]; 14 January &#;– 2 March ) was a French painter and a member of the circle of painters in Paris who became known as the Impressionists.
In , Morisot exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government and judged by Academicians, the Salon was the official, annual exhibition of the Académie des beaux-arts in Paris. Her work was selected for exhibition in six subsequent Salons[1] until, in , she joined the "rejected" Impressionists in the first of their own exhibitions, which included Paul Céz
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The exhibition traces the exceptional career of a painter who, at odds with the practices on her time and her circle, became a key figure of the Parisian avant-garde movement in the late s up until her untimely death in
Painting from a model allowed Berthe Morisot to explore several themes of modern life, such as the private life of the bourgeoisie, the popularity of holiday resorts and gardens, and the importance of fashion and women’s domestic work, while blurring the borders between the interior and exterior, the private and the public, the finished and the unfinished. It was her belief that painting should endeavour to “capture something that passes”.
Modern subjects and rapid execution are thus linked to the temporality of the representation, and the artist tirelessly tack