Berthe Morisot

File:Berthe Morisot 006.jpg

Morisot was born 14 January 1841,{{Cite web|title=Berthe Morisot {{!}} Biography, Art, Paintings, & Facts|url=https://www.britannica.com/biography/Berthe-Morisot|access-date=9 July 2021|website=Encyclopedia Britannica|language=en}} in Bourges, France, into an affluent bourgeois family. Her father, Edmé Tiburce Morisot, was the prefect (senior administrator) of the department of Cher. He also studied architecture at École des Beaux Arts.{{Cite book|title=Berthe Morisot|last=Adler|first=Kathleen|publisher=Cornell University Press|year=1987|isbn=0801420539|location=Ithaca, New York|pages=[https://archive.org/details/berthemorisot00adle/page/9 9]|url=https://archive.org/details/berthemorisot00adle/page/9}} Her mother, Marie-Joséphine-Cornélie Thomas, was the great-niece of Jean-Honoré Fragonard, one of the most prolific Rococo painters of the ancien régime.Higonnet, p. 5 She had two older sisters, Yves (1838–1893) and Edma (1839–1921), plus a younger brother, Tiburce, born in 1848. The family moved to Paris in 1852, when Morisot was a child.

It was commonplace for daughters of bourgeois families to receive art education, so Berthe and her sisters Yves and Edma were taught privately by Geoffroy-Alphonse Chocarne and Joseph Guichard. Morisot and her sisters initially started taking lessons so that they could each make a drawing for their father for his birthday. In 1857 Guichard, who ran a school for girls in Rue des Moulins, introduced Berthe and Edma to the Louvre gallery where from 1858 they learned by copying paintings. The Morisots were not only forbidden to work at the museum unchaperoned, but they were also totally barred from formal training.Harmon, Melissa Burdick. "Monet, Renoir, Degas...Morisot the Forgotten Genius of Impressionism." Biography, vol. 5, no. 6, June 2001, p. 98. EBSCOhost Guichard also introduced them to the works of Gavarni.

As art students, Berthe and Edma worked closely together until 1869, when Edma married Adolphe Pontillon, a naval officer, moved to Cherbourg, and had less time to paint. Letters between the sisters show a loving relationship, underscored by Berthe's regret at the distance between them and Edma's withdrawal from painting. Edma wholeheartedly supported Berthe's continued work and their families always remained close. Edma wrote "... I am often with you in thought, dear Berthe. I'm in your studio and I like to slip away, if only for a quarter of an hour, to breathe that atmosphere that we shared for many years...".{{cite web| url = http://womenintheactofpainting.blogspot.fr/2012/11/edma-and-berthe.html| title = Women in the Act of Painting, 9 November 2012, Edma and Berthe by Nancy Bea Miller| date = 9 November 2012}}

Her sister Yves married Théodore Gobillard, a tax inspector, in 1866 and was painted by Edgar Degas as Madame Théodore Gobillard (Metropolitan Museum of Art, New York City).{{cite web| url = https://www.metmuseum.org/art/collection/search/436149| title = Yves peinte par Degas}}{{harvsp|Stuckey, Scott Lindsay|p=16|id=SSL87}}{{cite book| url = https://books.google.com/books?id=-ZrK2juMan0C&pg=PA32| title = Berthe Morisot by Anne Higonnet, Berthe Morisot, at Google Books. Page 32| isbn = 9780520201569| last1 = Higonnet| first1 = Anne| date = 8 June 1995| publisher = University of California Press}}

As a copyist at the Louvre, Morisot met and befriended other artists such as Manet and Monet. In 1861 she was introduced to Jean-Baptiste-Camille Corot, the pivotal landscape painter of the Barbizon school who also excelled in figure painting. Under Corot's influence, she took up the plein air (outdoors) method of working.Garb, T. (2003). "Morisot, Berthe(-Marie-Pauline)". Grove Art Online. By 1863 she was studying under {{ill|Achille Oudinot|fr}}, another Barbizon painter. In the winter of 1863–64 she studied sculpture under Aimé Millet, but none of her sculptures is known to survive.{{cite book|last1=Higonnet|first1=Anne|title=Berthe Morisot|date=1990|publisher=Harper & Row, Publishers|location=New York|isbn=0-06-016232-5|pages=[https://archive.org/details/berthemorisot00higo/page/11 11–25]|url=https://archive.org/details/berthemorisot00higo/page/11}}

It is hard to trace the stages of Morisot's training and to tell the exact influence of her teachers because she was never pleased with her work and she destroyed nearly all of the artworks she produced before 1869. Her first teacher, Geoffroy-Alphonse Chocarne, taught her the basics of drawing. After several months, Morisot began to take classes taught by Guichard. During this period, she drew mostly ancient classical figures. When Morisot expressed her interests in plein-air painting, Guichard sent her to follow Corot and Oudinot. Painting outdoors, she used watercolors which are easy to carry. At that time, Morisot also became interested in pastel.{{Cite book|title=Berthe Morisot : 1841–1895|author1=Mathieu, Marianne|author2=Musée Marmottan|isbn=9780300182019|location=Paris|oclc=830199379|year = 2012}}

During this period, Morisot still found oil painting difficult, and worked mostly in watercolor. Her choice of colors is rather restrained; however, the delicate repetition of hues renders a balanced effect. Due to specific characteristics of watercolors as a medium, Morisot was able to create a translucent atmosphere and feathery touch, which contribute to the freshness in her paintings.

Having become more confident about oil painting, Morisot worked in oil, watercolor and pastel at the same time, as Degas did. She painted very quickly but did much sketching as preparation, so she could paint "a mouth, eyes, and a nose with a single brushstroke." She made countless studies of her subjects, which were drawn from her life so she became quite familiar with them. When it became inconvenient to paint outdoors, the highly finished watercolors done in the preparatory stages allowed her to continue painting indoors later.

After 1885, drawing began to dominate in Morisot's works. Morisot actively experimented with charcoals and color pencils. Her reviving interest in drawing was motivated by her Impressionist friends, who are known for blurring forms. Morisot put her emphasis on the clarification of the form and lines during this period. In addition, she was influenced by photography and Japonisme. She adopted the style of placing objects away from the center of the composition from Japanese prints of the time.

