That she was a woman, and of considerable social position, led critics of her own time to treat her work as that of a dilettante. Her contribution, made during the first critical years when the ideas of the Impressionists were struggling for a foothold, was that of a painter who embraced a whole new philosophy form the vantage point of an artist of established academic technique.ĬOURTESY MUSÉE MARMOTTAN MONET, PARIS/BRIDGEMAN IMAGES The exhibition which is current at the Wildenstein Galleries now gives an opportunity to the public to see how important was her place. That the paintings of Berthe Morisot are less known in the country than those of any other members of the original Impressionist group can be attributed to a number of causes. “View of a Woman Impressionist: Berthe Morisot” With a Morisot retrospective traveling the world (it is now on view at the Dallas Museum of Art in Texas), Lowe’s essay on the artist, which was written on the occasion of a Wildenstein Galleries survey in New York, is republished in full below. “That she was a woman, and of considerable social position, led critics of her own time to treat her work as that of a dilettante,” Lowe wrote. The reasons for that were sharply underlined by critic Jeannette Lowe in the November 28, 1936, issue of ARTnews. For a long period of time, despite being one of the most well-connected artists of her era, Berthe Morisot was largely under-recognized.
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