(Peter Schjeldahl, “Berthe Morisot, ‘Woman Impressionist,’ Emerges from the Margins,” The New Yorker, 10-29-18)
She had the loosest, least finished-looking of Impressionist techniques—a trait that helps explain her neglect, versus the more decisively branded manners of the men, but one that also fascinates. Her paintings, indefinite at first glance, are hard to stop contemplating once you’ve started. It’s as if she had truncated a process of picturing that we, as viewers, irresistibly see through to completion.
(c) 2018 JMN.