Editing Berthe Morisot (section)

== Impressionism ==
[[File:Berthe Morisot 005.jpg|thumb|250px|left|''Grain field'', c. 1875, [[Musée d'Orsay]]]]

Morisot's first appearance in the [[Salon (Paris)|Salon de Paris]] came at the age of twenty-three in 1864, with the acceptance of two [[landscape art|landscape]] paintings. She continued to show regularly in the Salon, to generally favorable reviews, until 1873, the year before the [[First Impressionist Exhibition]]. She exhibited with the Impressionists from 1874 onwards, only missing the exhibition in 1879 when her daughter Julie was born.<ref>{{cite book|last1=Chadwick|first1=Whitney|title=Women, Art, and Society|date=2012|publisher=Thames & Hudson Inc.|location=London|isbn=978-0-500-20405-4|page=253|edition=Fifth }}</ref>

Impressionism's alleged attachment to brilliant color, sensual surface effects, and fleeting sensory perceptions led a number of critics to assert in retrospect that this style, once primarily the battlefield of insouciant, combative males, was inherently feminine and best suited to women's weaker temperaments, lesser intellectual capabilities, and greater sensibility.<ref>Lewis, M.T. "Book Reviews: Berthe Morisot." ''Art Journal'', vol. 50, no. 3, Fall91, p. 92. EBSCO''host'',</ref>

During Morisot's 1874 exhibition with the Impressionists, such as Monet and Manet, Le Figaro critic Albert Wolff noted that the Impressionists consisted of "five or six lunatics of which one is a woman...[whose] feminine grace is maintained amid the outpourings of a delirious mind."<ref name="Harmon, Melissa Burdick 2001, p. 98"/>

Morisot's mature career began in 1872. She found an audience for her work with [[Durand-Ruel]], the private dealer, who bought twenty-two paintings. In 1877, she was described by the critic for ''Le Temps'' as the "one real Impressionist in this group."<ref>{{cite book|last1=Chadwick|first1=Whitney|title=Women, Art, and Society|date=2012|publisher=Thames & Hudson Ltd.|location=London|isbn=978-0-500-20405-4|page=234|edition=5th}}</ref> She chose to exhibit under her full maiden name instead of using a pseudonym or her married name.<ref>{{cite book|last1=Higonnet|first1=Anne|title=Berthe Morisot|date=1990|publisher=Harper & Row, Publishers, Inc.|location=New York|isbn=0-06-016232-5|page=[https://archive.org/details/berthemorisot00higo/page/139 139]|url=https://archive.org/details/berthemorisot00higo/page/139}}</ref> As her skill and style improved, many began to rethink their opinion toward Morisot. In the 1880 exhibition, many reviews judged Morisot among the best, even including ''Le Figaro'' critic [[Albert Wolff (journalist)|Albert Wolff]].<ref>{{cite book|last1=Higonnet|first1=Anne|title=Berthe Morisot|date=1990|publisher=Harper & Row, Publishers, Inc.|location=New York|isbn=0-06-016232-5|page=[https://archive.org/details/berthemorisot00higo/page/158 158]|url=https://archive.org/details/berthemorisot00higo/page/158}}</ref>

[[File:Edouard Manet - Berthe Morisot With a Bouquet of Violets - Google Art Project.jpg|thumb|[[Édouard Manet]], ''[[Berthe Morisot with a Bouquet of Violets]]'' (in mourning for her father), 1872, [[Musée d'Orsay]]]]