Morisot, The Cradle

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Morisot, The Cradle발음듣기

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[Steven] We're at the Muse d'Orsay and we're looking at a painting by Berthe Morisot, The Cradle.발음듣기

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[Beth] This is a lovely painting of a baby in a cradle being watched over by her new mother.발음듣기

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[Steven] Her later work is some of the most radical painting in its extraordinary brushwork.발음듣기

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But, this is an early canvas.발음듣기

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[Beth] This was exhibited at the Impressionist exhibition of 1874.발음듣기

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This is an exhibition of the artists who we now call the Impressionists where they exhibited independently from the official art exhibitions in Paris.발음듣기

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But sadly, this painting was little noticed by the press and the public and remained unsold for several years and in the family until 1930.발음듣기

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[Steven] It was extremely difficult to be a female painter at this time and so it's not surprising that her work received little critical attention.발음듣기

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There were some female painters that were successful.발음듣기

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I'm thinking about Rosa Bonheur for example.발음듣기

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But, for the most part, especially women of Morisot's class.발음듣기

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A woman of her level of affluence would have a quite restricted environment in which they could freely move.발음듣기

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Women were expected to largely exist in the domestic sphere.발음듣기

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[Beth] And, that's what we see in the work of so many women artists at the end of the 19th century.발음듣기

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A lack of access to the more typical subjects of modern life, of cafes and bars this was the space that they had access to and that's what they painted.발음듣기

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And, Morisot would go on to paint many beautiful scenes of family life, but this one is especially poignant.발음듣기

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[Steven] What we're seeing is Morisot's sister looking over her daughter and there's a wonderful intimacy.발음듣기

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The child is angelic, draped under that gauzy net.발음듣기

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And, Morisot' sister looks down at her with a gentle concern that is really moving and beautiful.발음듣기

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[Beth] It recalls for me images of Mary holding the Christ child.발음듣기

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But, in those cases Mary holds the Christ child on her lap.발음듣기

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Here we have a very modern domestic setting with a cradle and a lovely interior in the background with the curtain.발음듣기

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And, we have a sense of a modern woman in modern dress.발음듣기

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Her lowered eyelids, the chin that rests on the hand the other arm that comes forward foreshortened across the cradle suggests a contemplation about the serious responsibilities of motherhood.발음듣기

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But also the incredible affection of motherhood.발음듣기

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[Steven] The fact that this is seen worthy as a subject for a painting is also a reflection of the growth of the idea of the middle class family in the 19th century.발음듣기

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That the domestic space was a protected space an insular space.발음듣기

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[Beth] And I think we see that here.발음듣기

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Not only is the child enveloped in that gauzy material but Morisot's sister herself is enclosed.발음듣기

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On one side of her she has the diagonal of that gauze.발음듣기

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Above, another diagonal formed by the curtain.발음듣기

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And, to the left, the edge of the painting.발음듣기

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So, she is also rather locked in to this domestic space.발음듣기

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[Steven] I wanna spend just a moment looking at a brushwork.발음듣기

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Although there are some fine linear passages that are almost drawn, for instance the fine locks of hair that fall down the woman's temple, much of the brushwork is quite loose and anticipates Morisot's later style.발음듣기

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Look, for example, a the pink fringe at the edge of the netting.발음듣기

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Or the way in which the collar of the woman is rendered.발음듣기

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There's a beautiful looseness here that shows Morisot's extraordinary facility with paint.발음듣기

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[Beth] Virtuosity is what comes to mind when I think of Morisot and the handling of paint.발음듣기

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I notice it also in the white touches of paint that form the top of the curtain.발음듣기

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Or even in her sleeve, those quick circular movements of paint that suggest the texture of her dress.발음듣기

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[Steven] And, then there's choices that Morisot makes in terms of where our attention is going to fall.발음듣기

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Look at the way in which the woman's fingers are painted so flatly.발음듣기

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The upper parts of the fingers, which are foreshortened are virtually not articulated at all.발음듣기

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All that she's chosen to give us is the flat plains of the fingers that are exposed directly to us.발음듣기

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[Beth] I love those fingers their slight sense of fidgetiness.발음듣기

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Unfortunately, I think we still have a tendency to discount images of mothers and children to see them nostalgically and sentimentally.발음듣기

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[Steven] And, if we look around the galleries of the d'Orsay almost every painting is by a man.발음듣기

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Morisot is an exception.발음듣기

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And, if we look at auction prices if we look at the art market female artists are still not given their due.발음듣기

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