БЕРТА МОРИЗО: первая дама импрессионизма. Жизнь и биография первой художницы-импрессионистки

The first female Impressionist. Can you imagine how difficult it was in the mid-19th century to be such an impossible combination? Please support the channel! Even with the smallest donation. Let's create the most literate art community. From international cards:   / nenashev   From Russian cards: https://boosty.to/dai_nenashev   / dai_nenashev   We've already seen how incredibly difficult it was for even male Impressionists, even from wealthy families, to break through. What can we say about women in a time when men ruled the world? And now I'll tell you all about it! #art #impressionism #artist #artist #notours Berthe Morisot was born in 1841, the same year as Renoir, a year after Claude Monet and nine years after Édouard Manet, with whom she would have an extremely complicated relationship and who would become her pastor, her guide through the art world, and simultaneously her personal tormentor, unreachable at arm's length. She was born into an aristocratic family and had two older sisters, Yves and Edma. They lived in the Paris suburb of Passy, ​​and Berthe's entire family was passionate about art. Therefore, when Berthe was 16, her parents enrolled her and her sister Edma in private drawing classes. Art, and indeed any kind of refinement, was highly encouraged for young unmarried girls at the time. A girl was expected to develop her aesthetic side: music, drawing, singing, and other frivolous and forgivable pursuits for young women, preparing her for future marriage. However, women of high society did not pursue such pursuits professionally. A woman could not receive a full artistic education because the course always included nude painting, and the presence of a respectable woman in the same room with a naked man was considered completely unacceptable. Therefore, only private lessons and fine arts courses remained. But as soon as young artists married, their primary focus was expected to be family, husband, and domestic matters. Painting, music, and singing could remain merely hobbies, displayed to guests at receptions as entertainment. Therefore, the family strongly encouraged Bertha and her sister to pursue painting, with the expectation that their dalliances would cease after marriage. Their mentors were the neoclassical artist Geoffroy-Alphonse Chocarne, a painter of the school of Dominique Ingres, and later Joseph-Benoît Guichard, whom the sisters sought out after achieving a certain level of mastery. Guichard, immediately recognizing the sisters' talent, considered it his duty to warn the family of the possible consequences. "Considering your daughters' natural talent, my instruction will transform them not into mere salon painters, but into true artists. Do you understand what this could mean? It would be revolutionary, I would even say catastrophic, in a bourgeois and elite environment such as yours. Are you sure you won't regret the day you allowed art into your home, which is a respectable and peaceful abode? Do you realize that art could influence the fate of your two daughters?" His words would prove prophetic in many ways, but only for one of the sisters. Guichard placed the girls in the Louvre as copyists, honing their skills and earning money at the same time. This in itself was unusual; girls and women from high society were only allowed extremely limited jobs—teaching, for example, or raising children, which essentially amounted to caring for the family. Physical labor was absolutely forbidden, and the ideal situation was considered one in which a woman worked entirely and devoted herself entirely to her family. Until the mid-19th century, the artist's profession remained a strictly male one; few women dared to pursue this craft professionally. And so the Morisot sisters, endowed with considerable talent, decided to follow this path. One for life, the other only until her marriage. Edma, the elder of the two sisters, according to many contemporaries, possessed greater talent and skill than Berthe, but it was she who would follow the rules and, in In 1879, after her marriage, she abandoned this pursuit, remaining passionate about painting for the rest of her life. By 1863, the sisters were already studying under Jean-Baptiste Corot, as he was the only one who allowed them to attend his plein air sessions, outdoors. At the time, such painting was largely experimental; the vast majority of artists painted in studios. Corot's style alone hindered his acceptance in academic circles, but the sisters were eager to master this technique. The artist developed a particular liking for Berthe and, despite being a recluse, even began regularly attending Monday dinners with the Morisot family.