Portrait of Marguerite Carré - Berthe Morisot
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Beschreibung
A portrait of Marguerite Carré by Berthe Morisot, featuring loose, expressive brushwork and a focus on light and texture.
Berthe Morisot, a central figure in the Impressionist movement, painted this portrait of Marguerite Carré in 1869. The work captures a young woman seated in a ball gown, holding a fan. Morisot employs a characteristic technique of loose, rapid brushwork that prioritises the capture of light and atmosphere over rigid anatomical precision. The subject is positioned against a dark, indistinct background, which serves to push the figure forward and draw attention to the texture of her white dress and the delicate floral details adorning her hair and attire.
Morisot often focused on the domestic lives of women within her social circle. This portrait reflects her interest in the transient nature of social gatherings and the quiet moments found within them. The palette is restrained, relying on whites, greys, and muted tones, punctuated by the warmer, lighter hues of the fan and the subject's skin. The composition is informal, suggesting a candid observation rather than a formal, posed studio session. The paint application is fluid, with visible strokes that suggest the movement of fabric and the soft quality of ambient light. By avoiding excessive detail, Morisot invites the viewer to focus on the overall mood and the interplay of light across the surface of the canvas. This approach was typical of her work during the late 1860s, as she moved away from the more traditional academic training she received early in her career. The painting remains a clear example of her ability to balance spontaneity with a structured sense of form, providing a glimpse into the social milieu of late nineteenth-century France.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Portrait of Marguerite Carré - Berthe Morisot
Artist Biography
Berthe Morisot
She was born in Bourges in 1841. Her parents built a studio in the family garden for Berthe and her sister Edma, who was equally talented. Edma abandoned painting when she married a naval officer in 1869. Berthe, having lost her collaborator, held on harder. She exhibited ten works at the first Impressionist exhibition in 1874, the only woman showing. She participated in every Impressionist show except 1879, the year her daughter Julie was born.
Edouard Manet painted her portrait repeatedly before she married his brother Eugene in 1874. She had sworn to stay single. Eugene gave up his own painting ambitions so she could pursue hers. Whatever the nature of her relationship with Edouard, it produced some of his finest portraits and left a subject that art historians have been circling for over a century.
She painted the domestic world of women with a directness that the male Impressionists could not access: mothers and daughters, women at their toilette, the garden, the drawing room. The brushwork is rapid and unfinished-looking, more so than Monet's. She died of pneumonia in 1895, aged fifty-four, caught while nursing her daughter through the same illness. She wrote to sixteen-year-old Julie the day before.
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