Academic literature on the topic 'Berthe Morisot'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Berthe Morisot.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Berthe Morisot"
Lewis, Mary Tompkins, Anne Higonnet, and T. J. Edelstein. "Berthe Morisot." Art Journal 50, no. 3 (1991): 92. http://dx.doi.org/10.2307/777224.
Full textBower, U. B. Carr, Anne Higonnet, and Anne Higonnet. "Berthe Morisot." Antioch Review 51, no. 2 (1993): 307. http://dx.doi.org/10.2307/4612746.
Full textMathews, Nancy Mowll, Charles F. Stuckey, William P. Scott, Suzanne G. Lindsay, Kathleen Adler, Tamar Garb, Berthe Morisot, and Tamar Garb. "Documenting Berthe Morisot." Woman's Art Journal 10, no. 1 (1989): 46. http://dx.doi.org/10.2307/1358133.
Full textHolbrook, David. "Homage to Berthe Morisot." Critical Quarterly 47, no. 1-2 (July 2005): 140. http://dx.doi.org/10.1111/j.0011-1562.2005.00628.x.
Full textKapp, Elinor. "The Cradle, Berthe Morisot." Psychiatric Bulletin 19, no. 6 (June 1995): 358–59. http://dx.doi.org/10.1192/pb.19.6.358.
Full textJacobus, Mary. "Berthe Morisot: Inventing the Psyche." Women: A Cultural Review 6, no. 2 (September 1995): 191–99. http://dx.doi.org/10.1080/09574049508578235.
Full textBonnet, Marie-Jo. "Un autoportrait de Berthe Morisot." Clio, no. 19 (April 1, 2004): 165–68. http://dx.doi.org/10.4000/clio.1603.
Full textCarabaño Aguado, I. "La cuna: Berthe Morisot, 1872." Pediatría Atención Primaria 15, no. 60 (December 2013): 397–98. http://dx.doi.org/10.4321/s1139-76322013000500022.
Full textDavis, Shane Adler. "“Without Repose”: Manet's Portrait of Berthe Morisot." Women's Studies 18, no. 4 (January 1991): 421–43. http://dx.doi.org/10.1080/00497878.1991.9978847.
Full textPhillips, Ian. "Berthe Morisot: capturing something of what goes by." Lancet 359, no. 9319 (May 2002): 1783–84. http://dx.doi.org/10.1016/s0140-6736(02)08640-3.
Full textDissertations / Theses on the topic "Berthe Morisot"
Couser, Kristie. "Exhibiting Berthe Morisot after the Advent of Feminist Art History." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/484.
Full textNeedham, Linda. "The modernity of Berthe Morisot : deconstructing feminising and feminism in relation to Morisot's non-domestic images." Thesis, University of Birmingham, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680092.
Full textEvans, Sarah Patricia. "Figures for a melancholy mind, absorption and allegory in Edouard Manet's images of Berthe Morisot and Victorine Meurent." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30213.pdf.
Full textHaziot, Judith. "Le rôle de la facture apparente en peinture : Berthe Morisot, Vincent Van Gogh et Francis Bacon, au prisme des sciences cognitives." Thesis, Amiens, 2016. http://www.theses.fr/2016AMIE0036.
