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Berthe Morisot Femme Impressionniste

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Berthe Morisot Femme Impressionniste Berthe Morisot Femme impressionniste 0316 BertheMorisot_interior MASTER kj.indd 1 3/30/18 3:45 PM Berthe Morisot Femme impressionniste Essais de Cindy Kang, Marianne Mathieu, Nicole R. Myers, Sylvie Patry et Bill Scott 2 0316 BertheMorisot_interior MASTER kj.indd 2-3 3/30/18 3:45 PM 7 Avant-propos 9 Remerciements 13 Note au lecteur 15 Introduction Berthe Morisot « ambiguïtés stimulantes » Sylvie Patry Essais 53 Une artiste en devenir Marianne Mathieu 77 « La nouveauté extrême, ou les choses du passé » Morisot et la femme moderne Nicole R. Myers 117 Morisot sur le seuil Cindy Kang 147 Peintre pour peintres Bill Scott 187 Berthe Morisot (1841-1895) Chronologie Amalia Wojciechowski 220 Berthe Morisot : expositions tenues de son vivant et posthume (1896) 232 Liste des œuvres exposées 235 Bibliographie 242 Index 246 Crédits photographiques 4 0316 BertheMorisot_interior MASTER kj.indd 4-5 3/30/18 3:45 PM AVANT-PROPOS Berthe Morisot, femme impressionniste retrace le parcours exceptionnel d’une peintre qui, en dépit des usages de son temps et de son milieu, est devenue une importante figure du monde de l’art parisien dans la seconde moitié du XIXe siècle. Berthe Morisot (1841-1895) a fait partie des fondateurs et des membres les plus dévoués du groupe impressionniste. Elle était d’ailleurs reconnue à l’époque comme une des artistes les plus novatrices et audacieuses au sein du mouvement. Aujourd’hui, elle reste pourtant moins connue que ses contemporains avant-gardistes. Bien que la popularité des impressionnistes français ait favorisé la prolifération des expositions consacrées à Claude Monet, Edgar Degas, Pierre- Auguste Renoir et Camille Pissarro, plus de trente ans se sont écoulés depuis la dernière exposition monographique sur Berthe Morisot aux États-Unis. Peut-être plus surprenant encore, aucune exposition individuelle ne lui a jamais été consacrée au Canada, et la der- nière présentée dans un musée national en France, son pays d’origine, remonte à 1941. Cette exposition organisée par le Musée national des beaux-arts du Québec, la Fondation Barnes, le Dallas Museum of Art et le Musée d’Orsay vient combler cette lacune. Elle met en lumière et réaffirme le rôle de Morisot en tant que personnalité incontournable de l’avant-garde parisienne, de la fin des années 1860 jusqu’à sa mort en 1895. Pour l’occasion, nous avons rassemblé plus de soixante-dix des meilleurs tableaux de l’artiste, provenant de collections publiques et privées, dans le but de présenter Morisot sous un jour nouveau. Cette exposition internationale d’envergure met de l’avant ses tableaux de figures et ses portraits, qui permettent d’examiner le rôle déterminant de l’artiste dans le développement de l’art moderne à Paris. Peindre d’après modèle constitue pour Morisot un moyen d’explorer plusieurs thématiques de la vie moderne caractéris- tiques de l’impressionnisme, comme l’intimité de la vie bourgeoise de l’époque, le goût de la villégiature et des jardins, l’importance de la mode et le travail domestique féminin, mais aussi de brouiller les frontières entre intérieur/extérieur, privé/public ou fini/non-fini. Selon Morisot, la peinture doit s’efforcer de fixer ce qui par nature est éphémère : des moments fugaces de lumière et de mouvement. Peignant divers sujets tirés de sa vie quotidienne avec une touche rapide et une grande virtuosité, elle explore essentiellement la temporalité de son époque et de la représentation en soi. Ce projet d’exposition a pris plusieurs directions au fil des années, à mesure que se sont ajoutés des partenaires, du Musée national des beaux-arts du Québec à la Fondation Barnes et au Dallas Museum of Art, puis au Musée d’Orsay, à Paris. Nous tenons à exprimer 6 Cat. 16 (détail) 7 0316 BertheMorisot_interior MASTER kj.indd 6-7 3/30/18 3:45 PM toute notre reconnaissance aux commissaires de l’exposition : Sylvie Patry, conserva- REMERCIEMENTS trice en chef et directrice de la conservation et des collections du Musée d’Orsay, et commissaire invitée à la Fondation Barnes, qui a lancé le projet avec le Musée national des beaux-arts du Québec en 2015, et Nicole R. Myers, conservatrice Lillian et James H. Clark de la peinture et de la sculpture européennes au Dallas Museum of Art, qui s’est Un projet de cette envergure n’aurait pas été possible sans l’appui de nombreuses personnes. jointe à l’équipe au début de 2016. Elles ont permis à cet ambitieux projet de voir le jour et Nous tenons à exprimer notre profonde reconnaissance à André Gilbert, conservateur aux mis à contribution leurs connaissances sur cette peintre impressionniste révolutionnaire. expositions du Musée national des beaux-arts du Québec, qui a piloté la préparation et la Nous souhaitons également remercier