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1873
Illustrative frame preview.
National Gallery of Art, WashingtonOriginal work, c. 1872
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Berthe Morisot — At the Edge of the Forest Print
Two figures rest together at the edge of a lightly painted woodland. Morisot leaves broad pale passages around them, balancing their clothing with delicate green and brown marks.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
£29.00
From museum archives. No recolouring, retouching or AI enhancement.
UK delivery. Unframed £4.99, free from £50. Wood-frame delivery included.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
Our print guideAbout the artwork
Two figures rest together at the edge of a lightly painted woodland. Morisot leaves broad pale passages around them, balancing their clothing with delicate green and brown marks.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- Berthe Morisot
- Artwork
- Berthe Morisot — At the Edge of the Forest Print
- Date of work
- c. 1872
- Museum collection
- National Gallery of Art, Washington
About Berthe Morisot
French · 1841–1895
Berthe Morisot grew up in a family that encouraged drawing and painting. She and her sister Edma studied art, copied paintings in the Louvre and exhibited at the Paris Salon. Working with Camille Corot strengthened her interest in outdoor painting. Morisot pursued a professional career at a time when women faced substantial restrictions in artistic training and public life.
Morisot joined the first Impressionist exhibition in 1874 and became one of the group’s most consistent participants. Her circle included Édouard Manet, whose brother Eugène she married. Landscapes and domestic scenes offered material for an art of shifting light and spontaneous-looking marks. Women and children appear as individuals with their own attention, activity and inner lives.
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