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Berthe Morisot The Quay at Bougival - 1883  oil painting reproduction
Berthe Morisot The Quay at Bougival - 1883 oil painting reproduction

Berthe Morisot The Reclining Shepherdess - 1891  oil painting reproduction
Berthe Morisot The Reclining Shepherdess - 1891 oil painting reproduction

Berthe Morisot The Seine at Bougival - 1884  oil painting reproduction
Berthe Morisot The Seine at Bougival - 1884 oil painting reproduction

Berthe Morisot The Seine below the Pont d'Lena - 1866  oil painting reproduction
Berthe Morisot The Seine below the Pont d'Lena - 1866 oil painting reproduction

Berthe Morisot The Sewing Lesson oil painting reproduction
Berthe Morisot The Sewing Lesson oil painting reproduction

Berthe Morisot The Village of Maurecourt - 1873  oil painting reproduction
Berthe Morisot The Village of Maurecourt - 1873 oil painting reproduction

Berthe Morisot Tureen and Apple - 1877  oil painting reproduction
Berthe Morisot Tureen and Apple - 1877 oil painting reproduction

Berthe Morisot Two Nymphs Embracing - 1892  oil painting reproduction
Berthe Morisot Two Nymphs Embracing - 1892 oil painting reproduction

Berthe Morisot Two Sisters on a Couch - 1869 oil painting reproduction
Berthe Morisot Two Sisters on a Couch - 1869 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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