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1. Edouard Manet, French, 1832-1883. Portrait of Berthe Morisot, c. 1869-76. Oil on canvas, 73.6 x 58.34 cm. Leonard C. Hanna, Jr., Collection, 1958.34
Berthe Morisot, the woman depicted in this portrait, was a noted artist and a founder of the impressionist group. She met Edouard Manet in 1868, posed for several portraits by him, and married his brother, Eugène, in 1874. According to tradition, this portrait was painted on a cold winter afternoon when Morisot arrived at Manet's studio wrapped in furs with her long, dark hair blown by the wind, a personification of winter itself.
Manet was born to a wealthy Parisian family in 1832. His parents hoped he would pursue a naval career; however, when he was rejected by the Naval Academy they allowed him to study painting with Thomas Couture (1815-1879), a successful artist who ran one of the more liberal private art schools. In addition to this training, Manet traveled throughout Europe in his twenties, studying and copying the works of great artists of the past. He especially admired the work of the Spanish painter Diego Velázquez (1599-1660), the influence of whose dark palette of gray, black, and brown and quick, skillful brushwork is evident in this portrait of Morisot.
Although Manet refused to exhibit with the impressionists, choosing instead to gain acceptance through the Salon, he shared some of their artistic goals, such as the desire to capture a fleeting moment on the canvas without losing any of its liveliness. Manet's distinct brush strokes and exposed ground contribute to an impression of spontaneous realism, and this painting appears unfinished compared to those of the more conservative painters of his time. His innovative techniques--such as painting on a white ground instead of the traditional red-ochre--influenced the impressionists. He was interested in portraying contemporary life and understanding how the eye sees light and color. Manet's knowledge and admiration of the work of past masters and his friendship with the younger generation of artists made him a bridge between traditional academic artists and the impressionists.
Vivian Kung and Patricia Richmond
Teacher Resource Center
Department of Education and Public Programs
© 1997 The Cleveland Museum of Art |