Morisot, account

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Berthe Morisot (1841-1895)

Account

 

On this page you will find an account of the works that Berthe Morisot exhibited at 7 of the 8 ‘impressionist’ expositions and at the Salon.

 

The first ‘impressionist’ exposition 1874:

  • catalogue numbers 104-112
  • Morisot probably exhibited 1 work outside the catalogue (=hc)
  • so in total Morisot exhibited 10 works, 4x oil paintings, 3x watercolours, 3x pastels
    • 0x indication of place
    • 0x indication of time, season or weather
    • 0x a study
    • 1x loans (appartient à…); 1 of Manet (no.106).
  • See for the suggestions of Moffett (R2,p121/2), Berson (R90II,p10/11+25/6) and of Dayez (R89,p245/6). They refer to the Catalogue Raisonné (=CR) of Bataille and Wildenstein ‘Catalogue des peintures, dessins, aquarelles’ of 1960 (=R100).
1874 catalogue: 

1IE-1874-104        Le Berceau
Eng.: the cradle. Moffett, Berson and Dayez suggest: 1872, CR25, The Cradle, 56×46, Orsay (iR2;R2,p131;R87,p245;R3,p89). Castagnary comments (1874/04/29): ‘You cannot find more graceful images handled more deliberately and delicately than Berceau and Cache-Cache. (R2,p133;R87,p246). Etienne Carjat (1874/04/27) reviews: ‘a little marvel of feeling, suppleness and lightness’ (R90I,p14). Jean Prouvaire (1874/04/20) describes that the mother (badly dressed) ‘leans over to a cradle where a pink child sleeps, gently visible through the pale muslin’ (R90I,p35). Picture with zoom (iR8).

1IE-1874-105        La Lecture
Moffett and Dayez suggest: 1869-70ca, CR20, Mother and Sister of the Artist (reading), 101×82, NGA Washington (iR2;R2,p132;R3,p88), they follow Bataille & Wildenstein (R100,p24). Berson pleads for CR14, now: 1873, CR14,  Reading (The Green Umbrella; Edma seated on the grass), 46×72, Cleveland MA (Mx;iR2;R90II,p10). She refers to the contemporary reviews. Léon de Lora (1874/04/20) titles this work ‘Femme assise dans un pré et lisant’ (Eng.: Woman sitting in a meadow and reading) and reviews in earns praise. (R90I,p27) Jean Prouvaire (=Pierre Toloza) describes (1874/04/20) how Morisot uses the colour pink next to a blue or green umbrella (R2,p134;R87,p245;R90I,p35). Leroy comments (1874/04/25): ‘That young lady is not interested in reproducing triffling details. When she has a hand to paint, she makes exactly as many brushstrokes lengthwise as there are fingers…’ (R2,p132;R87,p246). Etienne Carjat (1874/04/27) calls it a study (which CR20 certainly is not) (R90I,p14). I agree with Berson. Note: Bataille & Wildenstein date this work 1867 and write it was made in Petit Dalles (where Morisot did paint in 1873 several works; they don’t subscribe this choice for 1IE-1874-105.(R100,p24). 

1IE-1874-106        cache-cache ; appartient à  M. Manet
Moffett, Berson and Dayez suggest: 1873, CR27, Hide and Seek, 45×55, A2005/11/02 (iR2;iR11;R2,p133;R87,p246;R3,p108). Philippe Burty (1874/04/25) describes this work ‘depicting a young mother playing hide-and-seek behind a cherry tree with her little girl, is a perfect work with a sense of observation, the freshness of the palette and the arrangement of the backgrounds.’ (R90I,p37) Moffett translates: ‘perfect in the emotion of its observation’ (R2,p133). Etienne Carjat (1874/04/27) reviews: ‘a deliciously composed jewel, of a remarkable tonality’ (R90I,p14). 

1IE-1874-107        Marine
Moffett suggests: 1869, CR17, The Harbor at Lorient, 44×73, NGA Washington (iR2;R2,p134;R42,p9), part of the Edouard Manet collection, but unclear since when (R42,p24). Berson suggests: 1871, CR16, The harbour at Cherbourg, 42×56, YUAG New Haven (iR6;iR2;R90II,p10), she refers to Stuckey and Scott (1987,p55), but doesn’t give concrete arguments. Jean Prouvaire (=Pierre Toloza) comments (1874/04/24): ‘what a lovely vagueness (there is) in the distance at sea where the tiny points of masts tilt!’ (R2,p134). This review would plead a bit more for CR17. I render both options.

1IE-1874-108        portrait de Mademoiselle M.T., pastel,
Probably a portrait of Madeleine Thomas, sister of Gabriel Thomas, an art-collector. Moffett, Berson and Dayez suggest: 1873ca, CR426, Young Girl with a Parrot, pastel,  60×50, NY private (iR2;R2,p135;R87,p246). I follow. Armand  Silvestre (1874/04/22) reviews ‘The master piece of Miss Morisot, who belongs most directly to the new school, is a quite vigorous and charming pastel.’ (R90I,p40;R2,p135). Etienne Carjat (1874/04/27) reviews: ‘full of light and vigour’ (R90I,p14), but maybe this is a review of 1874-112+hc. 

1IE-1874-109        un village, pastel
Moffett and Berson suggest: 1873, CR424, The Village of Maurecourt, pastel, 47×72, private NY, (iR10;iR135;iR2;R2,p136). I follow.

1IE-1874-110        Sur la Falaise, aquarelle
Moffett and Berson suggest: 1873, CR622, On the cliff, wc, 18×23, Orsay (iR10;iR166;iR59;R2,p122). I follow. Prouvaire (1874/04/20) comments: ‘she loves large fields where one sits’ (R87,p245); and describes ‘meadows wet by sea dew’ (R90I,p35).

1IE-1874-111        Dans le bois, aquarelle
Dayez, Moffett and Berson suggest: 1872, CR620, Jeune femme et enfant sur un banc, wc, 33×23, Orsay. I follow.

1IE-1874-112        …………………., aquarelle
Moffett suggests with a perhaps ‘Femme et enfant assis dans un pré’, CR615, Berson follows, now: 1871, CR615, Woman and Child Seated in a Meadow, wc, 21×24, private, (iR2;R2,p122;R90II,p10). Moffett probably refers to the review of Léon de Lora (=Félix Pothey) (1874/04/20) who mentions a work ‘Femme assisse dans un pré et lisant’. Berson makes this a reference to no.105. Jean Prouvaire (1874/04/20) describes ‘and what a charming wave in these faraway seas where you can see little dots of masts reclining!’ (R90I,p35), but this can also refer to no.110. This leaves us without a clear reference to this work, so I would emphasize the perhaps of Moffett.

1IE-1874-112+hc xx (pastel)
Berson states that Morisot exhibited a work outside the catalogue, namely: 18, CR419, Portrait of Madame Pontillon, pastel, 81×65, Orsay (R90II,p11), referring to a review of Giuseppe de Nittis (1874/07/01): ‘a coloured pastel of a torso of a pale woman dressed in black and with arms folded. One of the hands you see is so beautiful that it gives the impression of the delicacy of truth; the whiteness of the skin of the head and the hand with meandering transparent veins with black without hardness, it forms a whole of a very serious thing. (R90I,p32). Note: this work has also been exhibited as S1872-1142.

 

The second ‘impressionist’ exposition 1876:

  • catalogue numbers 166-182
  • no. 182 contained 3 drawings / pastels
  • so in total  Morisot exhibited 19 works, of which 13 oil paintings, 3 watercolours, 3x drawings / pastels
    • 7x indication of place
    • 0x indication of time, season or weather
    • 0x a study
    • 0x loan (appartient à…)
  • See for the suggestions of Moffett (R2,p163) and of Berson (R90II,p41-43+59-61). They refer to the Catalogue Raisonné (=CR) of Bataille and Wildenstein ‘Catalogue des peintures, dessins, aquarelles’ of 1960 (=R100).
1876 catalogue: (R2,p163; iR1)

2IE-1876-166        Au bal
Moffett and Berson suggest: 1875, CR60, At the Ball, 62×52, Marmottan (iR2;iR59;R2,p163;R3,p151).

