Berthe Morisot, Bourges 1841 - Paris 1895
Madame Marie Hubbard aka Woman with a fan (1874)
Ordrupgaard Museet, Charlottenlund

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Berthe Morisot, Bourges 1841 - Paris 1895
Junge Frau mit einem Fächer oder Auf dem Ball - Young woman with a fan aka At the Ball (1875)
Musée Marmottan Monet, Pariis

Berthe Morisot preferred light, tender colours, had a precise eye, and took an interest in the psychological state expressed by her models. A particularly fine use of colour distinguishes At the Ball, with its slightly asymmetrical structure and the young woman's attentive sideways look.

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Berthe Marie Pauline Morisot, Bourges 1841 - Paris 1895
Auf der Terrasse - On the terrace (1874)
Tokyo Fuji Art Museum, Tokyo, Japan

Painted in 1874, a memorial year when the first Impressionist exhibition was held, On the Terrace is one of the 12 works by Morisot that were exhibited at the third Impressionist exhibition held in 1877. It caught the eyes of the critics who championed Impressionism, drawing great acclaim from them. The background in this painting is the summer resort Fécamp. The model is the wife of Lucien Boursier, a relative of Morisot’s father. The bold composition with modern sensibility stands out in this painting.
Source: www.fujibi.or.jp/en/our-collection/profile-of-works.

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Berthe Morisot, Bourges 1841 - Paris 1895
Der Hafen von Nizza - The Port of Nice (1881 - 82)
Dallas Museum of Art, Texas, USA

Berthe Morisot spent the winter of 1881–1882 with her family on the Mediterranean coast in Nice, France. As she often did while traveling, Morisot brought along her plein-air (outdoor) painting kit and worked outside when the weather permitted. The city’s port, a sheltered marina filled with boats (fig. 1), became the subject of eight watercolors and oil paintings the artist completed during her stay.

The example of this subject from the Reves Collection exemplifies the bold, almost abstract style that distinguishes Morisot from the French Impressionist group she helped to found. To avoid onlookers on the crowded dock, she painted aboard a boat in the harbor. Morisot’s rapid application of fluid, gestural brushstrokes simulates the effect of lapping waves and dancing light on the water’s surface.

More than any of her contemporaries, Morisot deliberately pushed the boundary between preparatory sketch and completed painting in her work. Her inclusion of a similar painting in the 7th Impressionist Exhibition of 1882 was harshly criticized for its perceived lack of finish. One journalist declared, “when one has, like her, good sense and talent, one mustn’t make fun of the public like this.”

Source: Dalles Museum of Art

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Berthe Morisot, Bourges 1841 - Paris 1895
Der Korbstuhl - The basket chair (1882)
Museum of Fine Arts Houston

Painted in thick oil paint, the painting gets its title by the basket chair in the front left corner, which frames the artwork rather than poses at its center. Meanwhile, the artist’s daughter, Julie, peers over the dark iron fence and looks to the viewer. Morisot emphasizes the passage of time as this painting seems to be just a moment or memory. The heavy and thick brushstrokes feather between shades of green, beige, and blues. The path behind the peering girl leads the eye to another little girl playing, who is the artist’s niece, then further back to a dark bench as the path curves out of view.

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