COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000233
image_record_id
aahi0000233
Image Record ID
false
Work Title (display):
On the Banks of the Seine
Image Title:
full view
Work Dates (display):
2nd half 19th century
Work Dates type:
creation
Work Creator (display):
Berthe Morisot (French, 1841-1895)
Work Creator gender:
female
work_creator_or_agent_gender
female
Work Creator gender
false
Work Creator notes (display):
French painter and printmaker. As the child of upper middle-class parents, Marie-Joséphine-Cornélie and Edme Tiburce Morisot, she was expected to be a skilled amateur artist and was thus given appropriate schooling. In 1857 she attended drawing lessons with Geoffroy-Alphonse Chocarne ( fl 183857), but in 1858 she and her sister Edma left to study under Joseph-Benoît Guichard, a pupil of Ingres and Delacroix. In the same year they registered as copyists in the Louvre, copying Veronese and Rubens. The sisters were introduced to Jean-Baptiste-Camille Corot in 1861 and took advice from him and subsequently from his pupil, Achille-François Oudinot (182091). Through these artists they became familiar with current debates on naturalism and began to work en plein air, painting at Pontoise, Normandy and Brittany (e.g. Thatched Cottage in Normandy, 1865; priv. col., see Angoulvent, no. 11). Morisot exhibited in the Salon from 1864 to 1868 and received encouraging reviews. In late 1867 or 1868, Henri Fantin-Latour introduced her to Edouard Manet, for whom she modelled, and who became her close friend. In December 1874 she married his brother Eugène. Although Manet advised Morisot on her work, she was never his formal pupil, and their relationship was more reciprocal than is usually supposed. Morisot was not persuaded by Manet to remain within the official exhibiting forum and was instrumental in persuading him to lighten his palette in the 1870s. Morisot was a central member of the group of artists who initiated the Impressionist exhibitions in the 1870s and 1880s. In 1874 she submitted nine works to the first Impressionist Exhibition; thereafter she resolved never to return to the Salon. She showed in seven of the eight exhibitions (1874, 1876, 1877, 1880, 1881, 1882 and 1886), missing only the exhibition of 1879 due to illness following the birth of her daughter Julie at the end of 1878. She was directly involved in the organization of some of these exhibitions and identified strongly with the aesthetic and political principles that led to the establishment of an exhibition forum outside the Salon. In March 1875 Morisot participated with Renoir, Camille Pissarro, Monet and Alfred Sisley in an auction at the Hôtel Drouot, her works fetching marginally higher prices than theirs. Her work was handled by the dealer Paul Durand-Ruel, although she was never financially dependent on sales. Her home was a meeting-place for intellectuals and artists, including Renoir, Degas, Mary Cassatt and Stéphane Mallarmé. Morisot was regarded by critics such as Paul Mantz (182195) and Théodore Duret as a quintessential Impressionist. They believed that she was capable of achieving an 'impression' of nature that was unmediated and 'sincere', and they asserted that such a proclivity was the product of the allegedly feminine characteristics of superficiality and innate sensitivity to surface appearances. However, Morisot's use of luminous tonalities, painterly brushmarks, sketchy surfaces and unprimed canvas, and her adherence to modern-life subject-matter (e.g. Summer, 1880, Montpellier, Mus. Fabre)) are features shared with her Impressionist colleagues, male and female. Morisot executed pastels and watercolours throughout her life, as well as lithographs and drypoints around 1888 to 1890. In her last years she favoured suggestive and mythic subjects and increased linearity in drawing, as seen in the Cherry Tree (1891; Paris, priv. col., see Adler and Garb, 1987, no. 56). (Grove Art Online Accessed 2006-07-28)
Work Style Period:
Impressionist
work_styleperiod
Impressionist
Work Style Period
false
Work Style Period:
19th century
work_styleperiod
19th century
Work Style Period
false
Work Subject:
women (female humans)
subject
women (female humans)
Work Subject
false
Work Subject:
Seine River
subject
Seine River
Work Subject
false
Work Subject:
Paris, France
subject
Paris, France
Work Subject
false
Work Subject:
houses
subject
houses
Work Subject
false
Work Subject:
water
subject
water
Work Subject
false
Work Subject:
cityscapes (representations)
subject
cityscapes (representations)
Work Subject
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
painting
Work Measurements (display):
56 cm (H) x 45 cm (W)
Work Inscription (display):
Signed
Work Location (Repository or Site) name:
Nasjonalgalleriet (Norway)
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
Oslo, Norway
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Work Rights (display):
public domain
Terms of Agreement and Conditions of Use:
YOU AGREE: Luna Imaging's Insight Software and the digital image collection associated with it (the Software) are being provided by the University of Colorado under the following license. By obtaining, using, and/or copying this work, you (the Licensee) agree that you have read, understood, and will comply with the following terms and conditions. 1. The Software contains the University of Colorado's Department of Art and Art History's implementation of a digital image collection; 2. Any images obtained through use of the Software will be used only for non-profit, educational purposes; 3. The use of images obtained through the software will only be used while the Licensee is either: a) an employee of the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver, or b) an enrolled student at the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver; 4. When the Licensee is no longer an employee or student of the University of Colorado, Metropolitan State College of Denver or Community College of Denver, either by an action of the University of Colorado, Metropolitan State College of Denver or the Community College of Denver or due to actions of the Licensee, the licensee will cease to use any images exported from the Department of Art and Art History's digital image collection; 5. The Licensee agrees to indemnify the University for claims and liability arising out of the use of the Software or for any violations of this license; 6. THE UNIVERSITY OF COLORADO SUPPLIES THE SOFTWARE WITHOUT ANY WARRANTIES, EXPRESS OR IMPLIED, INCLUDING ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see