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Journal articles on the topic 'Berthe Morisot'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

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.

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2

Bower, U. B. Carr, Anne Higonnet, and Anne Higonnet. "Berthe Morisot." Antioch Review 51, no. 2 (1993): 307. http://dx.doi.org/10.2307/4612746.

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3

Mathews, 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.

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4

Holbrook, 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.

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5

Kapp, Elinor. "The Cradle, Berthe Morisot." Psychiatric Bulletin 19, no. 6 (June 1995): 358–59. http://dx.doi.org/10.1192/pb.19.6.358.

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6

Jacobus, Mary. "Berthe Morisot: Inventing the Psyche." Women: A Cultural Review 6, no. 2 (September 1995): 191–99. http://dx.doi.org/10.1080/09574049508578235.

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7

Bonnet, Marie-Jo. "Un autoportrait de Berthe Morisot." Clio, no. 19 (April 1, 2004): 165–68. http://dx.doi.org/10.4000/clio.1603.

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8

Carabaño 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.

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9

Davis, 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.

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10

Phillips, 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.

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11

Plateau, Nadine. "« Les taches de l’instant pur » ou Berthe Morisot, ressuscitée." La Revue Nouvelle N° 7, no. 7 (October 1, 2019): 20–24. http://dx.doi.org/10.3917/rn.197.0020.

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12

Ringelberg, Kirstin. "No Room of One's Own: Mary Fairchild MacMonnies Low, Berthe Morisot, and The Awakening." Prospects 28 (October 2004): 127–54. http://dx.doi.org/10.1017/s0361233300001459.

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Several art historians have discerned a gendered division of subject matter between male and female artists of the late 19th century. Griselda Pollock's landmark text, “Modernity and the Spaces of Femininity,” serves as both the first and fullest discussion of this issue from a feminist perspective. Pollock argues that women Impressionists should not be viewed as outside the development and rhetoric of modernity because of their failure to depict its most representative sites (cafés, bars, and other public spaces where bourgeois women dared not enter); rather, we should note their restricted, chiefly domestic realm as another space of modernity that these women were particularly adept at analyzing. According to Robert Herbert, works by women Impressionists are “easily distinguished” from those of their male counterparts, who tend to highlight the figures over their surroundings and fail to note the expressive capabilities of household furnishings. There is much to recommend the approaches of both Pollock and Herbert; in particular, they have given critical and aesthetic value to the paintings of women Impressionists in their analyses. But, paradoxically, their analyses also have the effect of reinforcing the same gendered distinctions of paintings once used to devalue those works by women.

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13

DWYER, BRITTA C. "WOMEN IMPRESSIONISTS BERTHE MORISOT, MARY CASSATT, EVA GONZALES, MARIE BRACQUEMOND BY MAX HOLLEIN (ED.)." Art Book 16, no. 2 (May 2009): 46–47. http://dx.doi.org/10.1111/j.1467-8357.2009.01027_12.x.

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14

Anderson, Jill. "The Meaning Beyond the Dress: Alterity and Economy of Desire in Mallarmé's Berthe Morisot." French Studies LX, no. 1 (January 1, 2006): 33–48. http://dx.doi.org/10.1093/fs/kni286.

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15

Bonnet, Marie-Jo. "Berthe Morisot, catalogue de l'exposition au Palais des Beaux-Arts de Lille et à la Fondation Pierre Gianadda à Martigny, éd. Fondation Pierre Gianadda, 2002, 461 p." Clio, no. 19 (April 1, 2004): 241–43. http://dx.doi.org/10.4000/clio.660.

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16

Christian, Jack. "After "Nocturne: Grey and Gold, Westminster Bridge" by JM Whistler, and: After "A Corner of the Woods at Sablons" by Alfred Sisley, and: After "Woman and Child in a Meadow in Bougival" by Berthe Morisot." Colorado Review 47, no. 2 (2020): 70–72. http://dx.doi.org/10.1353/col.2020.0063.

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17

Zemel, Carol, and Anne Higonnet. "Berthe Morisot's Images of Women." American Historical Review 99, no. 1 (February 1994): 246. http://dx.doi.org/10.2307/2166249.

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18

Collins, Georgia C., and Anne Higonnet. "Berthe Morisot's Images of Women." Journal of Aesthetic Education 28, no. 2 (1994): 109. http://dx.doi.org/10.2307/3333279.

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19

Kessler, Marni Reva. "Reconstructing Relationships: Berthe Morisot's Edma Series." Woman's Art Journal 12, no. 1 (1991): 24. http://dx.doi.org/10.2307/1358186.