Full textIs there a connection between the effect produced by an image and its texture? The pictorial illusionism of the Renaissance, based on linear perspective, attempted to erase all traces of the facture in paintings. But it seems that the presence of the artist’s body in the facture of the work provokes a more immediate emotion drawn from the origins of perception. This thesis will show that discoveries in cognitive sciences on perception were anticipated by painters of the XIX and XXth centuries, especially B. Morisot, V. Van Gogh, and F. Bacon, who contributed to change the habits of seeing. Those artists found out that an incomplete image, which keeps the trace of its facture, doesn’t hinder its understanding, but does quite the contrary. Van Gogh and Bacon noticed that such a way to represent things, leaving imperfections and visible matter, produces on the spectator a more immediate and stronger effect than an image rationally mastered from the beginning to the end. The approach of each of those artists will be analysed ; they had very interesting intuitions regarding recent discoveries in cognitive sciences. Recent results from anatomical and psycho-physiological studies on the mechanisms of vision show astonishing links with the intuitions of the artists. The trace of the gesture gives motor information that the brain can grasp. Our perception completes the gaps of unfinished visual information, because our brain, originally develop for our survival, is used to build scenarios from what is only probable, uncertain. Surfaces where the texture is visible allow us to get inside the process of materially manufacturing the work, and to the conditional options of creativity
Ehresmann, Hackmann Erin E. "Variations on a Theme: Berthe Morisot’s Reinterpretation of the “Woman at the Piano” Motif in Her Images of Girls at the Piano, 1888–1892." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498264.
Full textZdanovec, Aubree, and Aubree Zdanovec. "Seduction: A Feminist Reading of Berthe Morisot's Paintings." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/620716.
Full textZdanovec, Aubree. "Seduction| A feminist reading of Berthe Morisot's paintings." Thesis, The University of Arizona, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10129125.
Full textBerthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her ac-complishments in a generalized history of the French Impressionist movement. I ana-lyzed nine of Morisot’s paintings and applied feminist theory, including third-wave feminism (post-1960’s). My research was angled to approach and understand Morisot’s artwork as a contemporary woman would at an exhibition.
Yin-Hsuian, Yang, and 楊尹瑄. "The "Femininity" Viewpoint of Berthe Morisot''s Paintings." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/40362853272129256898.
Full text國立中央大學
藝術學研究所
87
The works of a woman Impressionist Berthe Morisot（1841-1895）were considered feminine by many critics in Nineteenth-Century, more than this, it was thought that her artistic values consist fully in the revelation of her femininity intuitively. My thesis mainly concern about those critical opinions which focus on the ''femininity''in Morisot''s paintings. In the first chapter, I describe Morisot''s life as a painter as the basis of our following discussion, pointing out her profession and her relationship to the Impressionism movement. The second chapter is the presentation of the content of ''femininity''discourse on Morisot from late 1860s to 1890s: some elements of her paintings such as subjects, unfinished style, superficial touch, transitory instant and light color were viewed as evidence of her womanhood; included is the opinion that Impressionism is a "feminine style" in the criticism of 1890s. In the third chapter, I intend to observe how the formation of these criticism is possible through the scientific and social definition of the feminine. Influenced by the definition of gender, those critics held that woman art was valuable just because it expressed femininity. This kind of criterion was applied not only to Morisot but also to other contemporary women artists. In the last chapter, through the analysis of Morisot''s style and the comparison with other Impressionists, I will examine the propriety of "femininity discourse". In the end, we will come to the conclusion that the so-called "femininity" can only be applied to some stages of her development, but can''t explain and assess her whole works comprehensively and objectively. Moreover, it would be dangerous to use gender as the criterion of the analysis of style.
Torres, Ariza. "The representation of maidservants in the work of Berthe Morisot." 2008. http://proquest.umi.com/pqdweb?did=1537006501&sid=1&Fmt=2&clientId=39334&RQT=309&VName=PQD.
Full textTitle from PDF title page (viewed on Dec. 2, 2008) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Johnson, Lori N. Includes bibliographical references.
LAI, Wen-ying, and 賴雯英. "Envy, lack, and substitution in Berthe Morisot''s life and her creations." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/45803885798422655356.