Morisot started to use the technique of squaring and the medium of tracing paper to transcribe her drawing to the canvas exactly. By employing this new method, Morisot was able to create compositions with more complicated interaction between figures. She stressed the composition and the forms while her Impressionist brushstrokes still remained. Her original synthesis of the Impressionist touch with broad strokes and light reflections, and the graphic approach featured by clear lines, made her late works distinctive.

Because she was a female artist, Morisot's paintings were often labeled as being full of "feminine charm" by male critics, for their elegance and lightness. In 1890, Morisot wrote in a notebook about her struggles to be taken seriously as an artist: "I don't think there has ever been a man who treated a woman as an equal and that's all I would have asked for, for I know I'm worth as much as they."

Her light brushstrokes often led to critics using the verb "effleurer" (to touch lightly, brush against) to describe her technique. In her early life, Morisot painted in the open air as other Impressionists to look for truths in observation.{{Cite book|title=Berthe Morisot|last=Dominique.|first=Rey, Jean|date=2010|publisher=Flammarion|others=Patry, Sylvie., Morisot, Berthe, 1841–1895., Lalaurie, Louise Rogers.|isbn=9782080301680|location=Paris|oclc=646401344}} Around 1880 she began painting on unprimed canvases—a technique Manet and Eva Gonzalès also experimented with at the time[http://nmwa.org/works/cage National Museum of Women in the Arts: "The Cage"]. Retrieved 24 November 2014.—and her brushwork became looser. In 1888–89, her brushstrokes transitioned from short, rapid strokes to long, sinuous ones that define form.{{cite book|title=Berthe Morisot, Drawings Pastels, Watercolors|last1=Mongan|first1=Elizabeth|date=1960|publisher=Shorewood Publishing Co.|location=New York|page=20}} The outer edges of her paintings were often left unfinished, allowing the canvas to show through and increasing the sense of spontaneity. After 1885, she worked mostly from preliminary drawings before beginning her oil paintings.{{cite book|title=Berthe Morisot: Impressionist|last1=Stuckey|first1=Charles F.|last2=Scott|first2=William P.|date=1987|publisher=Hudson Hills Press|isbn=0-933920-03-2|location=New York|pages=[https://archive.org/details/berthemorisotimp00char/page/187 187–207]|url=https://archive.org/details/berthemorisotimp00char/page/187|ref=CITEREFStuckey,_Scott_Lindsay}} She often worked in oil paint, watercolors, and pastel simultaneously, and sketched using various drawing media. Morisot's works are almost always small in scale.

Morisot creates a sense of space and depth through the use of color. Although her color palette was somewhat limited, her fellow impressionists regarded her as a "virtuoso colorist". She typically made expansive use of white to create a sense of transparency, whether used as a pure white or mixed with other colors. In her large painting The Cherry Tree, the colors are more vivid but still emphasize the form.

Inspired by Manet's drawings, she kept the use of color to a minimum when constructing a motif. Responding to the experiments conducted by Manet and Edgar Degas, Morisot used barely tinted whites to harmonize the paintings. Like Degas, she played with three media simultaneously in one painting: watercolor, pastel, and oil paints. In the second half of her career, she learned from Renoir by mimicking his motifs. She also shared an interest in keeping a balance between the density of figures and the atmospheric traits of light with Renoir in her later works.

File:Jeune Fille au Manteau Vert by Berthe Morisot.jpg

Morisot painted what she experienced on a daily basis. Most of her paintings include domestic scenes of family, children, ladies, and flowers, depicting what women's life was like in the late nineteenth century. Instead of portraying the public space and society, Morisot preferred private, intimate scenes. This reflects the cultural restrictions of her class and gender at that time. Like her fellow Impressionist Mary Cassatt, she focused on domestic life and portraits in which she could use family and personal friends as models, including her daughter Julie and sister Edma. The stenographic presentation of her daily life conveys a strong hope to stop the fleeting passage of time. By portraying flowers, she used metaphors to celebrate womanhood. Prior to the 1860s, Morisot painted subjects in line with the Barbizon school before turning to scenes of contemporary femininity.{{cite book|title=Berthe Morisot|last1=Higonnet|first1=Anne|date=1990|publisher=Harper & Row, Publishers, Inc.|isbn=0-06-016232-5|location=New York|page=[https://archive.org/details/berthemorisot00higo/page/26 26]|url=https://archive.org/details/berthemorisot00higo/page/26}} Paintings like The Cradle (1872), in which she depicted current trends for nursery furniture, reflect her sensitivity to fashion and advertising, both of which would have been apparent to her female audience. Her works also include landscapes, garden settings, boating scenes, and themes of boredom or ennui. Later in her career Morisot worked with more ambitious themes, such as nudes.{{cite book|title=Berthe Morisot|last1=Higonnet|first1=Anne|date=1990|publisher=Harper & Row, Publishers, Inc.|isbn=0-06-016232-5|location=New York|page=[https://archive.org/details/berthemorisot00higo/page/102 102]|url=https://archive.org/details/berthemorisot00higo/page/102}} In her late works, she often referred to the past to recall a memory from her earlier life and youth, and her departed companions.

File:Berthe Morisot 005.jpg]]

Morisot's first appearance in the Salon de Paris came at the age of twenty-three in 1864, with the acceptance of two 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.{{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 }}

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.Lewis, M.T. "Book Reviews: Berthe Morisot." Art Journal, vol. 50, no. 3, Fall91, p. 92. EBSCOhost,

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."

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."{{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}} She chose to exhibit under her full maiden name instead of using a pseudonym or her married name.{{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}} 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.{{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}}

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

Morisot came from an eminent family, the daughter of a senior government official and the great-niece of Rococo artist Jean-Honoré Fragonard.{{Cite encyclopedia|url=https://www.britannica.com/biography/Berthe-Morisot|title=Berthe Morisot {{!}} French painter|encyclopedia=Encyclopædia Britannica|access-date=29 March 2018}} Henri Fantin-Latour, a fellow artist, introduced Morisot to Edouard Manet in 1868. She became his longtime friend and colleague, and she married his brother, Eugène Manet, in 1874. On 14 November 1878, she gave birth to her only child, Julie, who posed frequently for her mother and other Impressionist artists, including Renoir and her uncle Édouard.

