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Art market
Morisot's work sold comparatively well. She achieved the two highest prices at a Hôtel Drouot auction in 1875, the Interior (Young Woman with Mirror) sold for 480 francs, and her pastel On the Lawn sold for 320 francs. Her works averaged 250 francs, the best relative prices at the auction.
In February 2013, Morisot became the highest priced female artist, when After Lunch (1881), a portrait of a young redhead in a straw hat and purple dress, sold for $10.9 million at a Christie's auction. The painting achieved roughly three times its upper estimate, and it exceeded the 2012 record of $10.7 million for a sculpture by Louise Bourgeois.
Legacy
She was portrayed by actress Marine Delterme in a 2012 French biographical TV film directed by Caroline Champetier. The character of Beatrice de Clerval in Elizabeth Kostova's The Swan Thieves is largely based on Morisot.
She was featured as the "A First Impressionist" in an article written by Anne Truitt in the New York Times on June 3, 1990.
From Melissa Burdick Harmon, an editor at Biography magazine, "While some of Morisot's work may seem to us today like sweet depictions of babies in cradles, at the time these images were considered extremely intimate, as objects related to infants belonged exclusively to the world of women."
In 2019, the Musée d'Orsay devoted a temporary exhibition to Berthe Morisot to pay tribute to her work.
Exhibition
See also
Women artists
Western painting
History of painting
Julie Manet
Notes
References
Sources
Bataille, Marie-Louise; Wildenstein, Georges (1961). Berthe Morisot : Catalogue des peintures, pastels et aquarelles. Paris: Les Beaux-Arts. OCLC 490107208.
Denvir, B. (2000). The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists. London: Thames & Hudson. OCLC 43339405
Higonnet, Anne (1995). Berthe Morisot. Berkeley: University of California Press. ISBN 0-520-20156-6
Turner, J. (2000). From Monet to Cézanne: late 19th-century French artists. Grove Art. New York: St Martin's Press. ISBN 0-312-22971-2
Manet, Julie, Rosalind de Boland Roberts, and Jane Roberts. Growing Up with the Impressionists: The Diary of Julie Manet. London: Sotheby's Publications, 1987
Shennan, Margaret (1996). Berthe Morisot: The First Lady of Impressionism. Stroud: Sutton Publishing. ISBN 0-7509-2339-3
External links
Works by or about Berthe Morisot at the Internet Archive
Media related to Berthe Morisot at Wikimedia Commons
Quotations related to Berthe Morisot at Wikiquote
Edma Morisot, 1865, Berthe Morisot painting at her easel Private collection.
Berthe Morisot at the WebMuseum
Biography of Berthe Morisot
Berthe Morisot in American public collections, on the French Sculpture Census website
Boccaccio Boccaccino (c. 1467 – c. 1525) was a painter of the early Italian Renaissance, belonging to the Emilian school. He is profiled in Vasari's Le Vite delle più eccellenti pittori, scultori, ed architettori (or, in English, Lives of the Most Excellent Painters, Sculptors, and Architects).
He was born in Ferrara and studied there, probably under Domenico Panetti. Few facts of his life are known. His principal artistic activity was in Venice, Ferrara, and especially in Cremona, where he founded a school in which Garofalo was a pupil.
His most celebrated achievement is the frescoes in the Cathedral of Cremona (1506–1519) representing the Birth of the Virgin and some subjects from her life. His position there was taken over by Altobello Melone. His remaining works, which include the Marriage of Saint Catherine (Gallerie dell'Accademia, Venice), the Virgin and Child with Four Saints (Venice, San Giuliano), the Virgin and Two Saints (Cremona, San Quirilo), and the Holy Family (Paris, Louvre), are considered by Lanzi remarkable for richness of drapery, variety of color, spirit and grace of attitude, and harmony of landscape. Several works formerly attributed to Pietro Perugino, Pinturicchio, and Garofalo are now ascribed to Boccaccino.
Boccaccino died in Cremona. His son and pupil Camillo Boccaccino (1501–46) was a painter active in Cremona.
Paintings by Boccaccino are in the Milwaukee Art Museum, Museum of Fine Arts (Budapest), the Uffizi and National Museum of Art of Romania (Bucharest).
