Berthe MorisotFrankrijk, 1841–1895In the Dining Room
Mag men het zien?
Ja, het ontvangt bezoek
Publiek tentoongesteld.
- Gecontroleerd
- Ongewijzigd sinds
- Bron
- Het museum
Over het schilderij
Dans la salle à manger (Nederlands: In de eetkamer) is een schilderij van de Franse impressionistische kunstschilderes Berthe Morisot, olieverf op doek, 61,3 x 50 centimeter groot, gemaakt in 1886. Het toont een jonge vrouw centraal gepositioneerd in de huiselijke omgeving van een eetkamer. Het schilderij bevindt zich in de collectie van de National Gallery of Art te Washington D.C. en waar het bekendstaat als In the Dining Room.
Gegevens
- Inventarisnummer
- 1963.10.185
Wat het toont
In de catalogus
Bronnen
- National Gallery of Art
- Afbeelding: National Gallery of Art — Museum open access
Intussen, in het leven van Berthe Morisot
Het hele leven1875–1885
Oil, watercolour and pastel at once
Grown more confident in oil, Morisot, like Degas, works in oil, watercolour and pastel at the same time. She paints very quickly but prepares with countless studies, so that she can paint “a mouth, eyes, and a nose with a single brushstroke”.
1885–1887
A turn to drawing: line and form
After 1885 drawing begins to dominate Morisot's work: she experiments with charcoal and coloured pencils and clarifies form and line, influenced by photography and Japonism. Like the Japanese prints of the time, she places objects away from the centre of the composition.
1887–1895
Squaring and tracing paper: the synthesis of her last years
Morisot starts to use squaring and tracing paper to transcribe her drawings exactly onto the canvas, which lets her build compositions with more complicated interaction between figures. Her late works are distinctive for their synthesis of the Impressionist touch with broad strokes and light reflections and the graphic approach of clear lines.
1888–1889
From short strokes to long, sinuous ones
In 1888–89 Morisot's brushstrokes change from short, rapid ones to long, sinuous ones that define form; the outer edges of her paintings are often left unfinished, so that the canvas shows through and increases the sense of spontaneity.
![The Watering Place (Horses Bathing) [L'abreuvoir (chevaux au bain)], Pablo Picasso, 1906](https://api.nga.gov/iiif/bbac782b-88ea-4477-97a5-4369aa47b98a/full/!2400,2400/0/default.jpg)