Correspondence between Morisot and Édouard Manet shows warm affection, and Manet gave her an easel as a Christmas present. Morisot often posed for Manet and there are several portrait paintings of Morisot such as Repose (Portrait of Berthe Morisot) and Berthe Morisot with a Bouquet of Violets.{{Cite book|title=Impressionism|last=Brodskaya |first=Nathalia |isbn=9781780428017|location=New York|oclc=778448857}} Morisot died on 2 March 1895, in Paris, of pneumonia contracted while attending to her daughter Julie's similar illness, thus making Julie an orphan at the age of 16. The day before she died, Berthe wrote to Julie: {{quote|My little Julie, I love you as I die; I shall still love you when I am dead; I beg you not to cry, this parting was inevitable. I hoped to live until you were married ... Work and be good as you have always been; you have not caused me one sorrow in your little life. You have beauty, money; make good use of them ... Please give a remembrance to your Aunt Edma and to your cousins ...Barnes, Julian. "The Morisot Sisters"; also quoted in Higonnet, Anne. Berthe Morisot, p. 221.}} Berthe Morisot was interred in the Cimetière de Passy.{{cite encyclopedia|editor=Commire, Anne|title=Women in World History: A Biographical Encyclopedia|volume=11|year=2001|publisher=Yorkin Publications, Gale Group|location=Waterford|isbn=978-0-78764-070-5|page=448}}

It has been speculated that there was a repressed love between Manet and Morisot, exemplified by the numerous portraits he did of her before she married his brother.{{cite web

| url=https://www.marmottan.fr/expositions/morisot-sacriste/

| title=MORISOT / SACRISTE

| date=2023

| archive-url=https://web.archive.org/web/20231215081820/https://www.marmottan.fr/expositions/morisot-sacriste/

| archive-date=15 December 2023

| publisher=Musée Marmottan Monet

| access-date=15 January 2024}}{{cite web

| url=https://www.lemonde.fr/m-le-mag/article/2023/10/18/berthe-morisot-par-edouard-manet-le-desir-en-peinture_6195133_4500055.html

| title=Berthe Morisot par Edouard Manet, le désir en peinture

| date=18 October 2023

| archive-url=https://web.archive.org/web/20231018083328/https://www.lemonde.fr/m-le-mag/article/2023/10/18/berthe-morisot-par-edouard-manet-le-desir-en-peinture_6195133_4500055.html

| archive-date=18 October 2023

| quote=Tous les portraits de Berthe Morisot par Manet sont magnifiques, pleins de son amour pour celle qui avait épousé son frère Eugène. Ils disent un désir qui n'a pu s'exprimer et c'est autour de cette part manquante que j'ai imaginé mon exposition.

| publisher=Le Monde

| access-date=18 October 2023}}

File:La Coiffure - Berthe Morisot.jpg

:This list is incomplete, you can help by expanding it with certified entries.

This limited selection is based in part on the book Berthe Morisot by Charles F. Stuckey, William P. Scott and Susan G. Lindsay, which is in turn drawn from the 1961 catalogue by Marie-Louise Bataille, Denis Rouart, and Georges Wildenstein. There are variations between the dates of execution, first showing and purchase. Titles may vary between sources.