Sources
This article incorporates text from a publication now in the public domain: Gilman, D. C.; Peck, H. T.; Colby, F. M., eds. (1905). New International Encyclopedia (1st ed.). New York: Dodd, Mead. {{cite encyclopedia}}: Missing or empty |title= (help)
Bon Boullogne (French pronunciation: [bɔ̃ bulɔɲ]; bapt. February 22, 1649 – May 17, 1717) was a French painter.
Biography
Boullogne was born in Paris, a son of the painter Louis Boullogne; he was regarded as the most gifted of his children. He took his first lessons from his father, whom he is thought to have assisted in the Grande Galerie of the Louvre. Through his father, who presented a half-length figure of St John by Bon to Jean-Baptiste Colbert, Contrôleur Général des Finances, he was sent to the Académie de France in Rome as a Pensionnaire du Roi. In this capacity, he made copies of famous works, in particular some frescoes by Raphael in the Vatican Loggie, intended for reproduction as Gobelins tapestries. The period he then spent in Lombardy helped to complete his training. He studied the work of Antonio da Correggio and the Annibale Carracci, as well as Guido Reni, Domenichino and Francesco Albani. Bon’s painting, especially the mythological work, shows great affinities with the work of the Bolognese school, which was also to be found in the royal collections. Also of influence to Bon was Nordic art, as demonstrated in his female portraits framed by plant like motifs, a device taken up by his pupil Robert Tournières. He died in Paris.
Paintings
Tobias fighting his father (c 1705), Palais des Beaux-Arts de Lille
Jephtha's Daughter, Saint Petersburg, Hermitage Museum
Saint Nicolas ressucitant les enfants, Montauban, Le Musée Ingres
Emigration des Tectosages, Toulouse, Musée des Augustins
Zéphyr et Flore, Musée des Beaux-Arts de Rouen
Le Lavement de pieds, Dijon; Musée des beaux-arts
Le Triomphe d'Amphitrite, Dijon, Musée Magnin
L'enlèvement de Proserpine, Lisieux, Musée d'art et d'histoire de Lisieux
Pan et Syrinx, Lisieux, Musée d'art et d'histoire de Lisieux
Deux anges portant des instruments de musique, Versailles, Musée national du château et des Trianons
Junon et Flore, Versailles, Musée national du château et des Trianons
Hercule combat les centaures, Paris, Louvre
La mort de Saint Ambroise, Paris, Louvre
Students
Nicolas Bertin
Pierre-Jacques Cazes
Joseph Christophe
François Hutin
Sébastien Leclerc
Charles Parrocel
Jean Raoux
Jean-Baptiste Santerre
Louis de Silvestre
Robert Tournières
References
Further reading
Blumer, Marie-Louise (1954). "Boulogne ou Boullongne". In Prevost, Michel; Roman d'Amat, Jean-Charles (eds.). Dictionnaire de biographie française (in French). Vol. 6. Paris: Letouzet et Ané. cols. 1370–1372.
Blunt, Anthony (1973). Art and Architecture in France, 1500 to 1700. Harmondsworth; New York: Penguin Books. ISBN 0-14-056104-8. OCLC 1147992003 – via the Internet Archive.
Caix de Saint-Aymour, Amédée (1919). Les Boullongne (in French). Paris: H. Laurens – via Gallica.
Dezallier d'Argenville, Antoine Joseph (1762) [1745]. Abregé de la vie des fameux peintres. Vol. 4. Paris: De Bure l'aîné. pp. 243–252. OCLC 1038747111 – via the Internet Archive.
Guicharnaud, Hélène (1996a). "Boullogne". In Turner, Jane (ed.). The Dictionary of Art. Vol. 4. New York: Grove's Dictionaries. pp. 534–538. ISBN 1-884446-00-0. OCLC 1033646743 – via the Internet Archive.
Guicharnaud, Hélène (1996b). "Boullogne (Boullongne; Boulogne)". In Kasten, Eberhard (ed.). Allgemeines Künstlerlexikon. Vol. 13. München, Leipzig: Saur. pp. 340–343. ISBN 3-598-22753-1.
Mérot, Alain (1995) [1994]. French Painting in the Seventeenth Century [La peinture française au XVIIe siècle]. New Haven, London: Yale University Press. ISBN 9780300065503. OCLC 983926912 – via the Internet Archive.
