gri_2003_m_46_b03_f06_005
- Max. dissimilarity: 0.142
- Mean dissimilarity: 0.088
- Image votes: 0.0
Transcribers
- 65832594 - dixiechicken
- 65933075 - Preacher357
- WINNER - 66045538 - vrooje
- 66065435 - HauteDoy777
- 66131590 - MrComaToes2
- 66151311 - saianjuma1
65832594 - dixiechicken
BERTHE MORISOT AS A SYMBOLISTThe exhibition of Berthe Morisot's work organised by the Arts Council prompted, of course, the usual observations on art and femininity. Eric Newton, speaking for many as usual, wrote in 'The Listener': 'though one could easily deduce her sex without looking at the signature on her pictures, that does not make her a less competent painter though it does make her a less whole-hearted impressionist'. In fact, the non-impressionist undercurrent derives, not from her sex but from her relationship with the contemporary Symbolist movement. She was influenced by the symbolist Gaugin in the early 1890's ('Peasant Girl Lying down', for example) but a more intimate link is with Mallarm'e who christened one of Berthe Morisot's garden conversations 'Le Fable', a title which accents the allusive quality of her art.
'Boats Under Construction' (exhibited at the second Impressionist exhibition) is a painterly notation of thing seen. The portrait of her husband 'Eugene Manet looking out at the Sea from a Window, Isle of Wight' (1875) is also a pure impressionist work. If we compare the tender but sculpturesque 'Young Woman in a Ball Dress' (1879-80) with 'Young Man on a Sofa' (1879) symbolist characteristics in the latter become clear: the empty spaces round the single figure are anxiously evocative and the flowers and fan are favourite images of Mallarm'e. The superb 'Child with her Doll' (1884) reveals strong symbolist attachments with its floating forms disintegrating in a tangible avalanche of light. Colour and light are freed from objective functions in Berthe Morisot's world of 1881-84. This trans-
65933075 - Preacher357
BERTHE MORISOT AS A SYMBOLISTThe exhibition of Berthe Morisot's work organised by the Arts
Council prompted, of course, the usual observation on art and
femininity. Eric Newton, speaking for many as usual, wrote in
'The Listener': 'though one could easily deduce her sex without
looking at the signature on her pictures, that does not mak her
a less competent painter though it does make her a
less whole-hearted impressionist'. In fact, the non-impressionist
undercurrent derives, no from her sex but from her relationship
with the contemperalry Symbolist movement. She was influenced by
the symbolist Gauguin in the early 1890's ('Peasant Girl Lying Down',
for example) but a more intimate link is with Mallarme who christ-
ened one of Berthe Moriset's garden conversations 'Le Fable', a title
which accents the allusive quality of her art.
'Boats Under Construction' (exhibited at the second Impression-
ist exhibition) is a painterly natation of things seem. The per-
trait of her husband 'Eugene Manet looking out at the Sea from a
Window, Isle of Wight' (1875) is also a pure impressionist work.
If we compare the tender but sculpturesque 'Young Woman in a Ball
Dress' (1879-80) with 'Young Women on a Sofa' (1879) symbolist char-
acteristics in the letter become clear; the empty
spaces round the single figures are various evocative and the flowers and fan are favorite
images of Mallarme. The superb 'Child with her Doll' *1884) reveals
strong symbolist attachments with its floating forms disintegrating
in a tangible avalanche of light. Colour and light are freed from
objective functions in Berthe Morisot's work of 1881-84. This trans-
WINNER - 66045538 - vrooje
BERTHE MORISOT AS A SYMBOLISTThe exhibition of Berthe Morisot's work organised by the Arts
Council prompted, of course, the usual observations on art and
femininity. Eric Newton, speaking for many as usual, wrote in
'The Listener': 'though one could easily deduce her sex without
looking at the signature on her pictures, that does not make her
a less competent painter though it does make her a
less whole-hearted impressionist'. In fact, the non-impressionist
undercurrent derives, not from her sex but from her relationship
with the contemporary Symbolist movement. She was influenced by
the symbolist Gauguin in the early 1890s ('Peasant Girl Lying Down',
for example) but a more intimate link is with Mallarme who christ-
ened one of Berthe Morisot's garden conversations 'Le Fable', a title which accents the allusive quality of her art.
'Boats Under Construction' (exhibited at the second Impression-
ist exhibition) is a painterly notation of things seen. The por-
trait of her husband 'Eugene Manet Looking out at the Sea from a
Window, Isle of Wight' (1875) is also a pure impressionist work.