2IE-1876-167        Le lever
Eng.: the rising, getting up. Moffett and Berson suggest CR73. I only could find a black and white picture of this work. This makes it hard to compare it with the descriptions in the reviews. Bataille & Wildenstein suggest this work for 5IE-1880-115. (Compare also a later work: 1886, Getting up, 65×54, private (iR2;iR59), a work exhibited in  1886, no.87, Le Lever.) Philip Burty (1876/04/15) describes a work calling it ‘Jeunes femmes en mousseline blanche’ that possibly refers to no. 167 and 168, because he uses a plural form: ‘sitting in a room, across the window of which a white curtain is drawn (compare CR61+73). They are symphonies in white like Mr. J. Whistler’s, but more perfect in that they have the feminine sentiment -‘l’odor di famina.’ Everything – the creased folds, the gilt wooden chairs (maybe CR72 + 73), the couches with their light-coloured covers (compare CR61), the uncombed hair, the half-seen flesh (probably CR72, not CR61 or CR73) –  is indicated with a grace, a suppleness, a taste, wherein Mdme. Berthe Morizot (sic) stands unrivalled.’ R90I,p65). Emile Porcheron (1876/04/04) reviews ‘her two paintings of Femmes à leur toilette‘ (R90I,p103), so he also combines the numbers 167 + 168. Marius Chaumelin (1876/04/08) reviews: ‘Le Lever seduced me first; I saw it from a distance, a nice little woman in a white bathrobe, busy with very intimate toilet / grooming details. I had the recklessness to approach, and I sadly found out that this nice child had dirty clothing; and I figured that instead of washing her feet (probably CR73), which are pink, she’d better wash her face, which is smeared with soot (Nl.: roet).’ (R90I,p67). Alex Pothey (1876/03/31) reviews ‘a woman in white, taking a footbath (probably CR73), quite charming…’ (R90I,p104).

2IE-1876-168        La Toilette
Moffett and Berson suggest: 1876, CR61, Young woman with mirror, 54×45, private (iR59;R2,p163;R90II,p42). This suggestion is not subscribed by Bataille & Wildenstein who indicate that the painted was sold (at an auction) 1876/04/14, which is during the second ‘impressionist’ exposition. Morisot has made many pictures depicting women doing there make-up. So I like to suggest CR72 as alternative, now: 1877, CR72, Young Woman Powdering Her Face, 46×38, Orsay (iR10;iR94;iR2;R42,p33;R100,p28).

2IE-1876-169        Déjeuner sur l’herbe
Moffett and Berson suggest CR47, 1875, 60×74, private. Bataille & Wildenstein refer to the pastel study CR633 (note: they wrongly refer to no.189). To compare I also render: 1874, Lilacs at Maurecourt, 50×61, private, (iR10;iR2;R42,p26;R2,p163). Marius Chaumelin (1876/04/08) reviews: ‘Ask a Presbyterian what he thinks about déjeuner sur l’herbe; he’ll tell you he’s never seen a fresher lawn, a brighter sunshine, more transparent shadows, more naturally thrown figures. And I’ll agree with the Presbyterian, if, to look at the picture, I am required to place myself at the same distance if I had to watch the scene in the middle of the countryside. ‘ (R90I,p67/8).  G. d’Olby (1876/04/10) reviews: ‘a feast of spring tones taken from this range melted into tenderness, from the white lilac to the pale pink of the peach blossom, through fresh butter and blue flaxseed; delicate grades of colouring that the fashion of the day has adopted. (R90I,p100) 

2IE-1876-170        Vue du Solont (île de Wight)
Moffett suggests with a perhaps CR48, 52 or 53. Berson labels this work as not identified and mentions that Bataille & Wildenstein suggest CR53, the only work that is not signed, now: 1875, CR53, Harbour Scene, Isle Wight, 38×46, Axx (iR2;iR10;iR13;iR128;R2,p163;R100,p27). To compare I also render: 1875, CR54, Scène sur le port, Île de Wight, 43×64, Newark M (iR10;iR92;iR128;iR2;iR11), a work that is not suggested by Moffett, Berson, nor Bataille & Wildenstein as an option for neither no. 170, 171, 172, 176 or 177.

2IE-1876-171        West Coves (Île de Wight)
Moffett suggests with a perhaps CR50, 52 or 55. Berson labels this work as not identified and mentions that Bataille & Wildenstein suggest CR52, now: 1875, CR52, West Cowes, Isle of Wight , 48×36, A19971128 (iR10;iR64;iR13;iR2;R2,p163;R100,p27). 

2IE-1876-172        Le bateau à vapeur
Eng.: The steamboat. Moffett suggest CR53 or 56. Berson suggests CR56, now: 1875, CR56, The steam boat, 32×45, xx (iR6;R90I,p42;R100,p27). I could only find a black and white picture.

2IE-1876-173        Plage de Fécamp
Moffett and Berson suggest CR30, a work auctioned at Sotheby’s 1876/06/28. Now: 1873, CR30, The Beach of Fécamp, 24×51, private (iR10;iR135;iR2;R2,p163). Morisot made several works depicting beaches (in Fécamp and nearby Petite Dalles). Arthur Baignères (1876/04/13) probably reviewed this work: ‘in the view of a beach, Miss Morisot’s eye having encountered a massive (or: a bed) with red flowers, her hand made them almost as big as a man walking by.’ (R90I,p54), but their is no bed of red flowers, nor a man walking by on this picture. Maybe it refers to CR50, see 2IE-1876-177. 

2IE-1876-174        Un Chantier
Eng.: a construction site. Moffett and Berson suggest CR39. Now: 1874, CR39, Boats under Construction, 32×41, Marmottan (iR10;iR94;iR2;R2,p163). Note: Bataille & Wildenstein suggest CR39 for number 172, which probably is a writing error (R100,p26). 

2IE-1876-175        Un percher de blanchisseuse
Eng.: A laundress’s perch. Moffett  and Berson suggest CR45, now: 1875, CR45, Hanging the Laundry out to Dry (Gennevilliers), 34×44, NGA Washington (iR2;iR59;R2,p182;R90II,p42;R100,p26). 

2IE-1876-176        Vue d’Angleterre
2IE-1876-177        Vue d’Angleterre

Eng.: view of England. Moffett suggests CR 48, 50, 52 or 53. Berson suggests CR41 for no.176 (Port de Fécamp, 46×56, xx), which doesn’t seem appropriate because it renders a view on Fécamp. She suggests CR53 for no.177. Bataille& Wildenstein suggest CR48 for no.176 and CR50 for no.177 (Marine en Angleterre, 38×46, private). I follow Bataille & Wildenstein: for no. 176: 1875, CR48, Vue d’Angleterre (enfants dans l’herbe en Angleterre), 41×51, xx (iR10;iR94;iR48;R2,p163;R100,26); for number 177: 1875, CR50, Dans l’île de Wight, 27×35, xx (iR6;R100,p27). Note: this work has similarities with CR41, which Berson suggests for 2IE-1876-176.

2IE-1876-178        Figure de femme
Moffett and Berson suggest CR59. Now: 1875, CR59, Woman in Black (Before the Theater), 57×31, A2017/02/28 (iR2;iR15;iR59;iR11;R2,p163). This is not subscribed by Bataille & Wildenstein (R100,p27). 

2IE-1876-179        Avant d’un Yacht (Aquarelle)
Moffett and Berson suggest CR630. Now: 1875, CR630, Before a Yacht, wc, 21×27, CAI Williamstown (iR10;iR134;iR2;R2,p163).  

2IE-1876-180        Entrée de la Midina, Île de Wight (aquarelle)
Moffett and Berson suggest CR632 in the Fogg Art Museum in Cambridge. Now: 1875, Boats, Entry to the Medina, Isle of Wight, 19×17, wc, FAM Cambridge (iR2;iR59;R2,p163). 

