Related Research Articles
Berthe Marie Pauline Morisot was a French painter and a member of the circle of painters in Paris who became known as the Impressionists.
Édouard Manet was a French modernist painter. He was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism.
Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities, ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.
Mary Stevenson Cassatt was an American painter and printmaker. She was born in Allegheny, Pennsylvania, and lived much of her adult life in France, where she befriended Edgar Degas and exhibited with the Impressionists. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children.
Eva Gonzalès was a French Impressionist painter. She was one of the four most notable female Impressionists in the nineteenth century, along with Mary Cassatt (1844–1926), Berthe Morisot (1841–95), and Marie Bracquemond (1840–1916).
Marie Bracquemond was a French Impressionist artist. She was one of four notable women in the Impressionist movement, along with Mary Cassatt (1844–1926), Berthe Morisot (1841–1895), and Eva Gonzalès (1847–1883). Bracquemond studied drawing as a child and began showing her work at the Paris Salon when she was still an adolescent. She never underwent formal art training, but she received limited instruction from Jean-Auguste-Dominique Ingres (1780–1867) and advice from Paul Gauguin (1848–1903) which contributed to her stylistic approach.
Julie Manet Rouart was a French painter, model, diarist, and art collector.
The Amsterdamse Joffers were a group of women artists who met weekly in Amsterdam at the end of the 19th and beginning of the 20th century. They supported each other in their professional careers. Most of them were students of the Rijksakademie van beeldende kunsten and belonged to the movement of the Amsterdam Impressionists. Each one became a successful artist. As a group they contributed to the social acceptance in the Netherlands of women becoming professional artists.
Paule Gobillard was a French artist and Post-Impressionist painter who was heavily influenced by the Impressionists. She is the niece of Berthe Morisot and Eugène Manet, the brother of Édouard Manet, who taught her lessons in painting as part of her education upon being orphaned at an early age. She was unknown in the art scene compared to her relatives. She exhibited with the Société des Indépendants in 1904 and in 1926.
Women Painters of the World, from the time of Caterina Vigri, 1413–1463, to Rosa Bonheur and the present day, assembled and edited by Walter Shaw Sparrow, lists an overview of prominent women painters up to 1905, the year of publication.
Edma Morisot was a French artist and the older sister of the Impressionist painter Berthe Morisot.
The Batignolles group was a group of young avant-garde painters from the end of the 19th century who gathered around Édouard Manet. The group bears its name in reference to the Batignolles district, where the artists used to meet between 1869 and 1875. Many of the artists in the group later became known for the Impressionism movement.
The Society of Modern Women Artists was created in Paris in 1930 as an association for modern women artists. They organized an annual salon from 1931 to 1938. Through these exhibitions they showed modern works of art by French and international women artists, to establish the presence of women in art and to gain recognition from the general public. FAM's exhibitions are considered "a significant force towards putting women artists on a more equal footing" with male artists in France.
Under the Lamp, also known as Sous la lampe - Afred Sisley et sa femme, chez Bracquemond à Sèvres, is an 1887 oil-on-canvas painting by French artist Marie Bracquemond. It is held in a private collection.
Afternoon Tea is an 1880 oil-on-canvas painting by French artist Marie Bracquemond. It is a portrait of the artist's half-sister Louise Quivoron, who often served as a model for her paintings, reading in a garden at Bracquemond's home in the Parisian suburb of Sèvres. The work was shown during an exhibition in 1919 and purchased by the French government from Bracquemond's son Pierre. It is now in the collection of the Petit Palais, Musée des Beaux-Arts de la Ville de Paris. It is one of her few works held in a public collection. The theme of the work reflects the intellectual activities of the lives of women, and can be compared to related works such as Mary Cassatt’s The Reader (1877) and Harriet Backer’s Evening (1890).
The Lady in White, also known as The Woman in White, is an 1880 oil-on-canvas painting by French artist Marie Bracquemond. It depicts the artist's half-sister Louise Quivoron, who often served as a model for her paintings. It was one of three paintings by Bracquemond shown at the Fifth Impressionist Exhibition in April 1880. A previous painting, Woman in the Garden (1877), may have been a study for The Lady in White. Like other Impressionists, Bracquemond worked outside en plein air, mostly in her garden at Sèvres. The work received renewed attention in 2024, with a series of exhibitions in honor of the 150-year anniversary of the original Impressionist exhibitions.
Three Women with Parasols, also known as The Three Graces, is an 1880 oil-on-canvas painting by French artist Marie Bracquemond. The painting depicts three women wearing the then fashionable style of ruffled dresses with high bodices. The woman in the middle holds a fan in the popular style of Japonisme. Marie's half-sister Louise Quivoron was the model for the two figures on each side while Bracquemond based the central figure on her own likeness. Bracquemond produced several studies for the work, and one may have been shown in 1886 at the eighth Impressionist exhibition. The work is often known by the moniker of The Three Graces, referring to the three goddesses of the Charites from Roman mythology who appear as a common theme in Western art. Art historians refer to the painting as one of the most impressionistic works Bracquemond produced during this period. French art critic Gustave Geffroy was so taken with the work that he purchased it from Bracquemond and hung it in the Luxembourg Palace. The work was received by the Musée du Luxembourg through the bequest of Geffroy in 1926, where it appeared for the next ten years. In 1936, it was moved to Chemillé City Hall where it stayed until 2013 when it was acquired by the Musée d’Orsay.
Woman at her Toilette is an oil-on-canvas painting by French artist Berthe Morisot, executed between 1875 and 1880. It was first exhibited at the fifth Impressionist exhibition in 1880 and is now in the Art Institute of Chicago. When first shown, the work was displayed alongside other Impressionist works by Paul Cézanne, Pierre-Auguste Renoir, and Camille Pissarro. The painting is also known under the title Lady at her Toilet. The work is one of several paintings that Morisot completed on the theme of women getting dressed, applying makeup, and arranging their hair.
On a French River is an impressionist oil painting on canvas painted by the artist Emma Lampert Cooper during the late 1800s. It is a landscape painting that depicts a river scene in Parthenay, France. It is part of the permanent collection at the Memorial Art Gallery (MAG) in Rochester, New York.Emma Lampert Cooper's husband, Colin Campbell Cooper, also produced similar paintings in the same location when they traveled together. Specifically, the paintings titled Port St. Jacques, Parthenay, France, and A View of a European Village. Both of these paintings have been auctioned in the past and are privately owned.
References
- ↑ Kang, Cindy (2018). Berthe Morisot: Woman Impressionist. New York, NY: Rizzoli Electra. p. 27. ISBN 9780847861316. OCLC 1027042476.
- ↑ Laurence, Madeline (2017). Women Artists in Paris, 1850-1900. New York, New Haven: Yale University Press. pp. 240–257. ISBN 9780300223934. OCLC 982652244.