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In the Dining Room

1886

Impressionism犬
In the Dining Room
Dimensions
61.3 × 50.0 cm
Medium
Oil on canvas
Collection
National Gallery of Art, Washington
Berthe Morisot

France

Berthe Morisot

1841 – 1895

A leading French Impressionist painter of the nineteenth century, Berthe Morisot…

✦ Highlights (technique & color)

A highlight of the work is the rapid, vigorous brushwork that sweeps across the entire canvas in every direction. While the maid's dark blue dress and white apron create a striking tonal contrast, the surrounding walls and furniture are composed of blended touches of blue, pink, and purple, producing a visual blur where forms seem to dissolve into the background. Through this expressive touch, the painting brilliantly captures fleeting fragments of time—the rhythm of household chores, the bark of a dog, and the flickering play of light.

✦ The setting of this painting

This depicts the dining room of the home and studio that Berthe Morisot and her husband built around 1883 on Rue de Villejust (now Rue Paul-Valéry) in Paris. Morisot envisioned this new residence not merely as a private retreat, but as a combined salon and studio, using it as the primary setting for her major paintings. Featuring a tall sideboard and a round table, the scene captures the refined domestic life of a bourgeois household bathed in abundant light.

✦ Historical context

The year 1886 marked the eighth and final Impressionist exhibition, drawing the collective history of the movement to a close. In bourgeois society at the time, women's spheres of movement were severely restricted. While male painters freely depicted public life in cafés and on city streets, female artists were largely confined to domestic subjects. Morisot turned this limitation to her advantage, skillfully portraying the agency and modern identity of women of her era.

✦ A question to consider

As she pauses and looks back, what household chore do you imagine she was engaged in just moments before?

In the center of the canvas, a woman pauses in her work.

She wears a navy dress with a clean white apron.

At her feet, a small white dog with brown patches playfully frisks about.

This is Rue de Villejust in Paris,

the light-filled dining room of painter Berthe Morisot's home.

To the left stands a tall sideboard that reaches almost to the ceiling.

Behind its glass doors, silverware and porcelain tableware are neatly arranged.

On the round table to the right rest a decanter and brightly colored fruit.

She was a maid who worked in this household.

In late nineteenth-century France, female domestic servants were indispensable in supporting middle-class homes.

Male painters of the era frequently chose them as subjects as well.

Yet many of those works emphasized the harsh miseries of a callous class system,

or cast an overtly sexualized gaze upon them.

Nameless lower-class women exhausted by relentless labor—

such was the customary depiction of maids in the art of the period.

Morisot's gaze, however, was entirely different.

She portrayed the servant working in her own home with warm respect,

as a cherished presence who shared an intimate everyday life.

The woman who posed for this painting was named Pasie.

She had originally been discovered by Morisot's mother during a journey to the south of France.

An innocent teenage country girl at the time, she was brought to Paris as a maid.

Even after Morisot married Eugène Manet, Pasie accompanied them to their new home.

She became a trusted nursemaid to their only daughter, Julie, born in 1879.

She was a truly indispensable part of the family's life.

Morisot was an exceptionally quiet, reserved person,

so much so that high society sometimes rumored her to be cold.

Offering polite smiles and effortlessly charming everyone—

she possessed none of that social dexterity.

That was precisely why she placed such profound trust in Pasie, who shared her personal everyday sphere.

Morisot left behind numerous paintings featuring Pasie as her model.

The rest is for Premium members

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