2IE-1876-181        Vue de la Tamise (aquarelle)
Eng.: View of the Thames (watercolour). Moffett and Berson suggest CR631. Now: 1875, CR631, Boat at a Dock, wc, 17×23, Marmottan (iR2;R90II,p43).

2IE-1876-182        Trois dessins au pastel
Eng.: three pastel drawings. Moffett doesn’t make a suggestion. Berson omits this number. I have no suggestions yet.

 

 

The third ‘impressionist’  exposition 1877:

  • catalogue numbers 120 – 131
  • Morisot probably also exhibited a pastel outside the catalogue
  • probably no.124 was a pastel and not an oil painting; and probably the two drawings of no.130+131 ware watercolours
  • so in total Morisot exhibited 13 works, including 4 oil paintings, 4 pastels, 5 watercolours.
    Note: 6 works are without title !

    • 1x indication of place
    • 0x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…)
  • See for the suggestions of Moffett (R2,p205) and of Berson (R90II,p78+96/7). They refer to the Catalogue Raisonné (=CR) of Bataille and Wildenstein ‘Catalogue des peintures, dessins, aquarelles’ of 1960 (=R100).
1877 catalogue: (R2,p205; iR1)

3IE-1877-120        Tête de jeune fille
Moffett and Berson suggest CR67, now: 1876, CR67, Woman with Fan (Head of a Girl), 62×52, A2013/05/07 (iR2;iR11;iR59;R2,p229;R90II,p96). This is not subscribed by Bataille & Wildenstein (R100,p28). Emile Bergerat (1877/04/17) reviews ‘the best painting of the exposition, a portrait of a woman holding a fan’ (R90I,p129). Jacques (1877/04/12) reviews ‘a bust of a young, thoughtful girl, dressed in black, bending slightly her face with a Japanese expression, …’ R90I,p157). Léon de Lora (1877/04/10) reviews ‘A small portrait of a woman in a black dress…there’s nothing impressionistic about it…’ (R90I,p162).

3IE-1877-121        La psyché
Moffett and Berson suggest CR64, now: 1876, CR64, Psyche, 65×54, TBC Lugano (iR4;iR2;iR59). Bataille & Wildenstein write it was part of the Doria collection (R100,p28). Bertall (1877/04/09) reviews ‘a scene of a girl in a shirt putting her corset on…’ (R90I,p132). Jacques (1877/04/12) reviews ‘White, she she stands out on the gray drapes in her room, which is furnished with a mirror and a couch.’ (R90I,p157).

3IE-1877-122        La Terrasse
Moffett and Berson suggest CR37, now: 1874, CR37, On the Terrace, 45×54, FAM Tokyo (iR2;iR59;iR5;Mx;R2,p205). This work was part of the posthumous Rouart sale 1912-258. See link for picture with zoom (iR8). Berson also mentions CR62 as possibility, now: 1876, CR62, Young Woman Watering a Shrub, 40×32, VMFA Richmond (iR6;iR2;R90I,p78).

3IE-1877-123        Jeune fille à sa toilette
Moffett and Berson suggest CR63 now: 1876, CR63, La Toilette, xx, xx (iR6;R90I,p78;R100,p27). As another option I render: 1877, CR72, Young Woman Powdering Her Face, 46×38, Orsay (iR2;iR23;R42,p33;R3,p160). Bariolette (1877/04/07) reviews ‘Her study of a woman in a pink bathrobe does not lack certain qualities of sketching’. (R90I,p126), but this could also refer to no.121.  Jacques (1877/04/12) reviews ‘surrounded by a hundred ingredients that this serious operation requires, degrafing (Nl.: losraken) her batiste petticoat. (R90I,p157). Note: on CR63 I don’t see a ‘pink bathrobe’, nor do I see ‘a hundred ingredients’, this is more visible at CR72. Bataille & Wildenstein mention CR63 was (later) part of the Mary Cassatt collection (R100,p27).

3IE-1877-124        l’Amazone
Eng.: woman riding a horse. Moffett doesn’t give a suggestion, nor does Berson. The Catalogue Raisonné does not render a picture or title idication a woman riding a horse. Nor could I find a picture on the internet. What I could find was a picture of Manet of a Horse woman in Madrid (now: Manet, 1882ca, Horsewoman, full-face (L’Amazone), 73×52, MNTB Madrid), the website writes: ‘Manet’s own sister-in-law, the painter Berthe Morisot, had produced one of these cycles featuring young women attired in fashionable dress.’, but it is unclear what they refer to. I render this picture to compare.
Jacques (1877/04/12) reviews ‘I most admire a pastel, noted in the catalogue number 124. It’s nothing, a few strokes of the pencil, and it’s unbelievably charming. A young girl, always. She’s seen from behind, bending over to a bed of roses, that she’s reaping.  (R90I,p157). Note: Jacques calls this work a pastel, which is not indicated in the catalogue. His discription doesn’t resemble the title at all. So maybe the pastel he described was not in the catalogue (=hc). 

3IE-1877-125        pastel
Moffett and Berson suggest CR434, now: 1877, dreamer, pastel, 50×61, NAMA Kansas City (iR10;Mx;iR59;R90II,p97). Bertall (1877/04/09) decribes ‘a sketch of a woman in a gray tone lighted fairly elegant’ (R90I,p132), but it also can refer to another number. Frédéric Chevalier (1877/05/01) reviews ‘two remarkable pastels from which emanates a wonderful poetry. … the other a young woman half lying on a canapee.’ (R90I,p139). Jacques (1877/04/12) reviews ‘Lying on a chaise lounge, another dreams, in her pink dress, rather indiscreetly tight to emphasize her alarming shapes.’ (R90I,p157) Rivière (1877/04/14) reviews ‘the young woman  in a pink bathrobe lying on a canapee’ (R90I,p183). Note: the woman in CR434 wears a white dress, not a pink one.

3IE-1877-126        Vue de la Tamise (pastel)
Compare the watercolour with the same title she exhibited the year before (2IE-1876-181). Moffett and Berson suggest CR431, now: 1875, CR431, Bateaux sur La Tamise (Ships on the Thames), pastel, 31×48, xx (iR6;R100,p52). Frédéric Chevalier (1877/05/01) reviews ‘two remarkable pastels from which emanates a wonderful poetry. One represents the boats on the Thames; …’ (R90I,p139). Rivière (1877/04/14) reviews ‘Her marine (pastel) is charming, the big blue boat whose heavy hull comes out of the water is very exact in shape and tone. (R90I,p183)

3IE-1877-127        aquarelle
3IE-1877-128        aquarelle
3IE-1877-129        aquarelle
Moffett doesn’t give a suggestion. Berson suggests CR636, 637 and 638. Bigot (1877/04/28) reviews ‘her little portrait of a woman’ (R90I,p135), this could refer to: 1876, CR636, Jeune femme en robe noir (young woman in a black dress), wc, 12×8 (iR6;R100,p63;R90II,p78). Rivière (1877/04/14) reviews ‘a small landscape full of greenery and sunshine with a woman in a blue dress.’ (R90I,p183), but he doesn’t refer to catalogue numbers, nor to used techniques. Maybe he refers to: 1867, CR613, Paysage (landscape), wc, 14×22, A2012/11/07 (iR11;iR2;iR6;R100,p61). But maybe he refers to CR623, 624 or 626 of which I have only black and white pictures, so I can’t discern if the dress is blue. I also will render a recent watercolor: 1876, CR638, L’Oise à Maurecourt, wc, 15×26, A20120522 (iR11;iR13;R90II,p78). Jacques (1877/04/12) refers to 2 self-portraits (R90I,p157), but he doesn’t refer to catalogue numbers, nor to used techniques, so maybe it refers to the two paitings she exhibited, see no.130+131. I could not find any self-portrait made before 1877.

