The paintings exhibited in Manet and Morisot at the Legion of Honor are wonderful to see. One of the opening paintings is Manet’s powerful portrait, Berthe Morisot with a Bouquet of Violets, 1872.
Edouard Manet, Berthe Morisot with a Boquet of Violets, 1872, oil on Canvas, Musée d' Orsay, Paris.
When visiting the museum and viewing the introductory video of the exhibit one realizes that the curation leads to a thesis that Morisot influenced Manet’s production. The presentation expresses that Manet historically has been presented as the male lead in the relationship. Listening to the curators, I realized that the title of the show may not fit the presentation. Given the stated ideas, the show might more appropriately be titled, Morisot and Manet.
Entering the exhibit area the opening text concerning the duo illustrates the conundrum. Manet’s name was presented in each paragraph of the dialogue first, and Morisot, second—contrary to what the lead curator of the video talk seemed to intend, why?
The exhibit offers a range of paintings. The relationship of the artists is notable, and of interest. I enjoyed seeing the scope of works coupled with the ideas of their mutual influence. The premise is that it is Morisot’s move to Impressionism, joining with the newer movement, that informs the brushwork and color influential to the older artist. The curator’s present this idea with examples.
A statement titled New Directions recalls the remark of a critic, “The famous head of the Impressionist school here shows himself in a whole new light, as the painter of elegant women”. The indication is that Morisot was influencing the late work of Manet.
As I visited the second gallery the atmosphere was lively in the early afternoon. A docent was giving a tour. I enjoyed viewing three paintings together, Morisot’s painting of her husband sitting by a window, Manet’s painting titled, Boating, and Morisot’s scene of two women enjoying an outing in the summer. While looking at the paintings I recognized Emily A. Beeny, the curator from the introductory video. At an opportune moment I joined her party obliquely and asked a question. I said that I watched the video and felt that perhaps the exhibit might be bettered titled, Morisot and Manet. Dr. Beeny was friendly and gracious. She said there were several considerations including the idea of such a title as Morisot and Manet. They completed a marketing survey and found the exhibit may have more popularity with Manet in the lead. So it goes.
I love these paintings. I am not in a position of scholarship to know the nuances Emily A. Beeny illuminates. The paintings, the friendship, the camaraderie, is inspiring. Manet and Morisot, or however we may address the appropriate title, is a gem of an exhibit. My personal favorite is Manet’s portrait of his friend—a beautiful, powerful expression.
by Drew Burgess
Drew Burgess is an art instructor at the College of Alameda of the Peralta Community College District of California
Works Cited:
Emily A. Beeny and curatorial associates, “Manet and Morisot,” Fine Arts Museums of San Francisco, The Legion of Honor, accessed October 24, 2025, https://www.famsf.org/exhibitions/manet-morisot
Cite this Page:
Drew Burgess, Berthe Morisot and Friend, Legion of Honor, October 24, 2025, https://www.drewburgess.art/museum-visits/2025/10/24/berthe-morisot-and-friend-legion-of-honor
Berthe Morisot, Eugène Manet on the Isle of Wight, 1875, Oil on Canvas, Musée Marmottan Monet, Paris
Édouard Manet, Boating, 1874-1876, Oil on Canvas, The Metropolitan Museum of Art, New York
Berthe Morisot, Lake in the Bois de Boulogne (known as Summer’s Day), 1879, Oil on Canvas, The National Gallery, London