• Étude, 1864, oil on canvas, 60.3 × 73 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=23|id=SSL87}}
• Chaumière en Normandie, 1865, oil on canvas, 46 × 55 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=24|id=SSL87}}
• La Seine en aval du pont d'Iéna, 1866, oil on canvas, 51 × 73 cm, private collection{{harvsp|Bataille Wildenstein|p=11|id=BW61}}
• La Rivière de Pont Aven à Roz-Bras, 1867, oil on canvas, 55 × 73 cm, private collection – Chicago{{harvsp|Bataille Wildenstein|p=12|id=BW61}}
• Bateaux à l'aurore, 1869, pastel on paper, 19.7 × 26.7 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=34|id=SSL87}}
• Jeune fille à sa fenêtre, 1869, oil on canvas, 36.8 × 45.4 cm, private collection
• Madame Morisot et sa fille Madame Pontillon (La Lecture), 1869–1870, oil on canvas, 101 × 81.8 cm, National Gallery of Art, Washington, D.C.{{harvsp|Stuckey, Scott Lindsay|p=35|id=SSL87}}
• Vue du petit port de Lorient (The Harbor at Lorient), 1869, oil on canvas, 43 × 72 cm, National Gallery of Art, Washington, D.C.
• Le Port de Cherbourg, 1871, crayon and watercolour on paper, 15.6 × 20.3 cm, private collection of Paul Mellon, Upperville, Virginia{{harvsp|Stuckey, Scott Lindsay|p=40|id=SSL87}}
• Le Port de Cherbourg, 1871, oil on canvas, 41.9 × 55.9 cm, private collection of Paul Mellon, Upperville, Virginia{{harvsp|Stuckey, Scott Lindsay|p=41|id=SSL87}}
• Vue de paris de hauteurs du Trocadéro, 1871, oil on canvas, 46.1 × 81.5 cm, Santa Barbara Museum of Art, California{{harvsp|Stuckey, Scott Lindsay|p=45|id=SSL87}}
• Femme et enfant au balcon, 1871–72, watercolor, 20.6 × 17.3 cm, Art Institute of Chicago{{harvsp|Stuckey, Scott Lindsay|p=46|id=SSL87}}{{harvsp|Stuckey, Scott Lindsay|p=47|id=SSL87}}{{cite web| url = http://www.artic.edu/aic/collections/artwork/13916?search_no=2&index=13| title = Berthe Morisot, Femme et enfant au balcon (On the Balcony), 1871–72, Art Institute of Chicago}}
• Intérieur, 1871, oil on canvas, 60 × 73 cm, private collection{{harvsp|Bataille Wildenstein|p=260|id=BW61}}
• Portrait de Madame Pontillon, 1871, pastel on paper, 85.5 × 65.8 cm, Louvre – drawings cabinet{{harvsp|Bataille Wildenstein|p=419|id=BW61}} gift of Madame Edma Pontillon to the Louvre in 1921, in the collection of the Musée d'Orsay{{cite web| url = http://www.musee-orsay.fr/fr/collections/catalogue-des-oeuvres/notice.html?nnumid=3035| title = Madame Pontillon, descriptif actuel}}
• L'Entrée du port, 1871,The scene L'Entrée du port is often confused with L'Entrée du port de Cherbourg purchased in 1874 by Durand-Ruel, or confused with Le Port de Cherbourg watercolour on paper, 24.9 × 15.1 cm, {{ill|Musée Léon-Alègre|fr}}, Bagnols-sur-Cèze – drawings cabinet{{harvsp|Bataille Wildenstein|p=42|id=BW61}}
• Madame Pontillon et sa fille Jeanne sur un canapé, 1871, watercolour on paper, 25.1 × 25.9 cm, National Gallery of Art, Washington{{harvsp|Stuckey, Scott Lindsay|p=53|id=SSL87}}
• Jeune fille sur un banc (Edma Pontillon), 1872, oil on canvas, 33 × 41 cm{{harvsp|Stuckey, Scott Lindsay|p=51|id=SSL87}}
• Cache-cache, 1872, oil on canvas, 33 × 41 cm, Private collection{{harvsp|Stuckey, Scott Lindsay|p=56|id=SSL87}}
• Le Berceau, 1872, oil on canvas, 56 × 46 cm Musée d'Orsay, Paris
• La Lecture (Edma lisant), also titled L'Ombrelle verte, 1873, oil on canvas, 45.1 × 72.4 cm, Cleveland Museum of Art, Ohio
• Sur la plage des Petites-Dalles, 1873, oil on canvas, 24.1 × 50.2 cm, Virginia Museum of Fine Arts, Richmond, Virginia{{harvsp|Bataille Wildenstein|p=28|id=BW61}}
• Madame Boursier et sa fille, 1873, oil on canvas, 74 × 52 cm, Virginia Museum of Fine Arts{{harvsp|Bataille Wildenstein|p=34|id=BW61}}
• Le Village de Maurecourt, 1873, pastel on paper, 47 × 71.8 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=61|id=SSL87}}
• Coin de Paris vu de Passy, 1873, pastel on paper, 27 × 34.9 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=63|id=SSL87}}
• Sur la terrasse, 1874, oil on canvas, 45 × 54 cm, Musée du Petit Palais, Paris{{harvsp|Bataille Wildenstein|p=427|id=BW61}}
• In a Villa by the Seaside, 1874, oil on canvas,50.2 x 61 cm, Norton Simon Art Foundation, Norton Simon Museum, Pasadena, CA
• Portrait de Madame Hubbard, 1874, oil on canvas, 50.5 × 81 cm, Ordrupgaard museum de Copenhagen{{harvsp|Stuckey, Scott Lindsay|p=64|id=SSL87}}
• Femme et enfant au bord de la mer , 1874, watercolor on paper, 16 × 21.3 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=65|id=SSL87}}
• Dans le parc, c. 1874, pastel on paper, 72.5 × 91.8 cm, Musée des Beaux-Arts de la Ville de Paris, Petit Palais.