3IE-1877-130        Dessin
3IE-1877-131        Dessin
Moffett doesn’t give a suggestion, Berson only mentions no.131 and calls the work not identified. Jacques (1877/04/12) refers to 2 self-portraits (R90I,p157), but doesn’t refer to catalogue numbers, nor to used techniques. I could not find any self-portrait made before 1877. Sebillot (1877/04/07) reviews ‘the two small heads made of watercolour, which she modestly titles dessins, I liked it a lot. (R90I,p190). So probably these two drawings ware watercolours. To compare I render details of two later self-portraits in oil: 1885, CR167, Portrait of Berthe Morisot and Her Daughter (Self-Portrait with Julie; detail), 72×91, private (iR2;iR6); 1885ca, CR166, Self-Portrait (detail), 61×50, Marmottan (iR2;iR6). To compare I also render two earlier watercolours in a small size: 1871, CR617, Femme assise (woman sitting), wc, 20×14, xx (iR6;R100,p61); 1872, CR619, young woman sitting in the grass (with an umbrella), wc, 17×13, xx (iR6;R100,p61). 

3IE-1877-131+hc pastel (young girl picking roses)
Jacques (1877/04/12) reviews ‘I most admire a pastel, noted in the catalogue number 124. It’s nothing, a few strokes of the pencil, and it’s unbelievably charming. A young girl, always. She’s seen from behind, bending over to a bed of roses, that she’s reaping.  (R90I,p157). Note: Jacques calls this work a pastel, which is not indicated in the catalogue. His discription doesn’t resemble the title of no.124 at all. So maybe the pastel he described was not in the catalogue (=hc). The discription resembles a later oil painting: 1879, CR80, Woman Picking Flowers (In the Bois de Boulogne), 61×75, Nm Stockholm, (iR8;iR2;iR59;R90II,p152), exhibited as 5IE-1880-119, Au jardin. I could not find a pastel resembling this describtion, so I render the original painting. 

 

The fifth ‘impressionist’ exposition 1880:

  • catalogue numbers 113-127
  • So in total Morisot exhibited 15 works, including 10 oil paintings, 4 watercolours and 1 fan. Note: 5 works lack a title. Another 6 works have a very common title.
    • 1x indication of place
    • 1x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…)
  • See for the suggestions of Moffett (R2,p312). Moffett refers to the Catalogue Raisonné (=CR) of Bataille and Wildenstein ‘Catalogue des peintures, dessins, aquarelles’ of 1960 (=R100).
1880 catalogue: (R2,p312; iR1)

5IE-1880-113        Été
Eng.: summer. Note: The title is not an indication of season, but more a symbolistic title. Moffett and Berson suggest CR75, now: 1878, CR75, Summer (Young woman by the window), 76×61, MF Montpellier (iR2;iR59;R42,p73). Bataille & Wildenstein don’t subscribe this suggestion and suggest CR113 (R100,p28), which Moffett and Berson claim for no.116. Silvestre (1880/04/24) reviews: ‘with the young woman whose hand nonchalantly is holding a straw hat'(R90I,p306).

5IE-1880-114        Hiver
Eng.: winter. Note: The title is not an indication of season, but more a symbolistic title. Moffett and Berson suggest CR86 in the Dallas Museum of Art, now: 1880, CR86, Winter (Woman with a Muff), 72×57, Dallas MA (iR2;iR59;iR6;R90II,p151;R100,p29). Bataille & Wildenstein refer to CR449 as a pastel study for this painting. Silvestre (1880/04/24) reviews: ‘with her Parisian figure so galantly modern braving the cold beneath her furs. (R90I,p306).

5IE-1880-115        Femme à sa toilette
Moffett and Berson suggest CR84, now: CR84, 1875-80ca, Young Woman at the Mirror (Lady at her toilette), 60×80, AI Chicago (iR2;iR59;R42,p35). Bataille & Wildenstein suggest: 1877, CR73, Femme à sa toilette, 46×38, xx (iR6;R90II,p41), which Moffett and Berson suggest for 2IE-1876-167, Le Lever. Paul Mantz (1880/04/14) reviews: ‘She’s ash blond, and appears in a lost profile. The ensemble plays in quilted grays that and the pale pink spots.'(R90I,p299). Silvestre (1880/04/24) reviews: ‘Her ‘femme à sa toilette’ is seen from the back and whose flesh removes its ambery whiteness against a background nearly as clear, seems to me one of the best. (R90I,p306). Trianon (1880/04/08) reviews ‘her ‘young girl at a mirror’ (R90I,p314).  I think these reviews resemble CR84 more than CR73.

5IE-1880-116        Le lac du bois de Boulogne
Moffett and Berson suggest CR79, now: 1879, CR79, jour d’été (summer’s day), 46×75, NG London (iR2;iR59;iR6;R42,p41;R90II,p151;R110,p28). Bataille and Wildenstein suggest this work for no.113, but that contradicts the discription of Silvester.

5IE-1880-117        paysage
Eng.: landscape. Note: the same title as no. 122. Moffett doesn’t render a suggestion, Berson omits this work. Morisot made two landscapes in 1880. CR85 exhibited as no.118 and CR92, now: 1880, CR92, Bridge on the Seine, 38×46, private (iR6;R100,p29). I could only find a black and white picture, which I render. From 1876-1879 Morisot did not made real landscapes; she did paint figures in landscapes.

5IE-1880-118        L’avenue du Bois, effet de neige
Moffett and Berson suggest CR85, now 1880, CR85, (effet de) neige (avenue de bois) (avenue Foch), 33×41, xx (iR10;iR64;iR6;R100,p29). Charles Flor (1880/04/16) reviews ‘Mrs. Morisot should have left at her studio this little landscape of Paris in the snow, which is just a good study and not a painting to exhibit.’ (R90I,p281).

5IE-1880-119        Au jardin
Moffett and Berson suggest CR80 in the Nationalmuseum in Stockholm, now: 1879, CR80, Woman Picking Flowers (In the Bois de Boulogne), 61×75, Nm Stockholm, (iR8;iR2;iR59;R90II,p152). Bataille & Wildenstein don’t subsribe this suggestion (R100,p29). Note the models for CR80 are probably the same as CR79, see no.116. Silvestre (1880/04/24) reviews: ‘this garden scene that shows us a seated chatelaine (castle woman?) and showing a bouquet of flowers to her friend standing there.'(R90I,p306). Note: in the picture this ‘friend’ is bowed over picking flowers, not standing, and it seems that this ‘friend’ is showing / giving the seated woman the flowers.

5IE-1880-120        Portrait
Moffett and Berson suggest CR81, now: 1879, CR81, Young Woman Dressed for the Ball, 71×54, Orsay (iR2;iR59;R90II,p152;R100,p29). Note: Bataille & Wildenstein render other messures ’86x53cm’ and write that it was bought by Giuseppe de Nittis and later by Theodore Duret and exhibited at Georges Petit 1887-no.95 (R100,p29). Paul Mantz (1880/04/14) reviews: ‘She paints the portrait of a woman with a decollete sitting in a garden: the flesh is blonde, vague flowers put in the gray greens of the background light notes of a pink lilac; everything floats, nothing is formulated, the tone itself hesitates indecisively, and there’s a fragonardian finesse, with the feeling of a chemical world where the colours have not yet taken on their accent, where the indistinct tones do not know that they will later have individuality and a civil state.'(R90I,p299).

5IE-1880-121        Tête de jeune fille
Moffett doesn’t give a suggestion, Berson omits this work. I don’t know a picture of a head of a young girl made before 1880. There is a work outside the CR: 1870-80, Portrait of a Young Girl, xx, private (iR2;iR10;iR7;R100,p60), which compares 1895, CR608, Tête d’enfant, pastel  33×27, xx, the date is quite uncertain, still I will render it as an option. To compare I also render a pastel: p1877, CR435, Portrait of Blanche Pontillon, pastel, 46×39, A20191112 (iR13;iR15;R100,p52). Other very uncertain options are: 1871, CR22, Young Woman, 55×45, MFA Houston (iR2;iR8;iR6;R100,p24); 1880, CR90, Young Woman in purple (Jeune femme en mauve), 73×60 or73x39, A20020508 (iR2;iR13;iR15;iR6;R100,p29). 

