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This article is written by a student writer from the Her Campus at C of C chapter.

Berthe Morisot was a French painter who was known as one of the greatest Impressionists of the time. She struggled with being taken as a serious artist by the vastly male artists and critics of the era. Since she was a woman, she had access to the private and intimate lives of other women, something the male Impressionists were unable to do. This gave her a unique perspective within the art community in Paris.   

By Berthe Morisot – Photo RMN-Grand Palais, photo: R. G. Ojeda, Public Domain

Berthe Morisot was born January 14, 1841, into a wealthy family, where drawing lessons were common for girls. She and her sisters were given private drawing lessons, which they used to give their father a drawing for his birthday. Their drawing teacher brought them to the Louvre, where Morisot began to copy the paintings in order to learn, as she and her sisters were forbidden from taking formal art lessons. While she was learning from the paintings in the Louvre, Morisot met several other Impressionists such as Manet and Monet. 

By Berthe Morisot – Berthe Morisot, Public Domain
 
While she was learning how to paint and draw, she was known to never be satisfied with her work. Many of her earlier works have been lost, as she would destroy any work she was not pleased with. Eventually, she began to use watercolors, oil paints, and pastels at the same time. Morisot painted quickly, usually working without much of a sketch underneath. She would make dozens of studies of the subjects from life, in order to draw them from memory.   
By Berthe Morisot – Berthe Morisot, Public Domain
 

“Feminine charm” was often used to describe her artwork by male critics. Morisot would write about the struggle trying to be seen as a serious artist. In a journal she wrote, “I don’t think there has ever been a man who treated a woman as an equal and that’s all I would have asked for, for I know I’m worth as much they.” Her works often have symbolism for the celebration of womanhood and would paint the hidden, intimate side of women and children’s lives. 

 

By Berthe Morisot – Berthe Morisot, Public Domain

Audrey Ross

C of C '23

Audrey Ross has lived in three different states and currently lives in Charleston, South Carolina. She a junior at the College of Charleston and is double majoring in Studio Art and Arts Management. She has participated in National Novel Writing Month for eight years and has written 4 novels. She is currently working on finishing a manuscript to submit for publishing. Her interests include sketching, painting, reading, history, fashion history, sewing, and writing.