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She would also move on from charcoal drawings towards pastels, something which proved popular with many other impressionists at a later date. After making use of several different teachers, including Geoffroy-Alphonse Chocarne and Joseph Guichard, she would start to switch her interest to the more complex and challenging mediums of oils and watercolours. Whilst painting would later take over, her study drawings would always be at the basis of her work and preparation. It was as a draughtswoman that Morisot first impressed, mainly due to her earliest classes focusing purely on this medium.
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Perhaps during this period of quick development and experimentation, she would always look back at past work and judge it unfairly. It was she herself who made the conscious choice of getting rid of most of her work during this time, purely because she was unhappy with the majority of it. Unfortunately, in the case of Berthe Morisot, most of her work during this period was destroyed which has made it harder to fill in the knowledge gaps of her career during this time. The main artists of the majority of art movements in and around the 19th century would follow similar paths in terms of training and education as young students. Her work most commonly featured indoor scenes within family homes, but there were also carefully planned compositions based in parks, gardens and other locations around France. As her level of attention increased she would also start to produce large numbers of study drawings too, in order to perfect her figurative work. You find a plethora of portraits, often of family and friends, within our paintings section. Whilst touching on the standard themes of the Impressionist movement, she would also capture domestic scenes too. The femininity of this artist crept directly into her artistic style, as well as the content that she chose to capture. Mary Cassatt would make a similar impact, though as an American would have to rise above even greater obstacles. Only the most stubborn critic could now argue that women were incapable of producing fine art at the highest of levels. To succeed within the groundbreaking Impressionist movement showed considerable bravery and integrity, when the artist was able to continue exhibiting at the Salon if she had chosen to take the safe option. An additional, and highly significant, role in the legacy of Berthe Morisot was her contribution to the reputation of female artists and helping them to start to gain a foothold in the male-dominated art world. Her technical touches of brush were also equally sensitive and considered, particularly in the early stages of her development. This was one of her unique features within the Impressionist movement, reflecting her different viewpoint as a female painter. Eugène was to feature in several different paintings by Morisot, in line with her passion for painting scenes with a personal touch. Berthe married Eugène Manet, the younger brother of Edouard and a painter himself, though his career would never reach the heights of his old brother. The lives of these two artists were closely intertwined, both professionally and also personally. The painting featured here was a portrait of Berthe Morisot by Edouard Manet, titled Berthe Morisot with a Bouquet of Violets. Ultimately, she was able to overcome societal barriers through hard work, talent, and some fortunate support from other quarters. The uniqueness of this content, combined with great technical prowess, proved to be a winning formula and Berthe had the additional support of a strong family connection to the Manets, who themselves were already highly prominent within the art world. The public were struck by the emotions found within these painting, and how they offered an insight into a part of society that many men were not particularly familiar, even within their own lives. She would then start to include their children alongside in intimate portraits, and then children together with their siblings. They would be in a variety of poses, sometimes at work, but normally relaxing within the family home.
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The artist produced portraits of women as her main genre, and these would include members of the family and friends.
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