Abstract
This essay examines a set of images of Berthe Morisot that Édouard Manet painted between 1868 and 1874. Through close analysis of the paintings themselves, the cultural context in which they were created, and what we know of the relationship between Morisot and Manet, I conclude that these images are inscribed by a sense of both artistic rivalry and personal infatuation. My focus on elaborate and complicated uses of paint and canvas and the inclusion of certain objects like fans and veils challenges previous readings of these images as simple portraits of a bourgeois woman by a friend and colleague.
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