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This Exhibition Project focuses on women artists during the 19th century. Specifically, women artists as the western art world exploded during The Salon exhibitions. Women were continuously excluded from exhibits during this time or faced sexism when trying to be selected to display their work. The artists in focus are Marie Bracquemond, Berthe Morisot, Mary Cassatt, Lilla Cabot Perry, and Eva Gonzalès, five important women recognized by the Impressionist Movement of the 19th century. This Exhibition considers that, while these women were accepted into the Salon Exhibitions, and many were not, their art education and subject matter practiced are contingent on the limitations placed on women in the 19th century.

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Many women in this exhibit rebelled against the stagnant term of ‘woman artist.’ Instead, they fought to be recognized as an artist. They believed that their depiction of the subject matter and their talents were enough to be considered an artist, without the need for gendered terminology. The education given to them was focused on womanhood, motherhood, and domestic life.

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Mary Cassatt, Mother’s Kiss, France, 1891, Dry point and soft-ground print, [Private collection.]

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Mary Cassatt, Mother’s Kiss, France, 1891, Dry point and soft-ground print, [Private collection.]

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This dry point piece illustrates the idea of motherhood, a common theme among women artists of the 19th century. Unlike many of Cassatt’s other pieces, the linework is more precise and the details come through. The soft, bright colors are common for the time period. This captivates the viewer’s mind into the world of a mother providing comfort and love to her small child. Motherhood is a common theme of the women of the Impressionist movement.

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The Paris Salon began as the hub of the art world in 1667, but they did not begin accepting women artists until the 1800s. The artists in this Exhibition did display art in the Paris Salons: Mary Cassatt, Marie Bracquemond, Berthe Morisot, Lilla Cabot Perry and Eva Gonzalès. However, many of these women were accepted based on contingencies and often only displayed once throughout their careers when though the Salon was an annual exhibition. The Salon was known to be selective and sexist in its selection of artists.

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Eva Gonzalès, The Milliner, France, 1877, Pastel on canvas, [The Art Institute Chicago, Chicago, United States.]

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Eva Gonzalès, The Milliner, France, 1877, Pastel on canvas, [The Art Institute Chicago, Chicago, United States.]

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This piece of a milliner, or hat-maker, shows the woman handling the pieces that will be used to decorate a hat. Depicting craftwork by women, like that of the milliner, was a popular subject for the Impressionists because of their interest in fashion and scenes from modern life. Women during the 19th century engaged in activities such as reading, knitting, or filling a vase with flowers. This piece uses bright, pure coloring and feathery brushstrokes.

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Marie Bracquemond, Portrait of Mlle Quivoron, France, 1860-1914, Etching, [The Metropolitan Museum of Art, New York City, United States.]

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Marie Bracquemond, Portrait of Mlle Quivoron, France, 1860-1914, Etching, [The Metropolitan Museum of Art, New York City, United States.]

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This is a portrait of Louise, Marie Bracquemond's sister, who lived with the artist and her husband Felix Bracquemond. It depicts Louise as a polished woman, highly expected during the 19th century. This etching is more precise and shows more detail than many of the Impressionist paintings; however, stylistically the woman is dressed well in a domesticated scene, two elements of this movement. Louise posed frequently for Bracquemond’s work as the lives of women was intriguing to this movement.

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Berthe Morisot, On the Balcony, France, 1871-1872, Watercolor over graphite on woven paper, [The Art Institute of Chicago, Chicago, United States.]

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Berthe Morisot, On the Balcony, France, 1871-1872, Watercolor over graphite on woven paper, [The Art Institute of Chicago, Chicago, United States.]

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This image depicts a domestic scene of a mother and daughter on a balcony. They are both dressed in proper outing attire for women of the 19th century. The loose brushstrokes and limited details are elements of Impressionist work. This painting invigorates the flowing movements of time and space, while incorporating elements of motherhood and the eloquent manner of women in the late 1800s.

