But Patry is more concerned to show, quite rightly, through reference to particular works, the impact of Morisot’s strikingly original technique, her brushwork, her palette, and her choice of motif in concentrating upon the ordinary everyday life of her circle of family and friends. She sketchily covers Morisot’s upbringing her taking up painting with her sister Edma their tutelage under the landscape painter Camille Corot (1796–1875) Edma’s relinquishing her interest upon marriage Berthe’s introduction to Édouard Manet her encouragement of him to try out painting in the open air and her marriage to his brother Eugène. The foreword by Sylvie Patry, Curator at the Musee d’Orsay, takes up the first 45 pages, though her words are interspersed with illustrations, and it is probably no longer than a foreword should be. You will also need to read the entire text from cover to cover to find out more about the Villa Ratti, since there is no overall index. What Morisot did in 1887 remains a mystery, along with many other missing years. Shows eleven paintings at the eighth impressionist exhibition. ‘1886: stays and works on the island of Jersey. True, an illustrated time-line is to be found at the back, but it is of limited use, as a brief quotation from it will serve to show: Rey’s book is not for those who have little previous knowledge of Berthe Morisot (1841–95), or the artistic position, as one of the major Impressionist painters, that she holds. She continued to submit and have her work accepted there until 1874, when she made the conscious decision to join the group of renegades – Monet, Cézanne, Pissarro, Sisley, Renoir, Degas and others – and hang her work with them in what would become the first ‘Impressionist’ exhibition. Berthe Morisot’s skill as an artist was swiftly recognized by the salon of the Académie des Beaux-Arts in Paris, who accepted her work as early as 1864 when she was only 23.
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