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20

Drouillard, Jill. "(Re)productive Tensions: Aletheiac Revealing in Morisot’s “Cradle” and “Wet Nurse”." Heidegger Circle Proceedings 53 (2019): 25–30. http://dx.doi.org/10.5840/heideggercircle2019533.

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Martin Heidegger’s Origin of the Work of Art moves beyond an aesthetic reading of the artwork that focuses on questions of judgment towards a hermeneutical understanding of art as a realm where truth happens. Such a truth presents itself as an aletheiac unfolding of the strife between Earth and World, a tension revelatory of our historical situation. To better understand this truth, Heidegger turns to a painting of Van Gogh’s shoes, providing an account of the artwork that moves beyond the “thingly” character of the shoes to its “equipmental being”. That he attributes Van Gogh’s shoes to a peasant woman is telling in that her being female points to a gendered relation between woman and Earth. However, in only focusing on the equipmental being of her shoes and her labor in the fields, a historical truth about the tension between her labor of reproduction and production, a strain inherent in the Earth/World dynamic becomes eclipsed. This tension is felt as a reckoning of, not only one’s finitude, but of one’s natality. Heidegger looks to Van Gogh’s shoes and analyzes how toils in the field set up a world; however, as Gaston Bachelard notes, “Before he is ‘cast into the world,’ as claimed by certain hasty metaphysicians, man is laid in the cradle of the house.2” To explore our natal origin that begins in the cradle and stretches along to our death, this paper presents a hermeneutical reading of two works of art, Berthe Morisot’s “Cradle” and “Wet Nurse”, suggesting that in seeking an origin of the work of art and the tension that resides there, an understanding of reproduction (and its relation to production) should complement Heidegger’s treatment of the artwork.

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21

"Berthe Morisot." Choice Reviews Online 28, no. 01 (September 1, 1990): 28–0080. http://dx.doi.org/10.5860/choice.28-0080.

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22

"Berthe Morisot (1841-1915)." Choice Reviews Online 50, no. 06 (February 1, 2013): 50–3076. http://dx.doi.org/10.5860/choice.50-3076.

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23

Whitmore, Janet. "Berthe Morisot: Woman Impressionist." Nineteenth-Century Art Worldwide 18, no. 1 (March 15, 2019). http://dx.doi.org/10.29411/ncaw.2019.18.1.13.

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24

"Berthe Morisot, the first lady of Impressionism." Choice Reviews Online 35, no. 02 (October 1, 1997): 35–0715. http://dx.doi.org/10.5860/choice.35-0715.

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25

Oczkowski, Edward. "The catalogue raisonné and art auction prices: the case of Berthe Morisot." Empirical Economics, August 3, 2020. http://dx.doi.org/10.1007/s00181-020-01920-5.

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26

Moran, Claire. "Minor Intimacies and the Art of Berthe Morisot: Impressionism, Female Friendship and Spectatorship." Dix-Neuf, July 14, 2021, 1–21. http://dx.doi.org/10.1080/14787318.2021.1926875.

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27

"Berthe Morisot's images of women." Choice Reviews Online 30, no. 05 (January 1, 1993): 30–2474. http://dx.doi.org/10.5860/choice.30-2474.

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28

"Anne Higonnet. Berthe Morisot's Images of Women. Cambridge: Harvard University Press. 1992. Pp. 311. $45.00." American Historical Review, February 1994. http://dx.doi.org/10.1086/ahr/99.1.246.

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29

Wang, Erika Ningxin, Brittany Kelley, Ludi Price, and Kristen Schuster. "Beyond the multidisciplinary in fan studies: Learning how to talk among disciplines." Transformative Works and Cultures 33 (June 15, 2020). http://dx.doi.org/10.3983/twc.2020.1819.

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In light of the Fan Studies Network's statement regarding fan studies being overrun with whiteness, we are in a unique position to engage in scholarship that challenges the overwhelmingly white and Global North–centric structures that define how we study fan cultures. Multidisciplinarity, which may be understood as disciplines laid side by side, should be contrasted with interdisciplinarity, which requires true dialogue. Despite recent field-shifting work by fan studies scholars such as Bertha Chin, Lori Morimoto, Rukmini Pande, and Rebecca Wanzo, more work needs to be done to both acknowledge and build on current research in transcultural fandom. In a dialogue that reflects the progress of our own striving toward interdisciplinary and transcultural work in fan studies, we seek to demonstrate a possible way forward for the field of fan studies to become more truly interdisciplinary and transcultural in its focus.

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