5IE-1880-122        paysage
Eng.: landscape. Note: the same title as no. 117. Moffett doesn’t render a suggestion, Berson omits this work. See also no. 117. A work that is not in the CR of Bataille & Wildenstein is: 1880, CR92cp, 1879, Boats on the Seine (Villeneu
ve-la-Garenne), 26×50, WRM Cologne (iR2;iR6). I think it’s a good option for no.122, also because of the similarities with no.117.

5IE-1880-123        Aquarelle
5IE-1880-124        Aquarelle
5IE-1880-125        Aquarelle
5IE-1880-126        Aquarelle
4 watercolours without title. Moffett doesn’t give a suggestion, Berson omits these works, except no.126, but calls it not identified. Morisot made 5 watercolors in 1879 (CR640-644) and none in 1878. I render 3 of them and a winterlandscape made in 1880: 1879, CR642, Luncheon in the countryside (Meudon), wc, 14×22, A2015/03/25 (iR2;iR11;iR13;R100,p63); 1879, CR640, By the Water, wc, 21×28, private (iR2;iR6;R100,p63); 1879, CR644, Julie in her cradle, wc, 18×18, xx (iR10;iR135;iR6;R100,p63); 1880, CR645, Snowy Landscape (Frost), wc, 24×32, private, (iR2;iR6;R100,p63).

5IE-1880-127        Éventail
A fan without title. Moffett suggests CR703, with a perhaps, Berson follows, now: 1884, CR697, Le patinage (skating), fan wc, 23×47, A20020705 (iR13;iR6;R100,p66;R90II,p152). Bataille & Wildenstein reserve this work for 8IE-1886-94. Looking at the date 1884 the suggestion of Moffett and Berson doesn’t seem correct, still I will render it to compare. I like to suggest: 1880, CR646, Young Woman in a Rowboat, fan, wc, d47, private (iR2;iR6;iR10;R100,p63). The only known fan with such an early date.

 

 

The 6th ‘impressionist’ exposition 1881:

  • catalogue numbers 56-62.
  • probably Morisot also exhibited a pastel outside the catalogue
  • probably no. 59 was a pastel in stead of an oil painting; maybe this is also the case with no.62.
  • So in total Morisot exhibited 8 works, including 4 or 5 pastels.
    Note: 2 works are untitled, 3 works have a very common title.

    • ox indication of place
    • 0x indication of time, season or weather
    • 2x a study
    • 0x loans (appartient à…)
  • See for the suggestions of Moffett (R2,p354/5) and of Berson (R90II,p182/3+192/3). They refer to the Catalogue Raisonné (=CR) of Bataille and Wildenstein ‘Catalogue des peintures, dessins, aquarelles’ of 1960 (=R100).
1881 catalogue: (R2,p354/5; iR1)

6IE-1881-56          Etude de plein air
Moffett and Berson suggest CR104, now: 1880-81ca, CR104, woman with umbrella (on a garden bench), 92×73, A1995/11/08 (iR59;iR13;iR6;R2,p354;R90II,p182). C.E. reviews in ‘La Chronique des arts et de la curiosité’ (1881/04/23): ‘young woman with umbrella’ (R90I,p337), so does Elie de Mont. (1881/04/21) in La Civilisation (R90I,p361) . André Michel (1881/04/05) reviews ‘her Jeune Femme rose and her Etude are for the delicacy of tones, the shimmer of blond hues, softened greens, pale lilacs, delicious sketches. (…) his poor sickly creatures without consistency, almost without form, who seem to be born to suffer.'(R90I,p359) Silvestre (1881/04/16) reviews ‘L’Étude en plein air of Misses Berthe Morisot shows us a young woman whose head is as if aureolee by a light violet umbrella.'(R90I,p366) Henry Trianon (1881/04/24) reviews ”Etude de plein air’, representing a young woman sitting up front, in a dead-leaf silk dress, and sheltered under an umbrella; (R90I,p367) Nina de Villars (1881/04/23) reviews ‘a lovely figure of a woman surrounded with sunshine’ (R90I,p371). Ernest Hoschedé (1881/04) reviews in L’Art de la mode ‘this young woman, under her lilac umbrella, drowned in the landscape; (r90I,p348). 

6IE-1881-57          Nourrice et Bébé
Moffett suggests CR94 or CR95, now: 1880, CR94, The Wet Nurse Angele Feeding Julie Manet, 50×61, private NY (iR2;iR59;iR6;R2,p366) and: 1880, CR95, Julie with Her Nurse, 29×24, NCG Copenhagen (iR2;iR6;R2,p355). Berson suggests CR102, now: 1881, CR102, La Nourice (The nursemaid; Bougival), 50×74, xx (iR6;R100,p30). She does so based on the Hoschedé review. Ernest Hoschedé (1881/04) reviews in L’Art de la mode ‘the nanny, wrapped in her blue ribbons, watching over the baby that plays quietly besides her.’ (R90I,p48). I agree with Berson. Henry Trianon (1881/04/24) reviews ‘Nourrice et Bebé is a glimpse of scrap.'(R90I,p367)

6IE-1881-58          Jeune femme en rose
Moffett and Berson mention this previously was thought to be CR31 (by Bataille & Wildenstein), now: 1873, CR31, 1870ca, the pink dress (Albertie-Marguerite Himmes-Carré), 55×67, Metropolitan (iR2;iR6;iR8;R100,p25;R90II,p182). Berson indicates that according to a review of de Villars, this can’t be just. She leaves it unidentified. Nina de Villars (1881/04/23) reviews ‘blonde, vaporous (or: foggy), eyes as blue as turquoise that adorn her cute ears; (R90I,p371) Paul de Charry (1881/04/22) reviews ‘not far from a charming young lady in pink full of naturalness and vapor, of a drawing done correctly with a firm hand, by Miss Berthe Morisot, a smearing that can pass for anything we want. With a little good will, we can think of it as an apple tree or an orange tree, some even see children. If you want us to imagine that these are Tunisians in tidy battle, or the Ould-sidi-sheik tribe assassinating the Flatters mission, I don’t see anything wrong with it.’ (R90I,p333). André Michel (1881/04/05) reviews ‘her Jeune Femme rose and her Etude are for the delicacy of tones, the shimmer of blond hues, softened greens, pale lilacs, delicious sketches. (…) his poor sickly creatures without consistency, almost without form, who seem to be born to suffer.'(R90I,p359) Henry Trianon (1881/04/24) reviews ‘Her ‘Jeune femme en rose’ sitting, naked head, is a better followed attraction (than no. 59).’ (R90I,p367) Ernest Hoschedé (1881/04) reviews in L’Art de la mode ‘aureolee de rose’ (R90I,p348). As an uncertain suggestion I render: 1879, CR81cp, 1880, Portrait of a lady, 61×50, GAM Milan (iR8). To compare I also render: 1880, CR90, Jeune femme en mauve, 73×60 or73x39, A2002/05/08 (iR2;iR13;iR15;iR6;R100,p29). 

6IE-1881-59          Portrait d’enfant
Moffett and Berson suggest CR453, auctioned at Sotheby’s (1974/04/02), now: 1880ca, CR453, Enfant de profil (Julie Manet), pastel, 40×30, xx (iR6;R90II,p182;R100,p). Note: this suggested work is a pastel, this is not indicated in the catalogue. C.E. reviews in ‘La Chronique des arts et de la curiosité’ (1881/04/23): ‘La tête d’enfant, ‘ (R90I,p337). Elie de Mont. (1881/04/21) reviews in La Civilisation ‘Her pastel sketch of a little child’s head, is indicated, modeled even, in a few strokes, with a rare power. It looks as if it were from a master.’ (R90I,p361) Henry Trianon (1881/04/24) reviews ‘a profile of a child that could have been charming. The contour is precise; the main reliefs of the skull are well marked; the tone and appearance of the hair is right; but the rest of it, the eye, the nose, the mouth, is so devilishly indicated that they almost give the idea of a cancerous affliction. We turn away reluctantly.'(R90I,p367) Ernest Hoschedé (1881/04) reviews in L’Art de la mode ‘It is only indicated, that baby with the pink ears and nose’ (R90I,p348)

6IE-1881-60          Esquisse au pastel
6IE-1881-61          Esquisse au pastel
Eng.: pastel study. Moffett doesn’t give a suggestion, nor does Berson. C.E. reviews in ‘La Chronique des arts et de la curiosité’ (1881/04/23): ‘her decolleted-woman bust, is a pastel preparation of a drawing felt almost worthy of Perronneau, where the pencil crushes into a dusting like the wings of a butterfly. Two other pastel studies marks the extreme limit where the tendency of the painter will have to stop to be satisfied with too fleeting indications; one step further and one can no longer discern anything, no longer understand anything.'(R90I,p337). Does this ‘decolleted-woman bust’ refer to no. 58 or to a work exhibited outside the catalogue (=hc)? Note: this review points out that Morisot is on the way of abstact painting. I render two uncertain suggestions: 1881, CR456, Nanny and child in the field (recto), pastel, 35×50, xx (iR6;iR14;R100,p53); and: 1881, CR454, Au bord de la Seine à Épinay, pastel, 29×44, xx (iR6;R100,p53), sadly the last one only in black and white. 