• Percher de blanchisseuses , 1875, Oil on canvas 33 × 40.8 cm, National Gallery of Art, Washington D.C.
• Jeune fille au miroir, 1875, oil on canvas, 54 × 45 cm, private collection{{harvsp|Bataille Wildenstein|p=61|id=BW61}}
• Scène de port dans l'île de Wight, 1875, oil on canvas, 48 × 36 cm private collection{{harvsp|Bataille Wildenstein|p=52|id=BW61}}
• Scène de port dans l'île de Wight, 1875, oil on canvas, 43 × 64 cm, Newark Museum, Newark, New Jersey{{harvsp|Stuckey, Scott Lindsay|p=69|id=SSL87}}
• Eugène Manet à l'île de Wight, 1875, oil on canvas, 38 × 46 cm private collection{{harvsp|Bataille Wildenstein|p=51|id=BW61}}
• Avant d'un yacht, 1875, watercolour on paper, 20.6 × 26.7 cm, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts{{harvsp|Stuckey, Scott Lindsay|p=71|id=SSL87}}
• Femme à sa toilette, 1875, oil on canvas, 46 × 38 cm private collection{{harvsp|Bataille Wildenstein|p=73|id=BW61}}
• Femme à sa toilette , 1875–1880, hst, dim; 60.3 × 80.4 cm, Coll. Art Institute of Chicago
• Portrait de femme (Avant le théâtre), 1875, oil on canvas, 57 × 31 cm, Galerie Schröder & Leisewitz, Bremen
• Jeune femme au bal encore intitulé Jeune femme en toilette de bal, 1876, oil on canvas, 86 × 53 cm Musée d'Orsay{{harvsp|Bataille Wildenstein|p=81|id=BW61}}
• Au Bal ou Jeune fille au bal, 1875, oil on canvas, 62 × 52 cm, Musée Marmottan-Monet, Paris
• Jeune Femme arrosant un arbuste, 1876, oil on canvas, 40.01 × 31.75 cm, Virginia Museum of Fine Arts, Richmond, Virginia{{Cite web|url=https://www.vmfa.museum/piction/6027262-8122739/|title=Jeune Femme arrosant un arbuste (Primary Title) - (83.40)|website=Virginia Museum of Fine Arts {{!}}|language=en-US|access-date=9 January 2020}}
• Le Corsage noir , 1876, oil on canvas, 73 × 59.8 cm National Gallery of Ireland, Dublin{{harvsp|Bataille Wildenstein|p=59|id=BW61}}
• La Psyché, 1876, oil on canvas, 65 × 54 cm, Thyssen-Bornemisza Museum, Madrid{{harvsp|Bataille Wildenstein|p=64|id=BW61}}
• Rêveuse, 1877, pastel on canvas, 50.2 × 61 cm, Nelson-Atkins Museum of Art, Kansas City, Missouri{{harvsp|Bataille Wildenstein|p=434|id=BW61}}
• L'Été, encore intitulé Jeune femme près d'une fenêtre 1878, oil on canvas, 76 × 61 cm, Musée Fabre, Montpellier{{harvsp|Bataille Wildenstein|p=75|id=BW61}}
• Jeune feme assise, 1878–1879, oil on canvas, 80 × 100 cm, private collection New York City{{harvsp|Bataille Wildenstein|p=78|id=BW61}}
• Jeune fille de dos à sa toilette, encore intitulé Femme à sa toilette 1879, oil on canvas, 60.3 × 80.4 cm Art Institute of Chicago{{harvsp|Stuckey, Scott Lindsay|p=81|id=SSL87}}
• Le Lac du Bois de Boulogne (Jour d'été), 1879, 45.7 × 75.3 cm, National Gallery, London{{harvsp|Stuckey, Scott Lindsay|p=82|id=SSL87}}
• Dans le jardin (Dames cueillant des fleurs), 1879, oil on canvas, 61 × 73.5 cm, Nationalmuseum Stockholm{{harvsp|Stuckey, Scott Lindsay|p=83|id=SSL87}}
• Jeune femme en toilette de bal (Young Woman in Evening Dress), 1879, oil on canvas, 71 x 54 cm, Musée d'Orsay, ParisRobert Rosenblum, Paintings in the Musée D'Orsay, p. 305, Stewart, Tabori & Chang (1989).
• Hiver, 1880, oil on canvas, 73.5 × 58.5 cm, Dallas Museum of Art{{harvsp|Stuckey, Scott Lindsay|p=85|id=SSL87}}
• Deux filles assises près d'une table, 1880, crayon and watercolour on paper 19,6 × 26.6 cm private collection Germany
• Bateaux sur la Seine. c. 1880, 25.5 × 50 cm. Provenance: acquired from the artist's family by the first owner, sold with a letter of authenticity from Daniel Wildenstein at Sotheby's, 1984.
• Plage à Nice 1881–1882, watercolour on paper 42 × 55 cm, Nationalmuseum Stockholm{{harvsp|Stuckey, Scott Lindsay|p=91|id=SSL87}}
• Le Port de Nice, 1881–1882, oil on canvas, 53 × 43 cm private collection{{harvsp|Bataille Wildenstein|p=112|id=BW61}}
• Le Port de Nice, 1881–1882, oil on canvas, 41 × 55 cm private collection{{harvsp|Bataille Wildenstein|p=113|id=BW61}}
• Le Port de Nice 1881 (?)third version format 38 × 46 cm conserved at Dallas Museum of Art
• Le Thé, 1882, oil on canvas, 57.5 × 71.5 cm, Fondation Madelon Vaduz, Liechtenstein{{harvsp|Stuckey, Scott Lindsay|p=95|id=SSL87}}
• Le Port de Nice, 1881–1882, oil on canvas, 53 × 43 cm private collection
• La Fable, 1883, oil on canvas, 65 × 81 cm private collection{{harvsp|Bataille Wildenstein|p=138|id=BW61}}{{Cite web |url=http://www.impressionism-art.org/img1474.htm |title=voir La Fable |access-date=26 November 2014 |archive-url=https://web.archive.org/web/20141205090142/http://www.impressionism-art.org/img1474.htm |archive-date=5 December 2014 |url-status=dead }}
• Le Jardin (Femmes dans le jardin) (1882–1883) oil on canvas, 99.1 × 127 cm, Sara Lee Corporation, Chicago{{harvsp|Stuckey, Scott Lindsay|p=96|id=SSL87}}
• Eugène Manet et sa fille au jardin 1883, oil on canvas, 60 × 73, private collection{{harvsp|Stuckey, Scott Lindsay|p=97|id=SSL87}}
• Dans le jardin à Maurecourt, 1883, oil on canvas, 54 × 65 cm, Toledo Museum of Art{{harvsp|Bataille Wildenstein|p=154|id=BW61}}
• Le Quai de Bougival, 1883, oil on canvas, 55.5 × 46 cm, Nasjonalgalleriet, Oslo{{harvsp|Stuckey, Scott Lindsay|p=101|id=SSL87}}
• Julie et son bateau (Enfant jouant), 1883, watercolour on paper, 25 × 16 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=98|id=SSL87}}
• La Meule de foin 1883, oil on canvas, 55.3 × 45.7 cm, private collection, New York{{harvsp|Stuckey, Scott Lindsay|p=103|id=SSL87}}{{cite web| url = http://fr.wahooart.com/Art.nsf/O/8EWCSF| title = aperçu de la toile Meule de foin}}
• Dans la véranda, 1884, oil on canvas, 81 × 10 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=104|id=SSL87}}
• Julie avec sa poupée, 1884, oil on canvas, 82 × 10 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=105|id=SSL87}}
• Petite fille avec sa poupée (Julie Manet), 1884, pastel on paper, 60 × 46 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=107|id=SSL87}}
• Sur le lac, 1884, oil on canvas, 65 × 54 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=109|id=SSL87}}
• The Artist's Daughter, Julie, with her Nanny, c. 1884, oil on canvas, Minneapolis Institute of Art{{cite web| url = https://collections.artsmia.org/search/morisot| title = Minneapolis Institute of Art}}{{Cite web|url=https://collections.artsmia.org/art/10444/the-artists-daughter-julie-with-her-nanny-berthe-morisot|title=The Artist's Daughter, Julie, with her Nanny, Berthe Morisot ^ Minneapolis Institute of Art|website=collections.artsmia.org|access-date=17 February 2018}}