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Lilla Cabot Perry, Lady with a Bowl of Violets, United States, 1910, Oil on canvas, [National Museum of Women in the Arts, Washington, D.C., United States.]

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Lilla Cabot Perry, Lady with a Bowl of Violets, United States, 1910, Oil on canvas, [National Museum of Women in the Arts, Washington, D.C., United States.]

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This piece incorporates both the loose, feathery brushstrokes of the Impressionists, and a mix of the traditional Japanese art from her trip to Tokyo. The young woman is dressed in fashionable clothing. Even though this painting was created in the United States, the elements of high-end fashion in Paris is captured here. The detailing is a bit more precise, but the feathery brushstrokes can be seen in elements of the skin and dress work by the young woman. It uses bright colors for highlighting and drawing attention to the viewer's mind.

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Mary Cassatt, Lydia Crocheting in the Garden at Marly, France, 1880, Oil on canvas, [The Metropolitan Museum of Art, New York City, United States.]

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Mary Cassatt, Lydia Crocheting in the Garden at Marly, France, 1880, Oil on canvas, [The Metropolitan Museum of Art, New York City, United States.]

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This image depicts Lydia, Cassatt’s older sister in a domesticated scene. She is fashionably dressed and absorbed in some sort of hand-made craft. Cassatt captures the loose brushwork and bright colors common for Impressionist paintings. The depiction of Lydia is a traditional outing for a woman in the 19th century. Her dress is Victorian, and her gloves and hat provide protection from the sun. Painted in Plein air, Cassatt captures the elements of sunshine for the viewer.

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Mary Cassatt, Girl Arranging her Hair, France, 1886, Oil on canvas, [National Gallery of Art, Washington, D.C., United States.]

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Mary Cassatt, Girl Arranging her Hair, France, 1886, Oil on canvas, [National Gallery of Art, Washington, D.C., United States.]

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This image depicts an ordinary, working–class girl at her toilette. While ordinary by consideration, her posture is proper. Her young beauty is emphasized by the pastel colors. This moment of privacy is casual, but still resembles the ideology of womanhood and femineity. The bright, pure colors are portrayed through both the girl’s clothing and the details of the room.

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Berthe Morisot, The Sisters, France, 1869, Oil on canvas, [National Gallery of Art, Washington, D.C., United States.]

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Berthe Morisot, The Sisters, France, 1869, Oil on canvas, [National Gallery of Art, Washington, D.C., United States.]

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This image captures two sisters in a domestic scene. The women are dressed formally. This is portrayed as that of daily life or a common scene for women in the 19th century. The loose brushwork coincides with Impressionism. The two ladies are dressed in the same Victorian-style dress with their hair in updos. The color palette of the painting introduces bright, pure coloring.

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Marie Bracquemond, Three Women with Parasols, France, 1880, Oil paint on canvas, [Musée d’Orsay, Paris, France.]

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Marie Bracquemond, Three Women with Parasols, France, 1880, Oil paint on canvas, [Musée d’Orsay, Paris, France.]

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This image depicts three women on an outing, carrying traditional parasols to protect themselves from the sun. They are dressed in formal attire, consistent with the fashion expected of women in the 19th century. Women were not frequently on outings unless accompanied, and they would not have been seen without eloquent dress of the utmost fashion. The colors are bright, and the brushwork is loose and consistent with that of the Impressionist style.

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Berthe Morisot, The Lesson in the Garden, France, 1886, Oil on canvas, [The Denver Art Museum, Denver, Colorado, United States.]

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Berthe Morisot, The Lesson in the Garden, France, 1886, Oil on canvas, [The Denver Art Museum, Denver, Colorado, United States.]

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This image captures a fleeting moment in time. It consists of bright, pure colors and loose brushwork, common elements by the Impressionists. This piece is thought to have been created in Plein air, a tactic well versed by the Impressionists. It brings the real-life elements of the outdoors into the painting itself to captivate the viewer's mind.