6IE-1881-62          Paysage
Moffett doesn’t give a suggestion, nor does Berson. The same title as 5IE-1880-117 + 122. Morisot did not paint new landscapes after the last exposition of 1880, anyway not indicated in the CR. She did several pastel landscapes, see also no.60+61. And probably no.59 was a pastel, though not indicated in the catalogue, so maybe no.62 also was a pastel. As a very uncertain suggestion I render: 1881, CR454, Au bord de la Seine à Épinay, pastel, 29×44, xx (iR6;R100,p53), sadly I only have a black and white picture.   

6IE-1881-62+hc    xx (pastel)
Maybe Berthe Morisot also exhibited a pastel that was not in the catalogue. The next review suggests so: C.E. reviews in ‘La Chronique des arts et de la curiosité’ (1881/04/23): ‘her decolleted-woman bust, is a pastel preparation of a drawing felt almost worthy of Perronneau, where the pencil crushes into a dusting like the wings of a butterfly. Two other pastel studies… ‘(R90I,p337). So this pastel is clearly distinguished from the two pastels exhibited under no.61+62. As an uncertain suggestion I render: 1879, CR446, Jeune femme accoudé, pastel, 51×35, xx (iR6;R100,p52), sadly I have only a black and white picture. This model probably is the same as in CR77.

 

The 7th ‘impressionist’ exposition 1882:

  • catalogue numbers 92-100.
  • 3 or 4 works were exhibited outside the catalogue (=hors catalogue = hc)
  • So in total Morisot exhibited 12 or 13 works, including 3 pastels.
    • 5x indication of place
    • 0x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…)
  • See for the suggestions of Moffett (R2,p394/5) and of Berson (R90II,p207/8+224/5). They refer to the Catalogue Raisonné (=CR) of Bataille and Wildenstein ‘Catalogue des peintures, dessins, aquarelles’ of 1960 (=R100).
1882 catalogue: (R2,p394/5; iR1)

7IE-1882-92          À la campagne
Moffett and Berson suggest CR110, now: 1881, CR110, After the Luncheon, 81×100, A2013/02/06 (iR15;iR2;iR13;iR59) . Jean de Nivelle (1882/03/04) reviews ‘In her painting A la campagne, having painted an acceptable woman, she frames it in who knows what kind of greenery where a few spots claim to be flowers.'(R90I,p407) Henri Rivière (1882/04/08) reviews ‘which is a largely smoothly implemented piece in a luminous grey scale.’ (R90I,p409)  Sallanches (1882/03/03) reviews ‘Young girl who is terribly bored in front of the beauties of nature!’ (R90I,p412)  Silvestre (1882/03/11) reviews ‘the most important of her entries’ (R90I,p414)

7IE-1882-93          Blanchisseuse
Moffett and Berson suggest CR105 in the Ny Carlsberg Glyptotek, now: 1881, CR105, Woman Hanging out the Wash, 46×67, NCG Copenhagen (iR2;iR6;iR59;R90II,p207) . Silvestre (1882/03/11) reviews ‘whose patch is really ingenious and pretty.’ (R90I,p414)

7IE-1882-94          Baby
Moffett suggests CR107, with a perhaps, Berson follows, now: 1881, CR107, Child in the Rose Garden, 50×42, WRM Cologne (iR2;iR59;R2,p395;R90II,p207). Silvestre (1882/03/11) reviews ‘painted in a range of incomparable freshness and delicacy.’  (R90I,p414) See also 7IE-1882-100+hc1.

7IE-1882-95          Vue de Saint-Denis
Moffett doesn’t give a suggestion, nor does Berson. As an uncertain suggestion I render: 1879-80, CR92cp, Boats on the Seine (Villeneuve-la-Garenne), 26×50, WRM Cologne (iR2;iR6). Maybe also exhibited as 5IE-1880-122,        paysage. Note: Saint-Denis lies opposite of Villeneuve-la-Garenne. Another option is: 1880, CR92, Bridge on the Seine, 38×46, private (iR6;R100,p29), also suggested for 5IE-1880-117. Hustin (1882/03/10) reviews ‘the bridge of Saint-Denis is an interesting sketch.’ (R90I,p396)

7IE-1882-96          Port de Nice
Moffett suggests CR113, with a perhaps, Berson follows, now: 1882, CR116, The Port of Nice, 41×55, private, (iR2;iR59;R2,p395;R90II,p207). 

7IE-1882-97          Port de Nice
Moffett suggests CR116, referring to Clairet, Berson follows also referring to Bataille&Wildenstein, now: 1882, CR116 (newCR117), Plage de Nice, 46×55, A2013/11/06 (iR11;iR14;iR6;iR59;iR13;R90II,p207). Note 1: this painting doesn’t depict the harbour but the beach of Nice. Note 2: CR111, 112 and 114 also depict the harbour of Nice.

1882-98          Vue d’Andrésy, pastel
Moffett doesn’t give a suggestion, nor does Berson. As a very uncertain suggestion I render: 1881, CR455, Paysanne et enfant au bord de la Seine, pastel, 40×29, xx (iR6;R100,p53). Hustin (1882/03/03) reviews ‘the Vue d’Andrésy is very accurate.’ (R90I,p395) Henri Rivière (1882/04/08) reviews ‘very briefly treated and giving a good impression of the outdoors.’ (R90I,p409) The ‘very accurate’ and the ‘very briefly treated’ seem a contradiction. 

7IE-1882-99          Paysage au pastel
7IE-1882-100        Paysage au pastel
Moffett doesn’t give a suggestion,  Berson omits these works. I render two beautiful pastels who are more garden views then landscapes, it anyway gives an impression of pastels Morisot made in 1882: 1882, CR464, Dans les vignes, pastel, 40×50, A20080625 (iR13;iR11;iR6;R100,p53); and: 1882, CR460, Mother and Child Picking Nasturtiums, pastel, 58×46, A20160510 (iR2;iR11;iR13;iR6).

7IE-1882-100+hc1 Bibi et son tonneau
Eng: Child and her barrel (or small carriage). Moffett doesn’t give a suggestion. Berson notes that this title from a lettre of Eugène Manet (1882/03/01) probably refers to no.94 and indeed CR107 depicts a child playing with a small carriage. Even no. 97 (=CR116) is a possibility depicting a child playing with a sort of barrel. Two possibilities who plead for the argument there was not a work exhibited outside the catalogue depicting a ‘bibi et son tonneau’.  Still there also is a work that could represent this extra work, namely: 1882, CR120, Mud Pie, 92×73, private (iR2;iR6;R2,p395). I am curious how Eugène Manet titles Bibi et son tonneau apart or instead of no.94 or no.97. Anyway I will render CR120 as option. 

