Defense Date

2013

Document Type

Thesis

Degree Name

Master of Arts

Department

Art History

First Advisor

Margaret Lindauer

Abstract

Feminist art historians reassessed French Impressionist Berthe Morisot (1841-1895) throughout the late twentieth and early twenty-first century, a period in which her work coincidentally received steady exposure in major museum exhibitions. This thesis examines how the feminist art historical project intersects with exhibitions that give prominence to Morisot’s work. Critical reviews by Morisot scholars argue that more frequent display of the artist’s work has not correlated to nuanced interpretation. Moreover, prominent feminist scholars and museum theorists maintain that curators virtually exclude their contributions. Attending to these recurrent concerns, this thesis charts shifts in emphases and inquiry in writing centered on Morisot to survey the extent to which curators convey new constructions of her artistic, social, and historical identities. This analysis will observe how distinct exhibition forms—the retrospective, the Impressionism blockbuster, and the gendered “women Impressionists” show—may frame Morisot’s work differently according to their organizing principles.

Rights

© The Author

Is Part Of

VCU University Archives

Is Part Of

VCU Theses and Dissertations

Date of Submission

May 2013

Available for download on Sunday, May 13, 2018

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