Self-Portrait c. 1885

Curator: Here we see Berthe Morisot's "Self-Portrait" from around 1885, executed in charcoal and pastel. Editor: Immediately, there’s a striking vulnerability in the gaze. It feels like a moment of profound self-reflection, rendered with a sort of ethereal softness, but a dark one too. Curator: Morisot's position within Impressionism, and the art world generally, was complex. As a woman, she navigated specific societal constraints that influenced both the production and reception of her work. Editor: Absolutely. Consider the rarity of female self-portraits during this period. It becomes a powerful statement—Morisot claiming agency, refusing to be solely the object of the male gaze. We're seeing herself through her own eyes. Curator: The visible, loose strokes characteristic of Impressionism are present, yet there’s also a notable intensity here. Her access to spaces was, inevitably, different than her male counterparts in the movement. Editor: Yes, those rapid strokes, though suggestive of Impressionism, feel incredibly personal. It suggests the urgency of capturing this moment of self-scrutiny. The unfinished quality almost heightens the sense of interiority, as if she’s allowing us a glimpse into her psyche, while maintaining the privacy of the context that originated it. Curator: One might interpret the stark contrast between light and shadow as a reflection of her navigating the restrictive environment of the 19th-century art world as a woman, the way the system tried to shut the women artists of the time out from succeeding. Editor: The dark shadow across her face could symbolize the societal obstacles she faced. She is also a very important figure because she serves as a woman looking at a woman. Who else but a woman could understand or paint or capture the true essence and feelings of other women at the time. It creates a feeling of warmth, intimacy, closeness and almost secrets being shared. Curator: This image complicates the traditional art historical narrative, as we think of Morisot’s relationships and work as challenging the status quo, but also coming from a place of relative privilege. Editor: In exploring those intersections—gender, class, artistic expression—we get a more nuanced view of her place in art history and, ultimately, her legacy, which remains so vital.