7IE-1882-100+hc2 Jeune femme cousant dans un jardin
Moffett suggests CR108, now: 1881-82, CR108, Pasie Sewing in the Garden, 81×93, MBA Pau(iR2;iR23;R2,p395) . Berson suggests CR124, now: 1882, CR124, On the Balcony, Bougival (Julie and Pasie), 38×46, private (iR2;iR6;R93,p12). Berson refers to the lettre of Eugène Manet (1882/03/01) writing: ‘Julie and Pasie in the Robin garden’ (R90II,p208). I assume she is right.

7IE-1882-100+hc3 Villa Arnulfi
Moffett suggests CR117, with a perhaps, Berson numbers it HC39, now: 1882, CR117, Woman in the garden (Villa Arnulphi in Nice), 55×46, Fondation Bemberg (iR6;R90II,p208) . Bataille and Wildenstein suggest CR118 was exhibited, but Berson pleads for CR117 and suggests that CR118 was exhibited as 8IE-1886-88. Still CR118 more depicts the Villa, where as in CR117 the Villa is more in the background and the garden in the foreground.

7IE-1882-100+hc4 Eugène et Bibi
Moffett suggests CR103, in a private collection in Paris, Berson suggests this as HC37, now: 1881, CR103, Eugene Manet and His Daughter at Bougival, 73×92, private (iR2;iR6;R42,p38;R90II,p207).

 

 

The eight ‘impressionist’ exposition 1886:

  • catalogue numbers 82-94bis.
  • no. 92 depicted a serie of drawings, I assume it were at least 3 drawings
  • no. 93 depicted a serie of watercolours, I assume it were at least 3
  • no. 94 depicted fans, I assume it were at least 3
  • so in total Morisot exhibited at least 20 works
    • 2x indication of place
    • 0x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…),
  • See for the suggestions of Moffett (R2,p445) and of Berson (R90II,p245/6+264-266). They refer to the Catalogue Raisonné (=CR) of Bataille and Wildenstein ‘Catalogue des peintures, dessins, aquarelles’ of 1960 (=R100). Moffett also refers to Clairet, but I can’t find this name in his bibliography. 
1886 catalogue: (R2,p445; iR1)

8IE-1886-82       Jeune fille sur l’herbe
Moffett and Berson suggest CR173 in the Ordrupgaardsamlingen in Charlottenlund, now: 1885, CR173, Young girl on the grass (Mlle Isabelle Lambert), 73×60, OC Copenhagen(iR59;iR2;R90II,p245). Georges Auriol (1886/05/22) cals this work ‘Jeune fille aux fleurs‘ (R90I,p434). 

8IE-1886-83                Jardin à Bougival
Moffett suggests CR148 in a private collection referring to Clairet, Berson follows, now: 1884, CR148, The Garden at Bougival, 72×92, Marmottan (or private) (iR2;iR59;R90II,p245;R42,p52). Jean Ajalbert (1886/06/20) reviews ‘With a few stains, she composes a cheerful landscape where flowers abound among the greenery and the inextricable clutter of branches.’ (R90I,p431), probably referring to no.83. 

8IE-1886-84                Enfants
Moffett doesn’t give a suggestion, nor does Berson. Georges Auriol (1886/05/22) mentions a work ‘Femme dans les champs avec des enfants‘ maybe referring to no.84 (R90I,p434), reviewing ‘There is an extraordinary life in all of this. These children, these fields, this woman seems to belong to a special world, and you get nostalgic for this little place.’ (R90I,p434) Maurice Hermel (1886/05/28 reviews ‘Vicious is a very bad word for these diphane creatures; it is certain that these little women on the grass, with their eyes lowered or their bright, sharp eyes are deliciously disturbing.’ (R90I,p457) Note: Berson thinks this review refers to no.82; I don’t agree.  

8IE-1886-85                Petite servante
Moffett and Berson suggest CR194, now: 1886, CR194, In the Dining Room, 61×50, NGA Washington (iR2;iR59;R2,p460;R90II,p245). Henry Fèvre (in La Revue de demain) reviews ‘Daylight effects, however, are quite distinctive, such as on the apron of a little servant girl; but there’s too much hesitation, of thinning in the shades; it comes out of a little hand of good will, but not yet with an energetic paw.’ (R90I,p446)

8IE-1886-86                Portraits d’enfants
Moffett doesn’t give a suggestion, Berson omtis this work.

8IE-1886-87                Le lever
Moffett and Berson suggest CR191, now: 1886, CR191, Getting up, 65×54, private (iR2;iR59;R2,p428;R90II,p245). Compare 2IE-1876-167 with the same title. Jean Ajalbert (1886/06/20) reviews ‘The girl who gets up, weary of sleep, at the edge of the bed on which rest her delicate arms…’ (R90I,p431); compare his comment on no.94bis.  Paul Adam (1886/04) reviews ‘There are little girls with slender curves, skinny white and pink, whose bones will apparently pierce the thin flesh, the skin that already turns pink with blood, at the corner of the elbow.'(R90I,p429), but it is not clear which work he refers to, maybe no.87.

8IE-1886-88                Paysage à Nice
Moffett suggests CR118 in a private collection in Paris. Berson follows, now: 1882, CR118, Villa with Orange Trees, Nice, 55×43, private (iR2;R2,p395;R90II,p246). Maurice Hermel (1886/05/28) reviews ‘the tones take on the transparency of watercolour. ‘ (R90I,p456) 

8IE-1886-89                Roses trémières
Moffett suggests CR157, referring to Clairet, Berson follows, now: 1884, CR157, Rose Tremière, 65×54, Marmottan (iR2;iR6;R90II,p246). Maurice Hermel (1886/05/28) reviews ‘the tones take on the transparency of watercolour. ‘ (R90I,p456) 

8IE-1886-90                Portrait de Mlle L.
Moffett suggests CR482, referring to Clairet and to CR483. Berson also suggests CR482, now: 1885, CR482, Portrait of Mlle Labillois, pastel, 49×42, A2003/06/26 (iR2;iR11;iR59;R100,p54). CR483 is now: 1885, CR483, Portrait de Mlle Labillois, pastel, 49×42, A2019/11/12 (iR13;iR6;R100,p54). Note: these are pastels. Berson also suggests an oil painting: 1885, CR174, Portrait of Mlle Isabelle Lambert in the garden, 100×82, private (iR6;R100,p34;R90II,p246). Another option is: 1885, CR175, Isabelle (Lambert), 65×33, xx (iR6;R100,p34). 

8IE-1886-91                Portrait de Mlle P.G.
Moffett suggests CR159 (now: 1884, CR159, Portrait of Paule Gobillard, private (iR2;iR6;R2,p445) or CR501 (now: 1886, CR501, Jeune fille jouant a la balle (Paule Gobilard), pastel, 49×36, xx (iR6;R100,p55), also suggested by Bataille & Wildenstein). Berson suggests CR500 referring to the review of Auriol (1886/05/22) who mentions a work  ‘Jeune fille écrivant‘ (R90I,p434), now: 1886, CR500, Paule Gobillard dessinant, 73×61, A2009/11/04 (iR11;iR6;R90II,p246). Note the difference between dessinant (drawing) and écrivant (writing). Morisot also made a third pastel of Paule Gobilard: 1886, CR499, Profil de Paule Gobillard, pastel, 61×47, xx (iR6;R100,p55)

8IE-1886-92                Série de dessins
Moffett doesn’t give a suggestion, nor does Berson. Fénéon (1886/06/13-20) reviews ‘these fleeting drawings and swift watercolours’ (R90I,p443). 

