MANET/MORISOT EXHIBIT at the Legion of Honor Art Museum, San Francisco, CA

Portrait of Berthe Morisot Reclining, by Edouard Manet, 1873

Note: This post describes my visit to the exhibit of the paintings of Edouard Manet and Berthe Morisot at the Legion of Honor in San Francisco that ended March 1, 2026. Manet and Morisot is currently on view at the Cleveland Museum of Art (March 29—July 5, 2026).

On my recent visit to the Legion of Honor Art Museum in San Francisco I saw the excellent Manet and Morisot exhibit featuring the friendship and artistic connections between these two French artists. It brought back memories of my 19th Century Art History classes when I was a student. In this exhibit, I learned that not only were Morisot and Manet close friends and influenced one another as painters, but that she became his sister-in-law when she married his brother Eugene. She was also one of Manet's models. 

The Balcony, by Manet. Morisot is the seated figure on the left.

The exhibit filled four rooms at the Legion of Honor, the first room focusing on the early years of Manet and Morisot’s friendship. Berthe Morisot (1841-1895), was nine years younger than Edouard Manet (1832-1883), and met him when she was still an art student. (He was already famous for his bold painting style that marked the beginning of the modern era.) While she posed for him in his studio, it was an opportunity for her to observe how Manet worked, learn from him and for their friendship to develop. 

Berthe Morisot with a Bouquet of Violets, by Edouard Manet, 1872.

Perhaps Manet’s most famous portrait of Morisot depicts her with a bouquet of violets. The figure, with her piercing eyes, tall hat, and unruly hair, is painted boldly in black. You have to look closely to find the tiny violets fastened to her dress.

Boating, by Edouard Manet

Lake in the Bois de Boulongue (Summer Day), by Berthe Morisot

In the second room of the exhibit we see treatments of similar subjects by the two artists—a woman before a mirror, an outdoor scene in the country, two people in a boat. Unlike Manet, who exhibited at the Paris Salon, the traditional venue for artists to show their work, Morisot exhibited her paintings with the Impressionists. Throughout the exhibit you can see lightness of her touch and complex treatment of color that links her to artists like Monet and Renoir.

Jeanne (Spring), by Edouard Manet.

Summer (Woman Beside a Window), by Berthe Morisot.

The third room of the exhibit is called The Parisiennes, focusing on portraits of women of Paris. On one wall we see the four seasons—portraits of women representing spring, summer, fall, winter. Interestingly, two are by Manet and two by Morisot. Neither painted a full set. These are some of the last paintings Manet did before he died.

Children with a Basin, by Berthe Morisot, 1886.

Like Mary Cassatt, the American painter who worked in France and exhibited with the Impressionists, Berthe Morisot often painted mothers and children. Several of those paintings are in the final room of the exhibit where we see Morisot’s work painted after Manet’s death. The Chinese porcelain basin in the above painting was a wedding gift to Berthe and Eugene from Edouard Manet.

Self Portrait, by Berthe Morisot, 1885.

The last painting in the exhibit is a self-portrait, in which Morisot looks straight out of the canvas, engaging, and perhaps challenging, the viewer to see her as a professional. Although frequently treated more as a footnote in the history of art, this exhibit reveals Morisot’s true talent. And it shows the complexity of her relationship to Manet and how they influenced one another.

The Railway, by Edouard Manet.

Detail of The Railway, by Edouard Manet.

When I go to a museum I always take photos because I never have time enough to read everything and see everything up close. When I look at my photos at home I can visit the exhibit again virtually. The examples here are just a taste. For an excellent overview of the exhibit you can read this review in artnet https://news.artnet.com/art-world/impressionist-masters-manet-morisot-major-museum-show-2644203

Interior,, by Berthe Morisot.

For more about Manet, often called the "Titan of Modern Painting" go to my post of December 16, 2019 about the exhibit at the Getty Museum in Los Angeles of Manet's late works, Manet and Modern Beauty. 

At the Milliners, by Edouard Manet, 1881.

 

MARY CASSATT AT WORK, Legion of Honor Art Museum, San Francisco, CA

A Kiss for Baby Ann, No. 3, 1897, pastel by Mary Cassatt. Legion of Honor Art Museum, San Francisco, CA.

Mary Cassatt, known for her sensitive paintings of women and children, was both the only American artist and only woman artist to exhibit with the Impressionists. In a stunning exhibit at the Legion of Honor Art Museum in San Francisco, the breadth of her work is displayed—drawings, prints, oil paintings and lustrous pastels. 

Woman in a Black Hat and Raspberry Pink Costume (detail), pastel, ca. 1905.

In December, when I was in the Bay Area, I went to the exhibit with my family. Although I was familiar with some of the paintings from my art history classes in college and from visits to other museums, I had never had the opportunity to see so many pieces up close and to appreciate Mary Cassatt’s work over the span of her lifetime (1844-1926).

Under the Lamp, aquatint and soft ground etching, 1883.

