Impressionism, a historical reconstruction:

Berthe Morisot

(1841-1895)

Reviews

on the impressionist expositions

Introduction:
On this page you will find summaries of the reviews on Berthe Morisot. Namely on the ‘impressionist’ expositions he joined in 1874, 1876, 1877, 1880, 1881, 1882 and 1886. See the account for a more detailed representation of these reviews.
Note: You will namely find the reviews of 1874 +1876. The other reviews will be added later.

Berthe Morisot: 1IE-1874-104, Le berceau = 1872, 1CR25=2CR25, The Cradle, 56x46, Orsay (iR2;R2,p131+121;R90II,p10+25;R3,p89;R186,no25M1) Expos: DR1906-364; DR1902-40; Louvre-1902-110. — Berthe Morisot: 1IE-1874-104, Le berceau = 1872, 1CR25=2CR25, The Cradle, 56×46, Orsay (iR2;R2,p131+121;R90II,p10+25;R3,p89;R186,no25M1) Expos: DR1906-364; DR1902-40; Louvre-1902-110.

Berthe Morisot: 1IE-1874-106, Cache-cache = 1873, 1CR27=2CR27, Hide and Seek, 45x55, A2005/11/02 (iR2;iR11;R90I,p37;R2,p133;R90II,p10;R3,p108;R186,no27) Provenance: Manet; Duret; Vollard. Expos: DR1896-101. — Berthe Morisot: 1IE-1874-106, Cache-cache = 1873, 1CR27=2CR27, Hide and Seek, 45×55, A2005/11/02 (iR2;iR11;R90I,p37;R2,p133;R90II,p10;R3,p108;R186,no27) Provenance: Manet; Duret; Vollard. Expos: DR1896-101.

1874:
Here you will find a summary of the reviews on the 1st ‘impressionist’ exposition related to Berthe Morisot.
See the link for the art-works she showed in 1874.
Morisot was was very often mentioned in the reviews and (just) 3x mentioned as one of the leading partakers. Many of her works are (shortly) described. Carjat reviewed ‘Le Berceau, a little marvel of feeling…; le Cache-cache, a deliciously composed jewel…’ (R90I,p14). In the same line Chesnau reviewed ‘One can’t find works more graceful, more deliberate or more delicately touched than Berceau and Cache-Cache. … the execution is perfectly in tune with the idea being expressed.’ (R2,p133;R90I,p18) Leroy was more critical ‘When she has a hand to paint, she makes exactly as many brushstrokes lengthwise as there are fingers’ (R90I,p25).

Berthe Morisot, 2IE-1876-168, La toilette =1876, CR61, Young woman with a mirror, 54x45, private — Berthe Morisot, 2IE-1876-168, La toilette =1876, CR61, Young woman with a mirror, 54×45, private (iR10;iR64;iR59;R90II,p42;R100,p27)

Berthe Morisot, 2IE-1876-178, Figure de femme. =1875, CR59, Woman in Black (Before the Theater), 57x31, A2017/02/28 — Berthe Morisot, 2IE-1876-178, Figure de femme. =1875, CR59, Woman in Black (Before the Theater), 57×31, A2017/02/28 (iR2;iR15;iR59;iR11;R2,p163;R90II,p42)

Berthe Morisot: 1875, 1=2CR52, West Cowes, Isle of Wight , 48x36, A1997/11/28 (iR10;iR64;iR13;iR2;R2,p163;R100,p27+no52;R90II,p42) Expos: =? 2IE-1876-171, West Cowes, Île de Wight; =DR1896-144; =DR1902-22. Also suggested for 2IE-1876-170 or 176 (R2,p163), but less suitable. — Berthe Morisot: 1875, 1=2CR52, West Cowes, Isle of Wight , 48×36, A1997/11/28 (iR10;iR64;iR13;iR2;R2,p163;R100,p27+no52;R90II,p42) Expos: =? 2IE-1876-171, West Cowes, Île de Wight; =DR1896-144; =DR1902-22. Also suggested for 2IE-1876-170 or 176 (R2,p163), but less suitable.