8IE-1886-93                Série d’aquarelles
Moffett doesn’t give a suggestion. Berson gives two suggestions:
a) Le lavoir sous bois
Now: 1882, CR668, Bateau-Lavoir (Le lavoir sous bois), wc, 18×22, xx (R100,p64;R90II,p246). Eng.: the wash-house (or boat) under the trees. There is no picture of this work. To compare I render: 1882, CR669, Le pont de Bougival, wc, 13×21, xx (iR6;R100,p64) + an oil painting: 1884, CR151, The Seine at Bougival, 38×46, private (iR2;iR6;R100,p33) + a work of Sisley: Sisley, 1875, CR159, Laundry Houses at Bougival, 46or56x61, Kh Zurich (iR2;R38). Georges Auriol (1886/05/22) reviews ‘
b) Deux Bébés aux Tuilleries
Now: 1885, CR726, Au Jardin des Tuileries, wc, 17×22, NCG Copenhagen (iR10;iR6;R100,p67).
Georges Auriol (1886/05/22) reviews ‘Just her her little watercolour collection is irresistibly captivating. They are notes of impressions so powerful in their simplicity, that they remind you of certain Japanese characteristics and that they are sufficient to fill the mind with a variety of evocations. I notice especially Deux Bébés aux Tuileries and Le Lavoir sous bois. This washhouse is a real poem. The fairies around here must hold their meetings in the moonlight. What peace and quiet under these foliage! ‘ (R90I,p434) His ‘I notice especially’ suggests that there were more than two watercolours exhibited.
3)
Jules Christophe (1886/06/13) reviews ‘Scratched like a pink fingernail, in spring colours that exquisitely evoke environments – thereby creating an astonishing houseboat, with almost nothing on paper.’ (R90I,p437) In this last remark Christophe refers to ‘Le Lavoir sous bois’. Gustave Geffroy (1886/05/26 reviews ‘the watercolours with gouache and tricks would appear in all their vulgarity if we put them next to these delicate play of brushstrokes. (Than he refers to the oil paintings of no.84, 89 and 85. (R90I,p450)  

8IE-1886-94                Éventails
Moffett suggests CR697, 702 or 703. Berson gives two suggestions and adds and third one:
a) Le Patinage
Now: 1884, CR697, Le patinage (skating), fan wc, 23×47, A2002/07/05 (iR13;iR6;R100,p66;R90II,p152) Bataille & Wildenstein support this suggestion. Moffett and Berson also had suggested this work also for 5IE-1880-127, a suggestion I don’t support.
b) Oies au bord du lac
Now: 1884, CR702, oies au bord du lac (geese at the borders of a lake), fan, wc, d47, xx (iR6;R100,p66). Also suggested by Bataille & Wildenstein.
3)
Berson also suggests CR719 as a pendant, now: 1885, CR719, Oies et canards au lac du Bois du Boulogne, fan, wc, d49, xx (iR6;R100,p67).
4)
Paul Adam (1886/04) reviews ‘On a fan, some marine, instituted with small strokes of paintbrushes, note the mists, the water, the ships; it’s a bright page of watercolours.’ (R90I,p429) The ships could refer to CR703 , a work Bataille & wildenstein also suggest for no.94, now: 1884, CR703, L’Ombrelle bleue (woman in a boat with blue umbrella), fan, wc, d47, xx (iR6;R100,p66). A review in ‘The Bat’ writes (1886/05/25): ‘A few lines indicating a boat, a stream, a few willows, a balcony, an alley, or a corner of a suburban garden.’ (R90I,p436) Note: he summons 6 items, maybe referring to 6 different fans. The corner of a suburban garden maybe refers to: 18xx, dans le Jardin, fan, xx, Orsay (iR10). Victor Fournel (1886/06/10) reviews ‘I especially recommend a painted fan with transverse and longitudinal stains, which obviously have some meaning in the author’s idea, even though it’s absolutely impossible, I’m not saying to see it, but to guess a being or an object in it, and the fantastic visions of a gentleman pursued by nightmares that he’s mistakenly trying to tell and so should we, in addition to an incredible Salome, an irresistible comic’s Tentaion.’ But note that he is speaking of a male artist and at the end refers to no. 132 en 129 of Redon.

8IE-1886-94bis          Au bain
Moffett and Berson suggests CR190, now: 1885-86, CR190, The Bath, 91×72, CAI Willamstown (iR2;iR59;iR6;R2,p445;R90II,p246). Jean Ajalbert (1886/06/20) reviews ‘Then (after rising, see no.87), in the bath, she pricks a pin in her hair, the face still blurred, with the same long arms, the same slender neck.’ (R90I,p431) Note: Bataille & Wildenstein indicate that Morisot used for CR190 + 191 Isabelle Lambert as model (R100,p35). Georges Auriol (1886/05/22) reviews ‘The Woman Who Combes Her Hair (Femme qui se peigne) is truly magnificent. Perfect colouring and wonderful drawing. It’s not ‘charming’, but there’s an unspeakable charm that emanates from it, capable of overwhelming the unfeeling ones themselves.’ (R90I,p434) Marcel Fouquier (1886/05/16) reviews ‘I don’t see much to report other than the painting titled: Au bain, although the bather’s figure doesn’t come out very well, that the colour is slippery, blurred and negligible in places; but the whole thing has a certain spell…’ (R90I,p448).

 

 

Morisot at the Salon:

There also was a Mlle Henriette Morisot exhibiting at the Salon of 1886/ 87/ 88/ 89/ 90/ 92/ 93/ 95/ 97/ 98/ 99/ 1900/ 02/ 04/ 05. Mostly portraits. (iR1)

 

S1864-1394 Souvenir des bord de l’Oise
Now: 1863, CR5, Remembrance of the Oise Edges, 33×46, private (iR2;R100,p23). Note: the CR mentions this work is disappeared.

S1864-1395 Vieux chemin à Auvers
Eng.: Old lane at Auvers. Now: 1863, CR6, Old path at Auvers, 45×31, A20131107 (iR11;iR13;iR6;R100,p23). This painting is reminiscent of Corot but differs from him in the freedom of style (R42,p13).

S1865-1551 Etude
Now: 1864, CR8, Study, The Water’s Edge, 60×73, A2007/11/07 (iRx;iR15;iR11;iR13;iR6;R100,p23). Maybe the number in the new CR is 23.

S1865-1552 Nature morte
Now: 1864, CR7, Chaudron, 55×46, xx (R100,p23). Eng.: Chauldron; Nl.: kookketel. I could not find a picture, so I render a picture made by Bonvin of a Chaudron.

S1866-1411 La Bermondière (Orne)
La Bermondière is a former castle, which is destroyed in 1944 (see) near Couterne (see maps) in Saint-Ouen-le-Brisoult, which lies about 250km south-west of Paris, see images. The CR gives it number 9, calls it ‘Brémondière’, the it was made in 1865 and disappeared (R100,p23). I could not find a picture that comes close, see I render an old photo of the La Bermondière.

S1866-1412 Chaumière de Normandie
Now: 1865, CR10, Thatched Cottage in Normandy, 46×55, private (iR2;iR6;R100,p23;R42,p6). Rey writes: ‘Clearly there are echoes of Corot… The grass appears soft and fluffy, scattered with little flecks that catch the diffused light…’ (R42,p15).

S1867- 1100 Vue prise en aval du pont d’Iéna
Now: 1866, CR11, The Seine below the Pont d’Iéna, 51×73, private (iR2;iR6;R100,p23).

S1868-1819 Ros-Bras (Finistère)
Now: 1866, CR12, Rivière de Pont-Aven à Rosbras (Finistère), 55×73, A2006/05/04 (iR2;iR13;iR6;R100,p23). The CR indicates that it was also exhibited at the Salon in 1867, but the Salon database doesn’t confirm this.

S1870-2039 Portrait de Mmes ***
Now: 1869-70, CR20, Mother and Sister of the Artist, (the reading) 101×82, NGA Washington (iR2;iR8;R3,p88;R100,p24). Note: Edma did marry Adolphe Pontillon in 1869 (R42,p92;R93).

S1870-2040 Jeune femme à sa fenêtre
Now: 1869, CR18, Edma Pontillon at a Window, 54×45, NGA Washington (iR2;iR6;R42,p7;R100,p24) .

S1872-1142 Portrait de Mlle E. P… ; pastel
Probably now: 1871, CR419, Portrait of Madame Edma Pontillon, pastel, 81×64, Orsay (iR10;iR92;iR2;R42,p17;R3,p88;R90I,p11) Also exhibited as 1IE-1874-hc

S1873-1090 Blanche ; pastel
Probably now: 1872, CR422, Blanche Pontillon as a Baby, pastel, 33×25?, xx (iR157;iR10;iR169;iR6).