• Autoportrait, 1885, pastel on paper, 47.5 × 37.5 cm, Art Institute of Chicago{{harvsp|Stuckey, Scott Lindsay|p=110|id=SSL87}}
• Autoportrait avec Julie, 1885, oil on canvas, 72 × 91 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=111|id=SSL87}}
• Jeune femme assise au Bois de Boulogne, 1885, watercolour on paper, 19 × 28 cm, Metropolitan Museum of Art, New York City{{harvsp|Stuckey, Scott Lindsay|p=115|id=SSL87}}
• La Forêt de Compiègne, 1885, oil on canvas, 54.2 × 64.8 cm, Art Institute of Chicago{{harvsp|Stuckey, Scott Lindsay|p=117|id=SSL87}}
• Le Bain (Jeune file se coiffant), 1885–1886, oil on canvas, 81.1 × 72.3 cm, Art Institute of Chicago{{harvsp|Stuckey, Scott Lindsay|p=120|id=SSL87}}
• Dans la salle à manger, 1885–1886, oil on canvas, 61.3 × 50 cm, National Gallery of Art{{harvsp|Stuckey, Scott Lindsay|p=122|id=SSL87}}
• Le Lever, 1886, oil on canvas, 65 × 54 cm, collection Durand-Ruel{{harvsp|Stuckey, Scott Lindsay|p=121|id=SSL87}}
• Intérieur à Jersey (Intérieur de cottage), 1886, oil on canvas, 50 × 60 cm, Musée communal des beaux-arts d'Ixelles{{harvsp|Bataille Wildenstein|p=197|id=BW61}}
• Femme s'essuyant, 1886–1887, pastel on paper, 42 × 41 cm, Non localisé{{harvsp|Stuckey, Scott Lindsay|p=127|id=SSL87}}
• Julie avec un chat, 1887, drypoint, 14.5 × 11.3 cm, National Gallery of Art, Washington{{harvsp|Stuckey, Scott Lindsay|p=128|id=SSL87}}
• Nu de dos, 1887, charcoal on paper, 57 × 43 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=129|id=SSL87}}
• Éventail en médaillon, 1887, watercolour on silk fan, private collection{{harvsp|Bataille Wildenstein|p=750|id=BW61}}
• Portrait de Paule Gobillard, 1887, coloured pencil on paper, 27.9 × 22.9 cm, Reader's Digest Association, New York{{harvsp|Stuckey, Scott Lindsay|p=131|id=SSL87}}
• Le Lac du Bois de Boulogne, 1887, watercolour on paper, 29.5 × 22.2 cm, National Museum of Women in the Arts, Washington{{harvsp|Stuckey, Scott Lindsay|p=133|id=SSL87}}
• Fillette lisant (La lecture), 1888, oil on canvas, 74.3 × 92.7 cm, Museum of Fine Arts (St. Petersburg, Florida){{harvsp|Stuckey, Scott Lindsay|p=134|id=SSL87}}
• Jeune Fille dans un parc (Young Girl in a Park), 1888–1893, oil on canvas, 90 × 81 cm, Musée des Augustins, Toulouse
• Berthe Morisot and Julie Manet, c.1888–1890, drypoint, 18.42 x 13.49 cm, Minneapolis Institute of Art, Minneapolis{{Cite web|url=https://collections.artsmia.org/art/7533/berthe-morisot-and-julie-manet-berthe-morisot|title=Berthe Morisot and Julie Manet, Berthe Morisot ^ Minneapolis Institute of Art|website=collections.artsmia.org|access-date=17 February 2018}}
• La Cueillette des oranges, 1889, pastel, 61 × 46 cm, Musée d'art et d'histoire de Provence, Grasse{{harvsp|Bataille Wildenstein|p=542|id=BW61}}
• La Petite Niçoise (The Small Girl from Nice), 1889, oil on canvas, 64 × 52 cm, Musée des Beaux-Arts de Lyon
• Sous l'oranger (Julie), 1889, oil on canvas, 54 × 65 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=142|id=SSL87}}
• L'Île du Bois de Boulogne, 1889, oil on canvas, 68.4 × 54.6 cm, National Gallery of Art, Washington{{harvsp|Stuckey, Scott Lindsay|p=147|id=SSL87}}
• Le Flageolet (Julie Manet et Jeanne Gobillard), 1891, oil on canvas, 56 × 87 cm, private collection{{harvsp|Stuckey, Scott Lindsay|p=152|id=SSL87}}
• Le Cerisier 1891, 1891, oil on canvas, 138 × 88.9 cm, private collection, Washington{{harvsp|Bataille Wildenstein|p=275|id=BW61}}
• Étude pour Le Cerisier, 1891, pastel on paper, 45.7 × 48.9 cm, The Reader's Digest Association{{harvsp|Stuckey, Scott Lindsay|p=155|id=SSL87}}
• Julie Manet avec son lévrier, 1893, oil on canvas, 73× 80 cm, Musée Marmottan-Monet, Paris{{harvsp|Stuckey, Scott Lindsay|p=165|id=SSL87}}
• Les Enfants de Gabriel Thomas, 1894, oil on canvas, 100 × 80 cm, Musée d'Orsay, Paris{{harvsp|Stuckey, Scott Lindsay|p=172|id=SSL87}}
• La Coiffure, 1894, oil on canvas, 100 × 80 cm, Museo Nacional de Bellas Artes (Buenos Aires){{harvsp|Stuckey, Scott Lindsay|p=173|id=SSL87}}
• Jeune fille aux cheveux noirs, 1894, pencil and watercolour, 23.1 × 16.8 cm, Philadelphia Museum of Art, Philadelphia{{harvsp|Stuckey, Scott Lindsay|p=174|id=SSL87}}

File:The Artist's Sister at a Window A16570.jpg|The Artist's Sister at a Window, 1869, National Gallery of Art, Washington D.C.

File:Berthe Morisot, The Sisters, 1869, NGA 42285.jpg|The Sisters, 1869, National Gallery of Art, Washington D.C.

File:Berthe Morisot 001.jpg|Woman and Child on the Balcony (Femme et enfant au balcon), 1872, Artizon Museum, Tokyo

File:Berthe Morisot 008.jpg|The Cradle, 1872, Musée d'Orsay, Paris

File:Berthe Morisot Reading.jpg|L'ombrelle verte, Reading (portrait of Edma Morisot), 1873, Cleveland Museum of Art

File:Berthe Morisot Jeune fille au bal.jpg|Au Bal, 1875, Musée Marmottan-Monet, Paris

File:1875 Morisot Laundry.jpg|Suspendre le linge pour sécher (Hanging the Laundry out to Dry), 1875, National Gallery of Art, Washington D.C.

