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About this work
Morisot's *Before The Mirror* captures a woman in a private moment of self-regard—the kind of unguarded, intimate scene that defined her singular vision of Impressionism. The composition shows a figure approaching or confronting her reflection, suspended in that threshold between observation and introspection. Morisot's palette here is characteristically restrained but luminous: soft lavenders, muted grays, and warm flesh tones emerge from loose, confident brushwork that refuses sharp definition. The mirror itself becomes more than a functional object; it's a formal device that allows Morisot to explore duality, presence, and the woman's relationship to her own image—a meditation on identity rendered through paint.
This late work exemplifies why Morisot's fellow Impressionists called her a "virtuoso colourist." By 1890, she was operating at the height of her powers, a decade into her canonical status as one of the three great ladies of Impressionism. Her decades-long investigation of feminine domestic life—those private, intimate moments inaccessible to her male contemporaries—reaches a sophisticated refinement here. The mirror scene allowed Morisot to engage with a tradition of feminine representation while reclaiming it entirely: this is not a woman observed, but a woman observing herself.
Hung in soft morning or evening light, this print belongs in a bedroom, dressing room, or intimate sitting space where its quiet introspection can breathe. It speaks to anyone who recognizes the profundity in small, unwitnessed moments—the way a glance toward one's reflection becomes an act of both vulnerability and self-possession.
About Berthe Morisot
Among the founding Impressionists, she was the one whose brushwork went furthest toward dissolution - feathery, unfinished-looking strokes that critics in the 1870s found unsettling and that painters a generation later would recognize as the future. Born in 1841 into the Parisian haute bourgeoisie, she trained under Corot, married Eugène Manet (brother of Édouard), and exhibited in seven of the eight Impressionist shows, more than Monet or Renoir. Her subjects were the world she could actually move through as a woman of her class: drawing rooms, gardens, sisters at windows, mothers reading. Quiet pictures with radical surfaces - intimate without ever being sentimental.
