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As in almost all her works, Morisot places particular emphasis on the feminine aspect, notably through the choice of motifs and a sensitive representation. The two women occupy the entire foreground, in the boat where they are seated. Visually, Morisot is very close to them and clearly focuses on the
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During the winter of 1878–1879, Morisot had her first child, Julie. The following summer, she walked every day with Julie and her nurse in the Bois de
Boulogne. After a long period spent indoors, it gave her the wish to start painting outdoors again. However, she did not want to leave her child alone
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in her typical
Impressionist style. She applies large amounts of paint using very flexible brush strokes, so that the finished work has fine lines and spots as well as thick spots. The result is an irregular texture of paint, which deviates completely from the smooth structure prescribed by the art
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Morisot gives a spontaneous image of the two women waiting for the boat to be pushed from shore. However, this spontaneity can be described as relative. Her composition is extremely well thought out, as evidenced, among other things, by a watercolor study for this painting, in which she replicates
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The composition, very studied, is based on three planes: in the foreground, the two young women, with the young woman in the light dress being in the center of the painting; the second plane is occupied by water and ducks, and the third plane features the grove of trees in the background.
147:, where Parisians used to escape from their bustling city. Two fashionably dressed women have boarded a boat for a trip. Morisot suggests a fleeting impression and reinforces this idea with small details, such as the carriage with its horses speeding past in the background.
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during the Fifth Great
Impressionist Exhibition, in 1880, along with several other works she produced during the summer of 1879. In fact, for the first time, her paintings were received with plenty of enthusiasm and critics particularly praised her subtle use of color.
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with her nanny for long periods of time. Finally, she found a balance between her maternal duty and her wish to resume her painting, by bringing her models to the park, so she could work there and be with Julie at the same time.
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222:. The painting has been in the National Gallery since 1917. The ownership dispute between the National Gallery and the Dublin gallery was due to be resolved in 2019.
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in London, by two Irish students, Paul Hogan and Billy
Fogarty, while it was on display there. They stole it in order to highlight Ireland's claim to the
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the motif almost identically. The women depicted are not accidental extras either, but professional models. The two women also posed for
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Bomford D, Kirby J, Leighton, J., Roy A. Art in the Making: Impressionism. National
Gallery Publications, London, 1990, pp. 176-181.
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Morisot employed a rather unusual palette in this painting. She painted the dark blue coat of the woman on the left with
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academy of the time. With energetic brushstrokes that fly in all directions, Morisot follows what the light tells her.
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and were painted once again by
Morisot later that summer, also in the Bois de Boulogne, while picking flowers.
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382:"How two Irish students stole a priceless masterpiece from London's Tate Gallery – and got away with it"
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The painting shows a sunny scene by the water, with two young women in a rowing boat. The venue is the
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which was rarely used by the
Impressionists. The green foliage is painted in a mixture of
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45.7 cm Ă— 75.2 cm (18.0 in Ă— 29.6 in)
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238:. It was later recovered after being left anonymously at the Irish Embassy.
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354:"Heist of Hugh Lane painting from Tate gallery framed for big screen"
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Moroney, Mic (Summer 2008). "Impressions from Hugh Lane".
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230:On 12 April 1956, the painting was stolen from the
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202:Ownership of the painting, part of the disputed
269:"Berthe Morisot, Musée Marmottan-Monet, Paris"
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98:) is an oil-on-canvas painting by the French
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301:of B. Morisot, 'A Summer Day', at ColourLex
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680:Paintings in the National Gallery, London
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564:Berthe Morisot with a Bouquet of Violets
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461:The Mother and Sister of the Artist
352:Shortall, Eithne (July 14, 2019).
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485:Eugène Manet on the Isle of Wight
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312:"Morisot, Berthe (1841 - 1895)"
171:psychology of the characters.
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267:Spence, Rachel (1 May 2012).
299:Illustrated pigment analysis
655:Paintings by Berthe Morisot
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16:Painting by Berthe Morisot
588:Berthe Morisot with a Fan
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248:List of stolen paintings
675:Recovered works of art
509:Woman at her Toilette
453:The Harbor at Lorient
533:Young Girl in a Park
314:. The Dublin Gallery
110:. It is held at the
670:Stolen works of art
665:Maritime paintings
517:In the Dining Room
130:Morisot exhibited
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525:La Petite Niçoise
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380:Lonergan, Aidan.
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271:. Financial Times
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552:The Balcony
536:(1888-1893)
512:(1875–1880)
464:(1869-1870)
393:19 November
365:19 November
139:Description
644:Categories
624:(daughter)
591:(1874, by
567:(1872, by
555:(1868, by
544:Portrayals
469:The Cradle
254:References
188:lead white
95:Jour d'eté
64:Dimensions
618:(husband)
480:(c. 1874)
477:In a Park
444:Paintings
359:The Times
198:Ownership
612:(sister)
318:10 April
275:29 March
242:See also
214:and the
184:viridian
102:painter
72:Location
603:Related
122:History
576:Repose
528:(1889)
520:(1886)
504:(1879)
496:(1876)
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220:Dublin
212:London
116:London
80:London
56:Medium
38:Artist
226:Theft
114:, in
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367:2021
341:(2).
320:2020
277:2016
190:and
92:(or
51:1879
48:Year
218:in
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
