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Berthe Morisot Woman in Black - 1878  oil painting reproduction
Berthe Morisot Woman in Black - 1878 oil painting reproduction

Berthe Morisot Woman Picking Flowers - 1879  oil painting reproduction
Berthe Morisot Woman Picking Flowers - 1879 oil painting reproduction

Berthe Morisot Woman Wearing Gloves 1885  oil painting reproduction
Berthe Morisot Woman Wearing Gloves 1885 oil painting reproduction

Berthe Morisot Woman with a Fan - 1876  oil painting reproduction
Berthe Morisot Woman with a Fan - 1876 oil painting reproduction

Berthe Morisot Young Girl and the Budgie - 1888  oil painting reproduction
Berthe Morisot Young Girl and the Budgie - 1888 oil painting reproduction

Berthe Morisot Young Girl Resting - 1894 oil painting reproduction
Berthe Morisot Young Girl Resting - 1894 oil painting reproduction

Berthe Morisot Young Girl with a Bird - 1891  oil painting reproduction
Berthe Morisot Young Girl with a Bird - 1891 oil painting reproduction

Berthe Morisot Young Girl with a Parrot - 1873  oil painting reproduction
Berthe Morisot Young Girl with a Parrot - 1873 oil painting reproduction

Berthe Morisot Young Girl with an Umbrella - 1893  oil painting reproduction
Berthe Morisot Young Girl with an Umbrella - 1893 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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