He took a special interest in Morisot, as is evident from his warm portrayal of her in several paintings, including a striking portrait study of Morisot in a black veil, while in mourning for her father's death. Meanwhile, in 1868, she became acquainted with Édouard Manet. "No Jardim" by Berthe Morisot, plein air style. (Denvir, 2000) Today the Impressionists are both popular and well respected, many of their paintings being sold for millions of dollars today. In fact, the term "impressionist" was originally used as a derisive term, but the artists of this school embraced it. However, official criticism and rejection of many impressionists caused Morisot to withdraw from the Salon in 1874, in protest of the "accepted" community of art critics and in support of her fellow artists. She continued to exhibit regularly in the Salon, to generally favorable reviews, until 1873, the year before the first Impressionist exhibition there. Morisot's first appearance at the influential Salon de Paris came at the age of 23 in 1864, with the acceptance of two landscape paintings. Edma wholeheartedly supported Berthe's continued work and the families of the two sisters always remained close. Letters between them show a loving and cordial relationship, dealing with Edma's withdrawal from painting and underscored by Berthe's regret at the physical distance between them. (Paint was now packaged in small tubes allowing the artist to paint a complete work out of doors.) As art students, Berthe and Edma worked closely together until Edma married, had children, and no longer had time to paint so intensely as Berthe. Under Corot's influence, Morisot took up the plein air method of working out of doors. The older artist instructed Berthe and her sister in painting and introduced them to other artists and teachers. By age 20, she met and befriended artist Camille Corot, under whose tutelage she worked from 1862 to 1868. Once Berthe settled on pursuing art, her family did not impede her career.Īfter dedicating herself to painting at an early age, she exhibited a seriousness that many women at the time were not able to achieve. Both she and her sister Edma Morisot chose to become painters, receiving instruction in drawing and painting. Berthe was born in Bourges, Cher, France into a successful bourgeois family. He had been one of the most prolific Rococo painters of the ancien régime, whose handling of color and expressive, confident brushwork influenced later painters. Morisot was the granddaughter of the Rococo painter, Jean-Honoré Fragonard. The Cradle, by Berthe Morisot, 1872, Musée d'Orsay.
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