If we compare the tender but sculpturesque 'Young Woman in a Ball
Dress' (1979-80) with 'Young Woman on a Sofa' (1879) symbolist char-
acteristics in the latter become clear: the empty
spaces round the single figure are curiously evocative and the flowers and fan size are favorite
images of Mallarme. The superb 'Child with her Doll' (1884) reveals
strong symbolist attachments with its floating forms disintegrating
in a tangible avalanche of light. Colour and light are freed from
objective functions in Berthe Morisot's work of 1881-84. This trans-
66065435 - HauteDoy777
BERTHE MORISOT AS A SYMBOLISTThe exhibition of Berthe Morisot's work organised by the Arts Council prompted, of course, the usual observations on art and femininity. Eric Newton, speaking for many as usual, wrote in 'The Listener': 'though one could easily deduce her sex without looking at the signature on her pictures, that does not make her a less competent painter though it does make he a less whole-hearted impressionist;. In fact, the non-impressionist undercurrent derives, not from her sex but from her relationship with the contemporary Symbolist movement. She was influenced by the symbolist Gauguin in the early 1890s ('Peasant Girl Lying Down', for example) but a more intimate link is with Mallarme who christened one of Berthe Morisot's garden conversations 'Le Fable,' a title which accents the allusive quality of her art.
'Boats Under Construction' (exhibited at the second Impressionist exhibition) is a painterly notation of things seen. The portrait of her husband 'Eugene Manet looking out at the Sea from a Window, Isle of Wich' (1875) is also a pure impressionist work. If we compare the tender but sculpturesque 'Young Woman in a Ball Dress' (1879-80) with 'Young Woman on a Sofa' (1879) symbolist characteristics in her faith become clear: the empty spaces round the single figure are curiously evocative and the flowers and fan are favorite images of Mallarme. The superb 'Child with her Doll' (1884) reveals strong symbolist attachments with its floating forms disintegrating in a tangible avalanche of light. Colour and light are freed fro objective functions in Berthe Morisot's work of 1881-84. This trans-
66131590 - MrComaToes2
BERTHE MORISOT AS A SYMBOLISTThe exibition of Berthe Morisot's work organized by the Arts Council prompted, of course, the usual observations on art and femininity. Eric Newton, speaking for many as usual, wrote in 'The Listener': 'though one could easily deduce her sex without looking at the signature on her pictures, that does not make her a less competent painter though it does make her a less whole-hearted impressionist'. In fact the non-impressionist undercurrent derives, not from her sex but from her relationship with the contemporary Symbolist movement. She was influenced by the symbolist Gauguin in the early 1890's ('Peasant Girl lying Down' , for example) but a more intimate link is with Mallarme' who christ-ened one of Berthe Morisot's garden conversations 'le Fable', a title which accents the allusive quality of her art.
'Boats Under Construction' (exhibited at the second Impression-ist exhibition) is a painterly notation of things seen. The por-trait of her husband 'Eugene Manet looking out at the Sea from a window, Isle of Wight' (1875) is also a pure impressionist work. If we compare the tender but scupturesque 'Young Woman in a Ball Dress' (1879-80) with 'Young Woman on a Sofa' symbolist char- acteristics in the latter become clear: The empty spaces around the single figure are curiously evocative and the flowers and fan are favorite images of Mallarme'. The superb 'Child with her Doll' (1884) reveals strong symbolist attachments with it's floating forms disintegrating in a tangible avalanche of light. Colour and light are freed from objective functions in Berthe Morisot's work of 1881-84. This trans-
66151311 - saianjuma1
BERTHE MORISOT AS A SYMBOLISTThe exhibition of Berthe Morisot's work organised by the Arts Council prompted, or course, the usual observations on art and femininity. Eric Newton, speaking for many an usual, wrote in
"The Listener': 'though one could easily deduce her sex without looking at the signature on her pictures, that does not make her a less whole-heart [whole heart crossed out] competent painter though it does make her a less whole-hearted impressionist'. In fact, the non-impressionist undercurrent derives, not from her sex but from her relationship with the contemporary Symbolist movement. She was influenced by the symbolist Gauguin in the early 1890s ('Peasant Girl Lying Down', for example) but a more intimate link is with Mallarm'e who christened one of Berthe Morisot's garden conversations 'Le Fable', a title which accents the allusive [sp.] quality of her pictures (crossed out pictures) art.
'Boats Under Construction' (exhibited at the second Impressionist exhibition) is a painterly notation of things seen. The portrait of her husband 'Eugene Manet looking out at the Sea from a Window, Isle of Wight' (1875) is also a pure impressionist work. If we compare the tender but sculpturesque 'Young Woman in a Ball Dress' (1879-80) with 'Young Women on a Sofa' (1879) symbolist characteristics in the latter become clear: [crossed out] the comparison emphasises [\crossed out] the empty spaces round the single figure are curiously evocative (added) and the flowers and fan are favorite images of Mallarm'e. The superb 'Child with her Doll' (1884) reveals strong symbolist attachments with its floating forms disintegrating in a tangible avalanche of light. Colour and light are freed from objective functions in Berthe Morisot's work (added) of 1881-84. This trans-