Jeune Fille au Manteau Vert by Berthe Morisot
Jeune Fille au Manteau Vert by Berthe Morisot Jeune Fille au Manteau Vert by Berthe Morisot Jeune Fille au Manteau Vert by Berthe Morisot
Jeune Fille au Manteau Vert by Berthe Morisot

Jeune Fille au Manteau Vert by Berthe Morisot

  • Berthe Morisot was the only female French Impressionist when the group first exhibited in 1874
  • Morisot's drawings, watercolors and oils are in all of the major museums
  • The drawing study for this oil is in the Lehman collection of the Metropolitan Museum of Art
  • Morisot’s favorite subjects were the young women of her social class
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Item No. 30-1593
$2,685,000
description
specifications
description
Berthe Morisot
1841-1895 | French

Jeune Fille au Manteau Vert
(Girl in a Green Coat)  

Signed with atelier stamp in lower right
Oil on canvas

In the entire world of 19th century French art, one woman towers above all others, and that is Berthe Morisot. Morisot was the only female Impressionist artist when the group first exhibited in 1874 and she was also perhaps the most loyal Impressionist of all of her contemporaries, exhibiting in all but one of the Impressionist exhibitions.

Morisot's drawings, watercolors and oils are in all of the major museums including the Metropolitan Museum of Art, The J Paul Getty, The Louvre and the Musee D’Orsay. Morisot was wealthy, and for her painting was a passion and not a necessity. Because of this her oeuvre is selective and her works extremely difficult to acquire.

Jeune Fille Au Manteau Vert (Girl in a Green Coat) is a quintessential Morisot piece with soft colors punctuated with jewel tones. The young woman is portrayed in her stylish verdant coat and appears to be either just arriving or leaving Morisot’s Parisian apartment on rue Weber. The model was Marthe, a young Russian neighbor, and another oil depicting her, Young Women at their Toilet, by Morisot is in the famed Phillips Museum Collection in Washington DC.

Morisot’s favorite subjects were the young women of her social class and she limited her works to interiors and domestic scenes of the Parisian elite. The great majority of her works were either done in pencil or watercolor. To find a major oil in this monumental size is truly extraordinary. In addition, this one was painted at the height of Morisot's fame in 1894, when she had already achieved recognition as an impressionist and was incredibly popular and respected in those circles. At this point in her career Morisot painted not for commission or pay, but for her own enjoyment and satisfaction.

The drawing study for this oil is in the Lehman collection of the Metropolitan Museum of Art. It is obvious that Morisot considered Jeune Fille Au Manteau Vert an important oil because she did two small watercolors and the Lehman collection drawing preparing for it. This painting is also illustrated in numerous books including the Wildenstein catalog raisonne and has been included in major museum retrospective’s of Morisot’s work at the Birmingham Museum of art and The North Carolina Museum of Art.

Morisot created art that was inseparable from her life. Her career coincided with the explosion of impressionism in Paris at the end of the 19th century and she was one of the few women in the exclusive circle of close-knit male impressionists. She had an extraordinary relationship with Edouard Manet and both artists’ work was highly influenced by the other.

Morisot’s work allows us, over a century later, access to the very private world of women during the Victorian era. Her paintings are personal and sensitive, revealing the deep bonds between women and their children. Though she died tragically young, at fifty-four, due to complications from pneumonia, her artistic influence was long-lasting.

The majority of Morisot's paintings are in major museums and the few that are in private collections are rarely available for acquisition. It is important to know that recently two Morisot portraits, both smaller than ours, sold in auction for unprecedented amounts. Auction results show that in 16 years this artist's works appreciated 150%.This is a once in a lifetime opportunity to own a rare, exceptional, and stunning portrait by this renowned artist.

1894

Canvas 45 7/8” high X 32 1/8”wide
Frame 55” high x 41”wide

Provenance:
Julie Manet Rouart (Madame Ernest Rouart), Paris
Miss Clarica Davidson, London
J. Clements, London
Roland, Browse & Delbanco, London
E.V. Thaw & Co., New York
Private Collection, New York
Stephen Hahn, New York
Private Collection, Houston
Valley House Gallery, Dallas
Private Collection, Dallas

Artist Exhibitions:
Marlborough Fine Art, London, A Great Period of French Painting, 1963
North Carolina Museum of Art, Raleigh, Women, 1972
Birmingham Museum of Art, Birmingham, Alabama, The Enchantress: Berthe Morisot, 1973

Reference:
Berthe Morisot, 1933, M. Angoulvent, on p. 147, no. 570
Berthe Morisot, 1960, E. Mongan
Berthe Morisot: Catalogue des Peintures, Pastels et Aquarelles, 1961, M.L. Bataille and G. Wildenstein
Women, catalogue to the exhibition, 1972
The Enchantress: Berthe Morisot, catalogue to the exhibition, 1973, E.F. Weeks
Berthe Morisot, 1841-1895, Catalogue Raisonne de l'Oeuvre Peint, 1997, A. Clairet, D. Montlant, and Y. Rouart
specifications
Artist: Morisot, Berthe
Framed: 41"W x 55"H
Unframed: 32 1/8"W x 45 7/8"H
Period: 1815-1918
Origin: France
Subject: Portrait
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