Before entering the galleries, we prepared ourselves by watching an excellent video playing in a room just inside the ticket area. (Timed tickets are required to see the exhibit.) In the video we learned about Mary Cassatt’s background as the daughter of a wealthy Philadelphia family. Like many young women of the time, she attended to art school. But unlike other young women who went on to become matrons of society, Mary Cassatt was determined to become a successful professional artist. She moved to Paris and pursued her career there. She never married.

At the Loge, 1878.

In the video, selected pieces of art were discussed by experts. We learned, for instance, to look carefully at the painting of the woman at the opera to see the gentlemen in the opposite box just as intently looking at her!

Portrait of Mrs. Robert S. Cassatt, the Artist's Mother, ca 1885. 

We also learned about Mary Cassatt’s relationships with her family, who initially disapproved of her art career. Later they joined her in France. Her mother and sister appear in some of her paintings.  Mary Cassatt also used paid models for her work.

Clarissa, Turned Right with her Hand to her Ear, 1890-1893, Pastel.

Detail.

While much of Mary Cassatt’s work is in oil paint, many of her most vibrant portraits are drawn with pastels. The advantage of pastels is that the color is pure pigment, not diluted with oil or another medium. A close-up look at her pastels reveals the freedom and looseness of the strokes and shimmer of the overlapping color. In contrast, the faces of her figures are more carefully modeled.

Prints, dry point and color aquatint.

I had not previously appreciated Mary Cassatt’s skill as a printmaker. In the exhibit we see examples of dry point engravings as well as aquatint prints. Cassatt believed that printmaking was the ultimate instructor in drawing. She said, "That is what teaches one to draw."

Family Group Reading (detail), 1898.

Many of the Impressionists focused on outdoor scenes in their paintings and worked in "plein air". While most of Mary Cassatt's art depicts of interior scenes, in some cases, as in Family Group Reading, she places her figures in an outdoor setting.

On a Balcony, 1878-79.

The most impressive thing about Mary Cassatt’s depictions of people is the expressions on the faces. She manages to capture their inner feelings and interpersonal connections. In Mother About to Wash a Sleepy Child, we sense the tenderness between mother and baby.

Mother About to Wash her Sleepy Child, 1880.

On the day of our visit, after viewing Mary Cassatt at Work, we ate a tasty lunch in the museum cafe, and then explored the permanent collection in the main floor galleries, ending in the room with paintings by Mary Cassatt's comrades in art--Monet, Manet, Renoir, Cezanne, Pissarro, Degas. Mary Cassatt at Work is an enlightening exhibit.  I gained a new appreciation of her as an innovator. I saw a talented woman who was determined to forge a career at a time when women were not encouraged to do so. If you don't get to see the Mary Cassatt exhibit at the Legion of Honor before it closes January 26, 2025, there are many other museums where you can see her work.

The Long Gloves, 1886. Pastel.

THE BROKEN PITCHER by William Adolphe Bouguereau, at the LEGION OF HONOR ART MUSEUM, San Francisco

The Broken Pitcher by William Adolphe Bouguereau, 1891

When I was growing up, the walls of our house were decorated with prints of paintings by famous artists--The Flower Seller by Diego Rivera, Bridge at Arles by Vincent Van Gogh, Snowy Egret by John James Audubon. My father loved art and after he retired from his career as a social worker, he became a docent at the Legion of Honor art museum in San Francisco. One day he brought home a poster of one of the paintings in the museum's permanent collection, The Broken Pitcher by William Adolphe Bouguereau. We had no more room in the house for art, so we hung the poster in the garage over the washing machine, where it stayed for many years. With every load of laundry, I gazed into the young girl's sad eyes, wondering what her life might have been. 

Paintings and silver tea set at Legion of Honor museum.

On a recent visit to the museum I had the chance to see the original painting, hung in a room with other 19th century paintings along with decorative arts of the time, and it brought back memories of my father's years as a docent. One of his roles was to lead tours, pointing out interesting facts about the artists and paintings. Here is what he had to say about The Broken Pitcher.

Gallery talk by Lester Scheaffer

If this gallery were a salon of the late 19^th century, you would see many more paintings like the one before us, “The Broken Pitcher,” than  the ones that hang in this gallery. There were two reasons—it conformed with the standards of The French Academy, and it was pleasing to a great many buyers of art.

This painting by Adolphe Bouguereau was done in 1891. While the hand of The Academy was not quite as firm in the 1890s as it was in the third quarter of the century, the basic criteria for acceptable painting was still present—restraint, simplicity, and balance. Experimental paintings were flatly rejected, the artist reviled. This is what happened to the Impressionists. Patrons from the middle class, the bourgeoisie, were attracted to paintings that were 1. ostentatious; 2. That told a story; 3. That did not violate their sense of morality; and 4. That these characteristics show on the surface—that is, nothing too subtle.

