|Under the Lamp, 1886, Marie Bracquemond. |
Her husband, Felix, peers (or sneers) at her from across the dinner table.
|Marie Bracquemond Self-portrait, 1870|
|Self-portraits by two of but a handful|
of well-remembered female
|Pierre Bracquemond Painting a Bouquet, 1897, Marie Bracquemond|
|Marie Bracquemond at her easel.|
Felix Bracquemond became resentful of his wife's new painting methods, her large, loosely handled canvases, her brash use of color, not to mention her insistence upon painting out-of-doors. Perhaps most of all, he hated the fact that she was having some degree of success with them, displaying with other Impressionists and actually selling her work. In a word, he did everything he could to scuttle her career. Today, such a personal and professional marital conflict would likely end in divorce. In the 1890s, it was quite the opposite. When she could no longer take her husband's outrageous outrage, she gave up her palette and brushes. From that point on, she painted little, and mostly only small works for herself of family members. One of Marie's final large-scale efforts was The Artist's Son and Sister in the Garden of Sevres, (bottom) dating from 1890. She died in 1916. And if you've never heard of Marie Bracquemond, blame her husband.
|The Artist's Son and Sister in the Garden at Sevres, 1890, Marie Bracquemond.|