Stein, Henri [in French] (1910). "Boullogne, Bon". In Thieme, Ulrich; Becker, Felix (eds.). Allgemeines Lexikon der bildenden Kunstler. Vol. 4. Leipzig: W. Engelmann. pp. 449–450. OCLC 1039507204 – via the Internet Archive.
Bonifacio Bembo, also called Bonfazio Bembo, or simply just Bembo, was a north Italian Renaissance artist born in Brescia in 1420. He was the son of Giovanni Bembo, an active painter during his time. As a painter, Bonifacio mainly worked in Cremona. He was patronized by the Sforza family and was commissioned to paint portraits of Francesco Sforza and his wife Bianca Maria Visconti. Scholars have credited him as the artist who produced a tarot card deck for the Visconti-Sforza families, now held in the Cary Collection of Playing Cards at Yale University. In the past century, art historians have begun to question the authenticity of his works, believing his only two secure works to be the portraits of Francesco and Bianca Maria Sforza. He is believed to have died sometime before 1482.
Biography
Bonifacio Bembo was born in Brescia, Italy in 1420 to an Italian family of painters. He was the son of Giovanni Bembo, a painter active in Cremona from 1425 to 1449. His brothers Benedetto and Andrea were also painters active in the areas of Cremona and Parma. Bonifacio also had a nephew named Giovanni Francesco Bembo who became a painter. In all, there are thought to be nine artists with the last name Bembo who were active in Cremona from 1425 until the early 1600s. Based on letters written by Bembo, he claimed to be a supporter of the Francesco Sforza in 1447 following the death of Filippo Maria Visconti, the Duke of Milan. Sforza eventually became Duke of Milan in 1450 and because of the support Bembo had shown him a few years prior, commissioned him to many works. On April 23, 1474, Galeazzo Sforza, the Duke of Milan, granted Bembo and his descendants Milanese citizenship. The patronage of the Sforza family continued until 1477 when Bembo seems to disappear from the historical record.
Works
Bonifacio was active between 1447 and 1478. He painted portraits, frescoes, biblical scenes, and also designed tarot cards. He is known for the frescoes found in the ducal chapel of the Castello Sforzesco in Milan. He also painted portraits of Francesco Sforza and his wife Bianca Maria Visconti. These portraits hang in the church of Sant'Agostino in Cremona.
His earliest attributed work is the Cavalcabò chapel in the same Sant'Agostino. Giovanni Cavalcabo paid for the decoration of the chapel in 1447 and it took approximately five years to complete. Strangely, there is no connection between Bembo and the chapel; however, following the publication of Wittgen in 1936, the chapel has been attributed to him. While painting the decorations of the chapel, Bembo showed fine style demonstrating the influence of Michelino da Besozzo and the Zavattari brothers. The frescoes in the chapel depict Evangelists and the coronation of Christ and the Virgin. Bright colors illuminate the frescoes while all of the figures are drawn using thin, curving lines.
He painted an altarpiece commemorating the wedding day, October 25, of Bianca and Francesco Sforza for their chapel in Sant'Agostino in 1462. Yet he had still not been paid for the altarpiece by 1469. Bembo also painted the altarpiece of Cremona Cathedral in 1467.
Upon the succession of Galeazzo Maria Sforza in 1466, Bembo's work for the Sforza family increased. In 1468 the Sforzas sent him to Pavia where he worked for three years. While there, he painted secular decorations depicting the Duke and Duchess hunting and dining. In the summer of 1472 he began to work on a votive chapel of St Mary outside Vigevano with Leonard Ponzoni at the behest of Galeazzo Sforza.
In 1460, Bembo was commissioned by Francesco Sforza to paint a portrait of him and his wife. The portraits originally hung on pillars outside of the chapel of SS Daria and Grisante, again in the church of Sant'Agostino of Cremona. They were then transferred onto canvas and moved inside the chapel itself where they both hang today. The well-preserved and detailed head of Francesco Sforza demonstrates that Bembo was a competent portrait painter. The details of Francesco's mole on his cheek, his chin folds, and his pursed lips were all captured with shadowy lines and demonstrate the competence of Bembo as an artist.