1876:
Here you will find a summary of the reviews on the 2nd ‘impressionist’ exposition related to Berthe Morisot.
See the link for the art-works she showed in 1876.
Berthe Morisot was mentioned in 34 reviews. Burty (Rv16+43) makes clear that her watercolours and pastels were shown in room 1 (as confirmed by Rv28) and her paintings in room 2, where her small canvasses occupied a panel (Rv21+50+54). The paintings no.167+168↑+169+178↑ were noted most often. G. d’Olby (Rv38) praises her Déjeuner sur l ‘herbe (no.169) ‘a feast of spring tones taken from this range melted into tenderness’. Some resemble her with Goya and Manet (Rv6+21+33+60). She is called ’the most daring and skilful of this group of rebels; She is without mercy. She sees everything; she shows everything’ (Rv60). Punch (Rv20) (sarcastically?) mentioned ‘The masterpieces of this gallery are the paintings of Berthe Morisot’. Baignières remarked ‘She pushes the system to its extreme’ (Rv41).
She is often criticised of not finishing her paintings of rendering nothing but studies (Rv10+28+32+35+38+41+47). Some mention the works must be seen from a far distance (Rv33+44). Some praise ‘her delicacy, in this violent surroundings.’ (Rv31), but Wolff remarked ‘Her feminine grace remains unchanged among the excesses of a delerious mind.’ (Rv24).
There were also more positive remarks, even within the more negative reviews: ‘her delicate colour and the joyful boldness with which her brush plays with light’ (Rv10); ‘interior scenes with the most exquisite delicacy’ (Rv16); ‘Gifted with a perception that is sometimes very clear and very sharp and an eye capable of analyzing the most delicate tones and appreciating their relationships’ (Rv36); ‘marked by a very subtle indication of delicately contrasting tones and values’ (Rv38); ‘Nevertheless this lady has a certain sentiment for colour.’ (Rv44); ‘she has an eye with an amazing sensitivity’ (Rv51); ‘delicate and lively portraits’ (Rv52).

1877:
Here you will find a summary of the reviews on the 3rd ‘impressionist’ exposition related to Berthe Morisot.
See the link for the art-works she showed in 1877.
Rivière (1877/11/01) reviewed ‘Mme Morisot is a pupil of M. Manet, that is to say that she sees nature by stains and not by the iridescence of the tones, in the way of M. Renoir.’ (R90I,p186).

1880:
Here you will find a summary of the reviews on the 5th ‘impressionist’ exposition related to Berthe Morisot.
See the link for the art-works she showed in 1880.
Dalligne (1880/04/16) reviewed ‘Mme Berthe Morisot most often gives only drafts, but what finesse of tone, what a whiteness of colour (R90I,p274). A. E. (1880/04/05) reviewed in ‘La justice’: ‘We were seduced and charmed to the utmost by Miss Morisot’s talent. We haven’t seen anything more delicate in painting. (R90I,p276).

1881:
Here you will find a summary of the reviews on the 6th ‘impressionist’ exposition related to Berthe Morisot.
See the link for the art-works she showed in 1881.
C.E. reviewed in ‘La Chronique des arts et de la curiosité’ (1881/04/23): ‘everything is brilliant and sweet harmony; … renders them with an extraordinarily delicate sense, by matte tones, which are a feast for the eyes. The shadow disappears or becomes so transparent that it is barely distinguishable; … For her the subjects are of secondary, almost insignificant importance; they’re just a pretext for light effects, for harmonious combinations, (…) the lines and contours are barely defined. (…) everything is of exquisite grace and charm, feminine and spring-like. (…) tonalities of a grey with azure and pink reflections where certain tones burst forth, as lively as small cries of birds.’ (R90I,p337). Geffroy (1881/04/19) reviewed ‘The artist has found a way to fix the shimmering, the glow produced by the colours, the thrill of the moment and the air that surrounds them. (Her works) have pearl-like tones of an incredible transparency. The pink, the pale green, the vaguely golden light, sing with an inexpressible harmony. No one represents Impressionism with more refined talent and authority than Mrs. Morisot. (R90I,p343) André Michel (1881/04/05) reviewed ‘It is again Mrs. Berthe Morisot who triumphs in the unfinished.’ (R90I,p359).

1882:
Here you will find a summary of the reviews on the 7th ‘impressionist’ exposition related to Berthe Morisot.
See the link for the art-works she showed in 1882.
Burty (1882/03/08) reviewed ‘She is, in the delicate sense of the word, the ultimate impressionist.’ (R90I,p382) Huysmans (1883) reviews in l’Art moderne ‘not one full and complete work.’ (R90I,p397) Silvestre (1882/03/11) reviewed ‘But her drawing really becomes … too imaginary. Her canvases are nothing more than delicious stews of colour.’ (R90I,p414).

1886:
Here you will find a summary of the reviews on the 8th ‘impressionist’ exposition related to Berthe Morisot.
See the link for the art-works she showed in 1886.
Georges Auriol (1886/05/22) reviewed ‘What she does is so delicate, so distinctive and so penetrating, that one feels immediately drawn towards her.’ (R90I,p434) Gustave Geffroy (1886/05/26 reviewed (the works of Morisot) ‘have paleness likes pearls, transparent stains, transparencies like water’ (R90I,p450).

Sources:
See the pages on the reviews per year (note only 1874 +1876 is available).
Most of these reviews are gathered by Ruth Berson (1996=R90I).
See at the bottom of the main page on Berthe Morisot.

Recommanded citation: “Impressionism: Berthe Morisot, an overview of the given reviews. Last modified 2026/03/31. https://www.impressionism.nl/morisot-reviews/”

Note: more info will be added.