André Gilbert, conservateur aux expositions du présentation de cette exposition à Québec. Nous souhaitons aussi remercier sincèrement Musée national des beaux-arts du Québec, qui a coordonné avec diligence et efficacité la Eliza Bjorkman, adjointe à la conservation et coordonnatrice des expositions à la Fondation présentation de cette exposition. Barnes, pour son travail assidu et son engagement indéfectible. Notre gratitude va éga- Dans la foulée des progrès considérables réalisés par les expositions Berthe Morisot : lement à Cindy Kang, conservatrice adjointe à la Fondation Barnes, pour son rôle décisif Impressionist, présentée à Washington, DC, à South Hadley, Massachusetts et à Fort Worth, dans les dernières phases du projet et pour l’essai qu’elle signe dans le présent ouvrage. Texas en 1987, et Berthe Morisot (1841-1895), qui s’est tenue à Lille et à Martigny en 2002, Nous remercions chaleureusement Amalia Wojciechowski, qui a travaillé avec diligence, cette exposition cherche à rétablir la reconnaissance que Morisot a connue de son vivant, bonne humeur et détermination à titre d’assistante de recherche pour l’exposition, en celle d’une artiste originale et avant-gardiste qui, contre toute attente, a façonné la trajec- plus de contribuer à la chronologie et à l’annexe publiées dans cet ouvrage, de même que toire de l’art moderne en France. En mettant en lumière ses réalisations artistiques, spécia- Monique Nonne pour ses recherches supplémentaires. Notre reconnaissance va également lement en ce qui a trait à la représentation de la vie moderne, nous souhaitons conforter à Antoine Rauffet, Marc Rauffet, Françoise Rouart et Yves Rouart pour leur soutien géné- la place qu’elle occupe dans le canon des grands artistes français et préserver son héritage reux et enthousiaste du début à la fin de ce projet d’exposition. pour les générations à venir. Nous saluons la précieuse contribution des autres auteurs de cette publication, Marianne Mathieu et Bill Scott. Nous tenons également à remercier les collègues suivants Line Ouellet Directrice et conservatrice en chef de la Fondation Barnes pour leur contribution à la réalisation de ce livre magnifique : Kerry Musée national des beaux-arts du Québec Annos, responsable des ressources visuelles; Antigone Delton, stagiaire aux publications; Johanna Halford-MacLeod, éditrice-conseil; Susan Larsen, réviseure de manuscrits; Susan Thom Collins Perry, bénévole aux publications; Sophy Schulman, bénévole aux publications; Damion Directeur général et président Neubauer Family Fondation Barnes Searls, traducteur; et surtout Hannah White, ancienne rédactrice adjointe, qui a coor- donné la publication avec une patience et une application inépuisables. Au Musée national Agustín Arteaga des beaux-arts du Québec, nous remercions Catherine Morency, éditrice déléguée, qui a Directeur Eugene McDermott Dallas Museum of Art judicieusement supervisé l’édition de la version française du catalogue. Nous sommes éga- lement redevables à la formidable équipe de Rizzoli International Publications : Margaret Laurence des Cars Rennolds Chace, éditrice associée; Ellen Cohen, éditrice; Charles Miers, éditeur; et Glenn Présidente Suokko, concepteur graphique. Établissement public des musées d’Orsay et de l’Orangerie Nous sommes en outre reconnaissants envers ces collègues qui nous ont apporté Février 2018 une aide inestimable : Scott Allan, Susanna Allen, Colin Bailey, Joseph Baillio, Anica Beil, Lara Daly, Katherine Drake, Jeremiah Evarts, Susanna Fergusson, Vanessa Fusco, Deborah Gage, Laura Guarisco, Alan Hobart, Alexandra Hofman, Eik Kahng, Maria Los, Laurence Madeline, Rebecca Michelman, Steven Platzman, Joseph Rishel, Jane Roberts, Julie Rouart, Rudolf Schillinger, Susanne Schroder-Rossini, Howard Shaw, Leah Sheehan, Amanda Shore, 8 9 0316 BertheMorisot_interior MASTER kj.indd 8-9 3/30/18 3:45 PM Charles Stuckey, Jennifer Thompson, Gary Tinterow, Jay Vincze et Madrid; Kristen A. Shepherd, directrice générale du Museum of Gadoury, responsable de l’action culturelle; Chantal Germain, contenu visuel; Beth CreMeens, stagiaire diplômée Dedo et Barron Joanie Young. Fine Arts de St. Petersburg, en Floride; Gabriele Finaldi, directeur, coordonnatrice des services aux membres et du bénévolat; André Kidd McDermott en art européen; Kimberly Daniell, responsable Nous tenons à saluer avec gratitude le généreux appui reçu Caroline Campbell, directrice du département de conservation Gilbert, conservateur aux expositions; Anne-Josée Lacombe, res- principale des communications, des affaires publiques et des médias des prêteurs suivants, sans qui cette exposition n’aurait pu voir Jacob Rothschild, Christopher Riopelle, conservateur des peintu- ponsable de la médiation numérique; Andréanne Lesage, respon- sociaux; Aubrey DeZego, directrice des dons institutionnels; le jour
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