Full text國立中央大學
法國語文學系
98
Applying methods by Freud Sigmund and by other psychoanalysts to the private life and the paintings of Berthe Morisot, I propose to study this nineteenth-century painterřs unconsciously projecting his personal feelingsŕenvy, lack, and substitutionŕinto her art works. Painting, as a form of work of art, is least regarded as a way profit making. She thus shuns away from any exhibitions, except for those of impressionists. Paintings are not only the manifestation of personal feelings and a way of healing, but also a picturesque diary that preserves her own life experiences and impressions. Through the combinations of designs, lines, colors, paints, shades, and characters on the canvas, the painter relieves her psychological separation and hidden desires In the first chapter, references are drawn from the painterřs life, the social background, and the contemporary art. It is known that female painters back then are not only sexually discriminated but also professionally challenged, whose art works are severely criticized. Besides, Morisot is closely related to the impressionist movement. Her ambition in painting, which on the one hand makes her a great painter, on the other hand, casts doubts, evokes conflicts, and causes anxieties on her female identity. Even more, can her artistic accomplishment be simply achieved owing to the fact that the position, rather than her works of art per se, of female artists are being promoted? The question is : does sexual consciousness supersede artistic achievement? The second chapter is the study of Morisotřs childhood, in which the painter lacks paternal love. This has thus become Morisotřs original trauma. Can this lead to a shift of her subject of concern into Sister Edma, which integrates and transforms into a double so as to supplement the lack of paternal love. The trauma has created a crack. In confronting the crack, the subject is forced to transfer it into an object. In order to iii differentiate Morisotřs transfer and love from those of Edouard Manet, we find out that the emotional substitution sought by Morisot must not be interpreted random. Those traumatic incidents cause negative reaction from Moriost : the loss of self-esteem, envy and jealousy. The third chapter analyses the role and function of painting in Morisot under external as well as internal pressure. To a nineteenth-century woman, it is not easy to become a professional painter. She must seek support from her family, especially her husbandřs recognition and sacrifice. Painting is not only an artistic product, but also a function of healing. The canvas can be seen as the silhouette for desire. It also alleviates the painterřs traumatic pains. In light of Moriostřs personal letters, I examine the healing effect in Morisotřs case since she has considered painting as a cure.
Books on the topic "Berthe Morisot"
Stuckey, Charles F. Berthe Morisot, impressionist. London: Sotheby's Publications, 1987.
Find full textBook chapters on the topic "Berthe Morisot"
"Berthe Morisot." In Divagations, 99–104. Harvard University Press, 2009. http://dx.doi.org/10.2307/j.ctv1pdrpr1.30.
Full text"Preface." In Berthe Morisot, XI—XIV. University of California Press, 1990. http://dx.doi.org/10.1525/9780520916579-001.
Full text"I. FORMATION 1841-1868." In Berthe Morisot, 1–38. University of California Press, 1990. http://dx.doi.org/10.1525/9780520916579-002.
Full text"II. DECISIONS 1868-1871." In Berthe Morisot, 39–74. University of California Press, 1990. http://dx.doi.org/10.1525/9780520916579-003.
Full text"III. ALLIANCES 1872-1874." In Berthe Morisot, 75–120. University of California Press, 1990. http://dx.doi.org/10.1525/9780520916579-004.
Full text"IV. ALLIANCE 1875-1878." In Berthe Morisot, 121–66. University of California Press, 1990. http://dx.doi.org/10.1525/9780520916579-005.
Full text"V. ENDURANCE 1883-1895." In Berthe Morisot, 167–222. University of California Press, 1990. http://dx.doi.org/10.1525/9780520916579-006.
Full text"Notes." In Berthe Morisot, 223–30. University of California Press, 1990. http://dx.doi.org/10.1525/9780520916579-007.
Full text"Selected Bibliography." In Berthe Morisot, 231–32. University of California Press, 1990. http://dx.doi.org/10.1525/9780520916579-008.
Full text"Index." In Berthe Morisot, 233–58. University of California Press, 1990. http://dx.doi.org/10.1525/9780520916579-009.
Full textConference papers on the topic "Berthe Morisot"
Zhang, Zuyan. "Lilac Tree and Edam in Berthe Morisot’s 1874 Plein Air Paintings: The Feminine Figure and Its Expressions." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.042.
Full text