File:Berthe Morisot - Woman at Her Toilette - 1924.127 - Art Institute of Chicago.jpg|Woman at her Toilette, 1875, The Art Institute of Chicago{{Cite web|last=Morisot|first=Berthe|title=Woman at Her Toilette|url=https://www.artic.edu/artworks/11723/woman-at-her-toilette|access-date=2021-05-24|website=The Art Institute of Chicago|language=en}}

File:Berthe Morisot - Eugène Manet à l'île de Wight.jpg|Eugène Manet on the Isle of Wight, 1875, Musée Marmottan Monet, Paris

File:Psique.berthe.morisot.jpg|La Psyché, 1876, Thyssen-Bornemisza Museum, Madrid

File:Berthe Morisot - Sommertag - 1879.jpeg|Summer's Day (Jour d'été), 1879, National Gallery, London

File:Berthe Morisot Winter aka Woman with a Muff.jpg|Winter aka Woman with a Muff (Hiver), 1880, Dallas Museum of Arts

File:Child among the Hollyhocks - Berthe Morisot - Paris 1863 – 1874- Revolution in der Kunst-9810 (without frame).jpg|Child among the Hollyhocks (Enfant dans les roses trémières), 1881, Wallraf-Richartz Museum, Cologne

File:Morisot TheArtistsDaughterJulieWithHerNanny MIA 9640.jpg|The Artists' Daughter Julie With Her Nanny, c.1884, Minneapolis Institute of Art

File:Girl on Divan ca. 1885 – Berthe Morisot.jpg|Girl on Divan, ca. 1885, National Gallery, London

File:Berthe Morisot - The Cage, 1885.jpg|The Cage, 1885, National Museum of Women in the Arts, Washington D.C.

File:Berthe Morisot The Bath.jpg|The Bath (Girl Arranging Her Hair), 1885–86, Clark Art Institute, Williamstown, Massachusetts

File:Berthe Morisot 003.jpg|In the Dining Room, 1886, National Gallery of Art, Washington D.C.

File:Morisot Jeune fille dans un parc (RO 708).jpg|Young Girl in a Park, 1888–1893, Musée des Augustins, Toulouse

File:Before the Mirror by Berthe Morisot.jpg|Before the Mirror, 1890, Fondation Pierre Gianadda, Switzerland

File:Berthe Morisot - The Flute Player.jpg|Le Flageolet (The Flute Player), 1890, Arkansas Museum of Fine Arts

File:Berthe Morisot - Girl with Greyhound - 1893.jpg|Julie Manet et son Lévrier Laerte, 1893, Musée Marmottan Monet, Paris

File:Berthe Morisot - Bergère nue couchée.jpg|Bergère nue couchée, 1891, Thyssen-Bornemisza Museum, Madrid

File:Two Girls by Berthe Morisot.jpg|Two Girls, 1894, The Phillips Collection, Washington D.C.

Image:Édouard Manet - Le Balcon.jpg|Detail from The Balcony by Édouard Manet, with the portrait of Berthe in the foreground, 1868

Image:Édouard Manet - Le repos.jpg|Berthe Morisot posing for The Rest, 1870, by Édouard Manet

Image:Édouard Manet - Berthe Morisot on a divan.jpg|Berthe Morisot on a divan couch, 1872, by Édouard Manet

Image:Berthe Morisot Manet Lille 2918.jpg|Portrait of Berthe Morisot with a Fan, 1874, by Édouard Manet

Image:Marcellin Desboutin - Portrait Berthe Morisot.jpg|Portrait of Berthe Morisot, 1876, by Marcellin Desboutin

Image:Manet - Berthe Morisot ruhend.jpg|Portrait of Berthe Morisot, 1882, by Édouard Manet

Image:Édouard Manet - Berthe Morisot au soulier rose.jpg|Berthe Morisot au soulier rose, 1872, by Édouard Manet. Hiroshima Museum of Art

Image:Pierre Auguste Renoir - Portrait Berthe Morisot and daughter Julie.jpg|Berthe Morisot and her daughter Julie Manet, 1894, by Pierre-Auguste Renoir

Image:Renoir Berthe Morisot.jpg|Berthe Morisot, 1892, by Renoir

File:Berthe Morisot - After Lunch, 1881.jpg

Morisot's work sold comparatively well. She achieved the two highest prices at a Hôtel Drouot auction in 1875, the Interior (Young Woman with Mirror) sold for 480 francs, and her pastel On the Lawn sold for 320 francs.{{cite book|title=Women, Art, and Society|last1=Chadwick|first1=Whitney|date=2012|publisher=Thames & Hudson Ltd.|isbn=978-0-500-20405-4|edition=5th|location=London|page=235}}{{cite book|title=Berthe Morisot|last1=Higonnet|first1=Anne|date=1990|publisher=Harper & Row, Publishers, Inc.|isbn=0-06-016232-5|location=New York|page=[https://archive.org/details/berthemorisot00higo/page/124 124]|url=https://archive.org/details/berthemorisot00higo/page/124}} Her works averaged 250 francs, the best relative prices at the auction.{{cite book|title=Berthe Morisot: The First Lady of Impressionism|last1=Shennan|first1=Margaret|date=1996|publisher=Sutton Publishing Limited|isbn=0-7509-1226 X|location=Stroud|page=[https://archive.org/details/berthemorisot00marg/page/173 173]|url=https://archive.org/details/berthemorisot00marg/page/173}}

In February 2013, Morisot became the highest priced female artist, when After Lunch (1881), a portrait of a young redhead in a straw hat and purple dress, sold for $10.9 million at a Christie's auction. The painting achieved roughly three times its upper estimate,Kelly Crow and Mary M. Lane (6 February 2013), [https://www.wsj.com/news/articles/SB10001424127887323452204578288883038627820 Christie's Breaks World Record Price for Female Artist] The Wall Street Journal.Ellen Gamerman and Mary M. Lane (18 April 2013), [https://www.wsj.com/news/articles/SB10001424127887324030704578424673474011066?mg=reno64-wsj&url=http%3A%2F%2Fonline.wsj.com%2Farticle%2FSB10001424127887324030704578424673474011066.html Women on the Verge] The Wall Street Journal.Katya Kazakina (14 May 2014), [https://www.bloomberg.com/news/2014-05-14/francis-bacon-portrait-of-companion-fetches-80-8-million.html Billionaires Help Christie's to Record $745 Million Sale] Bloomberg. and it exceeded the 2012 record of $10.7 million for a sculpture by Louise Bourgeois.

