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Berthe Morisot
1841 - 1895年
JEUNE FILLE CUEILLANT DES CERISES
signed Berthe Morisot (lower right)
pastel on paper
60,8 x 46 cm; 24 x 18 1/8 in.
Executed in 1891.
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來源

André Hammel, Paris
Private collection, Paris

展覽

Paris, Durand-Ruel, Berthe Morisot (Madame Eugène Manet), 1896, no. 181
Paris, Galerie Dru, Exposition de pastels, aquarelles, dessins, crayons de Berthe Morisot, 1926, no. 5
Paris, Galerie Durand-Ruel, Berthe Morisot, pastels, aquarelles, dessins, 1948, no. 40 bis
Paris, Galerie Hopkins-Thomas, Berthe Morisot, 1987, no. 42, illustrated in the catalogue n.p.
Paris, Musée Marmottan, Les femmes impressionnistes: Mary Cassatt, Eva Gonzalès, Berthe Morisot, 1993, illustrated in the catalogue n.p.

出版

Marie-Louise Bataille & Georges Wildenstein, Berthe Morisot, Catalogue des peintures, pastels et aquarelles, Paris, 1961, no. 572, illustrated fig. 566 n.p.
Alain Clairet, "'Le cerisier' de Mézy" in L'Œil, May 1985, illustrated p. 51

相關資料

This delicate pastel drawing is a moving testimony to Berthe Morisot's art. She was one of the few female members of the impressionist circle of painters and took part in almost all of the group's exhibitions from 1874 onwards. Morisot drew Jeune fille cueillant des cerises in the garden and barn, which she transformed into a studio, at maison Blotière in Mézy-sur-Seine during the summer of 1891. Throughout this time she was using her daughter, Julie Manet, and nieces as models. This drawing is one of the many preparatory studies for one of Morisot's most ambitious compositions, Le cerisier, a large composition portraying her daughter and niece, Paule Gobillard; none of her other compositions benefited from as many preparatory studies. By using her own family as subjects, Berthe Morisot depicted an ease and familiarity that is rarely seen in portraits and genre painting of the 19th century. Having become a mother at the age of 37, she also had a particular interest in conveying the tenderness of family and domestic life. She began painting Julie from the earliest moments of her life and here depicts her as a strikingly beautiful figure with a swiftly and decisively-drawn body.

This joyful, vivacious sketch presents a soft palette that is applied with discrete, light strokes. The verdant greens of the foliage are infused with light and entirely surround the young girl. As with La cueillette des oranges, Morisot was inspired by Botticelli's Printemps. The mutual influence that Berthe Morisot and Renoir had on each other is also evident here. Renoir had previously urged Morisot to finish Le cerisier painting, which she started in Nice in 1888, in order to exhibit it at the Champs de Mars. Renoir incorporated a similar technique and colour palette in his compositions at the beginning of the 1890s.

Working principally in pastel in her later years, all of Berthe Morisot's paintings are characterised by the subtlety and spontaneity of her craftsmanship, as well as the quality of her artistic style. Paul Mantz describes her work as having "the candour of an improvisation; it really gives the idea of an 'impression' perceived by a sincere eye and recreated by an undeceiving hand" (Kathleen Adler et Tamar Garb, Berthe Morisot, New-York, 1987, p. 72). The relaxed elegance of her style and her liberal use of colour and strokes, contributed to defining the aesthetic of the movement and to making Berthe Morisot a founding and pioneering member of the impressionist group. One of the few women of the movement, she brought a feminine and intimate perspective to avant-garde art at the turn of the century.

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