The Cage - Berthe Morisot
Archival giclée
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Description
A delicate Impressionist still life by Berthe Morisot, featuring a wooden birdcage and flowers rendered with fluid, expressive brushwork.
Berthe Morisot, a central figure in the Impressionist movement, painted The Cage in 1885. This work captures a domestic scene with a focus on light and texture rather than rigid form. The composition centres on a wooden birdcage, rendered with loose, rapid brushwork that is characteristic of her mature style. Within the cage, two small birds are visible, their forms suggested through soft, muted tones that blend into the surrounding structure.
To the right of the cage, a floral arrangement sits in a decorative container. The petals are painted with quick, gestural strokes, creating a sense of movement and ephemeral beauty. Morisot uses a palette dominated by earthy browns, soft greys, and muted whites, which allows the subtle blue accents of the small feeding bowls inside the cage to draw the eye. The background is treated with the same fluid technique, suggesting a wall or interior space without providing excessive detail.
Morisot often turned her attention to the domestic sphere, finding subjects in the quiet corners of her own home. This painting demonstrates her ability to elevate a simple object into a study of light and atmosphere. The application of paint is thin in some areas, revealing the weave of the canvas, while other sections possess a thicker, more tactile quality. By avoiding sharp outlines, she creates a unified visual field where the cage, the birds, and the flowers exist in a shared, soft-focus environment. This piece offers a glimpse into the private world of the artist, reflecting her interest in the interplay between interior light and everyday objects. It remains a fine example of her technical approach to oil painting, prioritising the immediate impression of the scene over precise, academic rendering.
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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.
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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
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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
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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
The Cage - 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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