This painting is certainly balanced and it is centered. It ha a bit of the classical feeling, reminders of the old days, with the architectural design of the stone well, a suggestion of classical ruins in the background, and above all, the orderliness of the composition. The composition is truly linear, no problem whatever in following the lines of the drawing. The subject matter is sentimental and moralistic. The broken pitcher symbolizes this young girl’s loss of virginity, about which she is perplexed and anxious—“What do I do now?” 

Detail, The Broken Pitcher by Bouguereau.

Her big puppy dog eyes look out at us appealing for an answer. How could a viewer or a buyer not react favorably to a painting like this, at least the buyers of the 19^th century.

One person who reacted in the opposite way to Bouguereau, according to a story, was Auguste Renoir, the Impressionist. On being fitted for a new pair of glasses to correct his myopia, he threw them on the floor crying, “My God, I see like Bouguereau!”

If one had asked Bouguereau how he felt about Renoir and his friends, he probably would have said, “The feeling is mutual.”

Notes: Bouguereau  (1825-1905)–studied at the Ecole des Beaux Arts, Prix de Rome 1850, great technical skill, slick painting but soft style, technically his paintings hold together, could paint any subject desired by the buying public, commercially successful in both Europe and the US.

 

At the Legion of Honor Art Museum, San Francisco, CA

  

FASHION AS ART: Guo Pei Couture Dresses at the Legion of Honor, San Francisco, CA

 

Guo Pei: Couture Fantasy at the Legion of Honor, San Francisco, CA

The Guo Pei fashion/art show at the Legion of Honor art museum in San Francisco is amazing--more like sculpture and costumes than real clothes. And it is not just the clothes--it is the shoes, hats, hair, jewelry--all designed to go together. Part of the show is downstairs in the special exhibition gallery. Upstairs the models are placed next to pieces in the permanent collection. 

Painting by Peter Paul Rubens. Portrait of Rogier Clarisse, ca. 1621

The figures are very cleverly positioned --like a model wearing a dress with a ruffled skirt next to a 17th century portrait of a man with a ruffed collar, or a patterned dress placed in front of a tapestry. One of my favorites is a figure with a large helmet shaped headpiece standing under a large domed ceiling—like a pair of nesting eggs.

Ensemble (dress and hood) from the Legends collection, Spring/Summer 2017. Silk embroidered with synthetic fiber, embellished with synthetic opals and Swarovski crystals and rhinestones.

The Guo Pei exhibit opened in April and has been extended to November 27, 2022, due to popular demand. For more information and to reserve tickets, go to the Legion of Honor website.

Each room in the exhibition gallery is devoted to a particular collection, each with a theme. The exhibit in the opening room, called “Inheritance” displays two traditional embroidered Chinese robes and explains how opulent embroidery, inspired by this ancient art, is a signature of Guo Pei’s work.
(Throughout the exhibit information panels, in both English and Chinese, provide information about the dresses and about where they fit in Guo Pei’s career.)

As a young girl growing up during the Cultural Revolution, Guo Pei found solace and inspiration in her maternal grandmother whose stories of elaborately embroidered robes enthralled the future couturier. As a young designer working for brand-name companies, Guo Pei longed to design embroidered clothing. However, richly embellished clothing, forbidden during the Cultural Revolution, had not yet regained popularity as fashionable dress.

Today, Guo Pei’s studio employs 450 craftspeople, of which 300 are embroiderers. Guo Pei and her team have developed their own interpretation of traditional needlework, creating a style that combines techniques from Chinese embroidery with Indian, Russian, and European stitches.(Notes from an exhibition panel.)

Guo Pei: Couture Fantasy celebrates the extraordinary designs of Guo Pei—hailed as China's first couturier—and includes more than 80 works from the past two decades highlighting her most important collections shown on Beijing and Paris runways.

The dresses in the exhibit range from elegant to whimsical to bizarre to almost impossible to wear. (You can go online to view fashion shows of Guo Pei’s designs, with models actually walking down the runway.)

This gown is a puppet theater, complete with puppet dolls dangling on strings! A monkey puppeteer on the bodice controls the dolls with a string.

Each Guo Pei dress is unique.   

The skirt on this dress, made of metal strips, weighs 20 pounds and is attached to a belt that sits on the model's hips.

It was impossible to resist taking photos. Here are just a few of my favorites.

Playful birds perch on this model's pigtails. Collection: Alternate Universe, Fall/Winter 2019-2020.

This model appears ready to take flight.

Like a giant wearable playing card, this elaborate dress features a long train. Collection: Himalaya, Spring/Summer 2020.

In her Fall/Winter 2019-2020 collection, Alternate Universe, Guo Pei envisioned an afterlife in which animals preside over humanity.

It is hard to believe that one could walk in these shoes.

The dress, made of pleated silk and embroidered with 24-karat gold metallic threads, is from the Collection of the Dragon, 2012.

These dresses are inspired by the typical blue and white designs on traditional Chinese ceramics.

“The culture of China is just like the blood that runs through my veins, it’s my life…China has more than 5,000 years of history, even longer culturally speaking. That history has greatly enriched my designs and is essentially a foundation of my work.” Guo Pei