She was portrayed by actress Marine Delterme in a 2012 French biographical TV film directed by Caroline Champetier. The character of Beatrice de Clerval in Elizabeth Kostova's The Swan Thieves is largely based on Morisot.{{cite web|url=http://www.bookpage.com/the-book-case/2009/11/17/sneak-peek-elizabeth-kostovas-the-swan-thieves/|title=Sneak peek: Elizabeth Kostova's 'The Swan Thieves'|editor=Trisha Ping|date=17 November 2009|publisher=bookpage.com|access-date=17 March 2012|archive-date=6 November 2019|archive-url=https://web.archive.org/web/20191106142354/https://bookpage.com/the-book-case/2009/11/17/sneak-peek-elizabeth-kostovas-the-swan-thieves/|url-status=dead}}

She was featured as the "A First Impressionist" in an article written by Anne Truitt in the New York Times on 3 June 1990.{{Cite news|url=https://www.nytimes.com/1990/06/03/books/a-first-impressionist.html|title=A FIRST IMPRESSIONIST|last=Truitt|first=Anne|work=The New York Times |date=3 June 1990 |access-date=29 March 2018}}

From Melissa Burdick Harmon, an editor at Biography magazine, "While some of Morisot's work may seem to us today like sweet depictions of babies in cradles, at the time these images were considered extremely intimate, as objects related to infants belonged exclusively to the world of women."

In 2019, the Musée d'Orsay devoted a temporary exhibition to Berthe Morisot to pay tribute to her work.[https://www.musee-orsay.fr/fr/agenda/expositions/presentation/berthe-morisot-1841-1895 Berthe Morisot (1841-1895), from June 18 to September 22, 2019]

• Women artists
• Western painting
• History of painting
• Julie Manet

{{reflist|group=Note}}

{{reflist|20em}}

{{Americana Poster|Morisot, Berthe|Berthe Morisot}}

• {{cite book |last1=Bataille |first1=Marie-Louise |last2=Wildenstein |first2=Georges |title=Berthe Morisot : Catalogue des peintures, pastels et aquarelles |year=1961 |location=Paris |publisher=Les Beaux-Arts |oclc=490107208 |ref=CITEREFBataille_Wildenstein}}
• Denvir, Bernard (1993). The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists. London: Thames & Hudson. {{OCLC|43339405}}
• Higonnet, Anne (1990). Berthe Morisot. New York: Harper & Row.
• Turner, Jane (2000). From Monet to Cézanne: Late 19th-century French Artists. Grove Art. New York: St. Martin's Press. {{ISBN|0-312-22971-2}}
• Manet, Julie, Rosalind de Boland Roberts, and Jane Roberts (1987). Growing Up with the Impressionists: The Diary of Julie Manet. London: Sotheby's Publications.
• Shennan, Margaret (1996). Berthe Morisot: The First Lady of Impressionism. Stroud: Sutton Publishing. {{ISBN|0-7509-2339-3}}

• Barnes, Julian. [https://www.lrb.co.uk/the-paper/v41/n17/julian-barnes/the-necessary-talent "The Morisot Sisters"] London Review of Books, vol. 41, no. 17, 12 September 2019.
• Cohen, Rachel. [https://www.apollo-magazine.com/berthe-morisot-comes-into-her-own/ "Berthe Morisot comes into her own"] Apollo. 6 October 2018.
• Meyers, Jeffrey (2005). Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt. Orlando: Harcourt.
• Mongan, Elizabeth (1960). Berthe Morisot: Drawings, Pastels, Watercolors, Paintings. New York: Tudor Pub. Co. (Charles E. Slatkin Galleries in collaboration with the Museum of Fine Arts, Boston exhibition).
• Rouart, Denis, ed. (1959). The Correspondence of Berthe Morisot with her family and her friends. New York: E. Weyhe. Denis Rouart was the son of Julie Manet and the grandson of Berthe Morisot. "Family Tree", in Greenwald, Diana Seave, ed. Manet: A Model Family. Boston: Isabella Stewart Gardner Museum, p. 101.
• {{cite book |last=Smee |first=Sebastian |author-link=Sebastian Smee |date=2024 |title=Paris in Ruins: Love, War, and the Birth of Impressionism |url= |location= |publisher=W. W. Norton & Company|isbn=978-1-324-00695-4}}
• Stuckey, Charles F. and William P. Scott with the assistance of Suzanne G. Lindsay (1987). Berthe Morisot: Impressionist. New York: Hudson Hill Press.

{{external media | width = 240px | float = right | headerimage=

| video1 = [https://web.archive.org/web/20130304062406/http://smarthistory.khanacademy.org/morisots-mother-and-sister-of-the-artist.html Morisot's The Mother and Sister of the Artist], (3:35)

| video2 = {{YouTube|Lg1ZteCsgkU|Video Postcard: Woman at Her Toilette (1875/80)}}, (1:58) Art Institute of Chicago

}}

• {{Internet Archive author |sname=Berthe Morisot}}
• {{Commons-inline}}
• {{Wikiquote-inline}}
• [http://womenintheactofpainting.blogspot.fr/2012/11/edma-and-berthe.html Edma Morisot, 1865, Berthe Morisot painting at her easel Private collection.]
• [http://www.ibiblio.org/wm/paint/auth/morisot/ Berthe Morisot] at the WebMuseum
• [http://www.thefamousartists.com/berthe-morisot/ Biography of Berthe Morisot]
• {{FrenchSculptureCensus}}
• [https://www.barnesfoundation.org/whats-on/morisot Berthe Morisot: Woman Impressionist] Exhibition at the Barnes Foundation, Philadelphia, 21 October 2018 – 14 January 2019.
• [https://www.musee-orsay.fr/fr/agenda/expositions/presentation/berthe-morisot-1841-1895 Berthe Morisot (1841-1895)] Exhibition at the Musée d'Orsay, Paris, 18 June to 22 September 2019.

{{Berthe Morisot}}

{{Édouard Manet}}

{{Impressionists|state=expanded}}

{{Authority control (arts)}}

{{DEFAULTSORT:Morisot, Berthe}}

Category:Berthe Morisot

Category:1841 births

Category:1895 deaths

Category:Artists from Bourges

Category:19th-century French painters

Category:French Impressionist painters

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Category:19th-century French women painters