Morisot’s Party Tip

Art x Fashion Edit #28

For a very long time, and probably like most of you were (or still are), I was oblivious to the amazing talent of Berthe Morisot. Yet, she is one of the most important artist of the Impressionist movement. With Mary Cassatt, she is among the only two women who were recognized for critical contribution to the movement.

Even if she enjoys a level of recognition few women artist in history can -still- ever wish for, her art has been overlooked and often looked at in comparison to her male counterparts. But, the art of Berthe Morisot cannot be fully comprehended if studied through a male gaze and along typically masculine subjects looked at through the male gaze.

Her portraits are deeply personal, she underscores the humanity and depth of her subjects rather than their physical beauty. She produced many mother and daughter paintings translating her own experience as a mother on the canvas. Her subjects showcase the life of a high society woman in the 19th century Paris and gives a vantage point that her male counterparts could not have offered.

As I visited an exhibit uncovering her 18th century inspirations and showcasing her direct inspirations from Fragonard, I stumbled upon a painting I had forgotten, Woman at Her Toilette (1875-1880). A woman in front of her mirror getting ready for what looks to be a night out. But instead of underscoring the sensual nudity of her neck, Morisot focused on the act of doing her hair, rather than having her pose passively.

Combined with the flurry of details and pillowy background, this allows for viewers to identify with the woman. Rather than being invited to think about what happens when she undresses in the intimacy of her bedroom, we are invited to think about the excitement and energy of a busy night of dancing and socializing. Paradoxically, this seemingly private painting is a window onto the outside world rather than on the conceited interiors reserved to women at the time.

Let the party begin…