Young Woman Knitting - Berthe Morisot
Archival giclée
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Description
A delicate Impressionist study by Berthe Morisot, capturing a woman engaged in needlework within a sun-drenched garden setting.
Berthe Morisot, a central figure in the Impressionist movement, painted Young Woman Knitting in 1883. The work captures a quiet, domestic moment set within a garden. A woman sits on a light wooden chair, her attention fixed on her needlework. Beside her stands an empty chair, suggesting a transient or informal atmosphere. Morisot employs a light, airy palette dominated by soft greens, creams, and pale pinks, which convey the dappled light of an outdoor setting.
The brushwork is characteristic of Morisot's mature style, appearing loose and spontaneous. Rather than defining forms with rigid outlines, she uses quick, rhythmic strokes to suggest the texture of the woman's dress, the foliage of the garden, and the gravel path. This technique allows the light to appear as if it is moving across the surface of the canvas. The composition is balanced yet informal, reflecting the Impressionist interest in capturing fleeting moments of modern life.
Morisot often focused on the domestic sphere, a subject she approached with technical precision and a keen eye for colour. In this piece, the subject is not merely a figure in a garden, but a study of light and atmosphere. The lack of heavy shadows and the emphasis on high-key tones create a sense of serenity. The painting demonstrates her ability to balance the representation of a specific person with the broader goals of Impressionist painting, which prioritised the subjective experience of light and colour over academic finish. This print preserves the delicate nuances of her original brushwork, offering a clear view of the artist's process and her mastery of the oil medium.
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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
Young Woman Knitting - 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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