In a Park - Berthe Morisot
Archival giclée
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Description
A delicate Impressionist pastel by Berthe Morisot, capturing a quiet, sun-dappled moment in a garden with a woman and children.
Berthe Morisot, a central figure in the Impressionist movement, produced this work using pastel on paper. The medium allows for a soft, immediate quality that captures the fleeting nature of light and movement within a domestic setting. Morisot frequently turned her gaze toward the private lives of women and children, often using her own family as subjects. This composition depicts a quiet moment in a garden, where a woman sits in the tall grass with a young child, accompanied by a small dog and a standing child nearby.
The palette relies on various shades of green to define the foliage, contrasted against the dark dress of the seated figure. Morisot employs quick, light strokes to suggest the texture of the grass and the dappled light filtering through the trees. The lack of rigid outlines is characteristic of her mature style, where form is built through colour and tone rather than line. The composition is informal, reflecting the spontaneity of the Impressionist approach to everyday life.
Morisot was one of the few women to exhibit regularly with the Impressionists, and her work is noted for its technical skill and sensitivity to light. By choosing pastel, she achieved a delicate surface that retains the freshness of a sketch while maintaining a complete sense of atmosphere. The scene avoids grand narratives, focusing instead on the quiet observation of a summer afternoon. The presence of the dog and the discarded net adds a sense of narrative ambiguity, suggesting a pause in play or a moment of rest. This print captures the texture of the original paper and the layered application of the pastel medium, providing a clear view of the artist's hand and her approach to capturing light in a natural environment.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
In a Park - Berthe Morisot
Artist Biography
Berthe Morisot
She was born in Bourges in 1841. Her parents built a studio in the family garden for Berthe and her sister Edma, who was equally talented. Edma abandoned painting when she married a naval officer in 1869. Berthe, having lost her collaborator, held on harder. She exhibited ten works at the first Impressionist exhibition in 1874, the only woman showing. She participated in every Impressionist show except 1879, the year her daughter Julie was born.
Edouard Manet painted her portrait repeatedly before she married his brother Eugene in 1874. She had sworn to stay single. Eugene gave up his own painting ambitions so she could pursue hers. Whatever the nature of her relationship with Edouard, it produced some of his finest portraits and left a subject that art historians have been circling for over a century.
She painted the domestic world of women with a directness that the male Impressionists could not access: mothers and daughters, women at their toilette, the garden, the drawing room. The brushwork is rapid and unfinished-looking, more so than Monet's. She died of pneumonia in 1895, aged fifty-four, caught while nursing her daughter through the same illness. She wrote to sixteen-year-old Julie the day before.
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