File:Manet and the French impressionists- Pissarro-Claude Monet-Sisley-Renoir-Berthe Morisot-Cézanne-Guillaumin (1910) (14596918267).jpg

Identifier: manetfrenchimpre00dure (find matches)
Title: Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin
Year: 1910 (1910s)
Authors: Duret, Théodore, 1838-1927 Flitch, J. E. Crawford (John Ernest Crawford), tr
Subjects: Manet, Edouard, 1832-1883 Painting Impressionism (Art)
Publisher: Philadelphia : J. B. Lippincott company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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d a great gift of drawing. Their father, who had not for-gotten his own youthful artistic tastes, was delighted to encouragethem. When in the early days of the Empire he came with hisfamily to live at Paris, he was able to develop the artistic talentof his daughters. For their master he selected Guichard, who,though he never showed any originality as an artist, was anexcellent teacher. When the two sisters had sufficiently profited by the lessonsof their first master, they felt themselves drawn towards Corot.They made his acquaintance about 1862. He took a liking tothem, and became their guide in matters of art; but as any sortof teaching was distasteful to him, he sent them to his friendOudinot at Pontoise, who had adopted his manner of painting.Under Oudinots direction they painted landscapes at Auvers andelsewhere. They began to exhibit at the Salon in 1864, wheretheir works appeared regularly each year until 1868. Edma, the elder of the two sisters, abandoned painting in 1868, 170
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JKUNK FILLK AU BAL BERTHE MORISOT BERTHE MORISOT 171 when she married a naval officer named Pontillon. Berthe, there-fore, was left alone. I have had the opportunity of seeing thepictures which she sent to one of her first Salons, that of 1865,a landscape and a still life. They are painted very strongly, verycorrectly, and, like most early work, are finished in every detail.The landscape is in the manner of Corot. It was evidentlyunder Corots influence that she developed her own personalfeeling and artistic invention, basing them upon the foundation ofacademic technique which she had learnt from her first master,Guichard. Thus she had an excellent and thoroughly seriousapprenticeship. She was, without question, an artist of realaccomplishment. Although she was the daughter of a wealthyfamily and a woman of fashion, it was impossible to regard heras belonging to the category of women painters whose attitudeto art is merely that of the trifling dilettante. As soon as they had attained a

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