Abstract
On March 2, 1895, Berthe Morisot died, “sans profession,” according to the official parlance of her death certificate. “Poor Madame Morisot, the public hardly knew her!” wrote Pissarro on the day of her funeral. “Paris did not know her well,” Mallarmé reiterated in an elegiac preface to the memorial exhibition of her work organized a year later by her colleagues, which assembled roughly half her production of more than 800 paintings, watercolors, drawings, and pastels. That commemorative event and those sentiments are evoked at the outset of the catalogue essay written by Charles Stuckey for the exhibition organized by the Mount Holyoke Museum in collaboration with the National Gallery of Art; it is the first substantial exhibition of Morisot's oeuvre in this country since the one held in 1960, which was limited to works on paper.
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