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Berthe Morisot Shepherdess Laying Down - 1891 oil painting reproduction
Berthe Morisot Shepherdess Laying Down - 1891 oil painting reproduction

Berthe Morisot Shepherdess Laying Down 2 - 1891 oil painting reproduction
Berthe Morisot Shepherdess Laying Down 2 - 1891 oil painting reproduction

Berthe Morisot Studying the Violin - 1892 - 1893 oil painting reproduction
Berthe Morisot Studying the Violin - 1892 - 1893 oil painting reproduction

Berthe Morisot Summer oil painting reproduction
Berthe Morisot Summer oil painting reproduction

Berthe Morisot Tete de chien griffon, Follette - 1882  oil painting reproduction
Berthe Morisot Tete de chien griffon, Follette - 1882 oil painting reproduction

Berthe Morisot Thatched Cottage in Normandy - 1865  oil painting reproduction
Berthe Morisot Thatched Cottage in Normandy - 1865 oil painting reproduction

Berthe Morisot The Basket Chair - 1885  oil painting reproduction
Berthe Morisot The Basket Chair - 1885 oil painting reproduction

Berthe Morisot The Bath - 1885 oil painting reproduction
Berthe Morisot The Bath - 1885 oil painting reproduction

Berthe Morisot The Beach at Nice - 1882 oil painting reproduction
Berthe Morisot The Beach at Nice - 1882 oil painting reproduction

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Berthe Morisot

(1840-1895)

American Impressionist portrait artist Berthe Morisot was born into a wealthy family and when she was growing up her parents encouraged her to take art lessons but didn’t want Morisot to be a professional artist. In 1864, she exhibited in the prestigious Salon de Paris, the annual exhibition of the Académie des Beaux-Arts in Paris. In 1877, Manet invited Morisot to exhibit in the first Salon des Refusés so she was part of the first exhibition where the group called themselves 'impressionists'. She participated in all of the Impressionist exhibitions except for the one in 1879 because of illness. Berthe Morisot’s paintings were often of people at home or outdoors. She was known for painting in loose, quick brush strokes. You can really see all the brushstrokes in her paintings as she didn’t make the surface smooth or flat. However, in the last years of her the rapid brushstrokes which had defined her practice for years became clearer, and her images came back into focus.
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