gobillard

Paule Gobillard Painting (1886). Berthe Morisot (French, 1841-1895). Oil on canvas. Musée Marmottan Monet.

Morisot’s sister Yves displayed unusual talent for art, although she very early abandoned it as a serious pursuit. Yves’ daughter Paule Gobillard inherited both talent and ambition. She was often to be found working with Morisot in her home and studio. When Yves died in 1893 Paule and her younger sister Jeanne moved in for a time with their aunt Berthe and their cousin Julie Manet.

Some women painters whose work falls into the public domain in 2017
  • May Ames (American, 1863 - 1946)
  • Luce Boyals-Gaudion (French, 1892 - 1946)
  • Henrietta Bromwell (American, 1859 - 1946)
  • Maude Drein Bryant (American, 1880 - 1946)
  • Katherine Bulliet (American, 1880 - 1946)
  • Ruth Burt-Smith (British, 1864 - 1946)
  • Mary Butler (American, 1865 - 1946) 
  • Gertrude Rowan Capolino (American, 1899 - 1946) 
  • Helen Lavinia Cochrane (British, 1868 - 1946)
  • Vivian Crome (English, 1842 - c. 1946)
  • Marguerite Delorme (1876-1946) 
  • Mary Fairchild MacMonnies Low (American 1858 - 1946)
  • Hanna Frosterus-Segerstråle (Finnish, 1867 - 1946)
  • Florence Ada Fuller (Australian, 1867 - 1946)
  • Wanda Gág (American, 1893-1946) 
  • Paule Gobillard (French, 1869 - 1946)
  • Adele McGinnis Herter (American, 1869 - 1946)
  • Mary La Boiteaux (American, d. 1946)
  • Annie Rose Laing (Scottish, 1869-1946)
  • Carolina Märta Lindblom (Swedish?, 1871 - 1946)
  • Emilia Lönblad (Swedish, 1865 - 1946)
  • Anna Morstadt (Austrian, 1874 - 1946)
  • Jenny Eugenia Nyström (Swedish, 1854 - 1946)
  • Marguerite Putsage (Belgian, 1868 - 1946)
  • Anna Priscilla Risher (American, 1875 - 1946) 
  • Hanna Rönnberg (Finnish, 1860 - 1946)
  • Lore Scheid (German, 1889 - 1946)
  • Helene Schjerfbeck (Finnish, 1862 - 1946)
  • Helena Sturtevant (American, 1872 – 1946) 
  • Helene Tupke-Grande (German, 1871-1946) 
  • Edith White (American, 1855 - 1946)
  • Dora Wilson (Australian, 1883 - 1946)

(I am very much aware that this list is incomplete as well as terribly West-centric. This is a problem I’ve been trying to address, and one of the ways I can do this is by asking for help so, dear followers, if you know of any women artists, particularly women of colour and non-Western women who could be added to that list, please drop me a line.)

3

Berthe Morisot’s family (63)
At the piano
Berthe’s daughter Julie and her nieces Paule and Jeannie Gobillard were among Renoir’s favourite models in the 1890′s. Paule is playing the piano, Julie is listening.

Pierre-Auguste Renoir, Jeunes filles au piano (Two Young Girls at the Piano), 1892. Oil on canvas, 111,8 x 86,4 cm. Metropolitan Museum of Art, New York
Pierre-Auguste Renoir, Jeunes filles au piano (Young Girls at the Piano), 1892. Oil on canvas, 116 x 81 cm. Musée de l’Orangerie, Paris
Pierre-Auguste Renoir, Jeunes filles au piano (Young Girls at the piano), 1892. Oil on canvas, 116 x 91 cm. Musée d’Orsay, Paris

Madame Théodore Gobillard (Yves Morisot, 1838–1893)

Edgar Degas 
(French, Paris 1834–1917 Paris)

Date: 1869 Medium: Oil on canvas The Metropolitan Museum of Art
4

Berthe Morisot’s family (68)
Julie painting
Berthe Morisot’s daughter Julie painted too, although more as a leisure activity. 

Julie Manet, Paule and Jeanne Gobillard on the Beach of Dinard, 1890s. Musée Marmottan Monet, Paris
Ernest Rouart, Portrait of Julie Manet, 1905. Oil on canvas. Private collection
Julie Manet, Jeanne Baudot in the salon, Rue Villejust, Paris (The model and the painter, self-portrait of Julie Manet at her easel), 1900s. Oil on canvas, 51 x 61 cm. Private collection
Julie Manet, Portrait of Jeanne Gobillard at a Table with a Cup and a Saucer. 1900s. Oil on canvas, 66,1 x 53,3 cm. Private collection

the sublime “Madame Théodore Gobillard (Yves Morisot, 1838-1893),” a portrait of the sister of the painter Berthe Morisot seated indoors. The Met considers the portrait unfinished, although the artist’s signature could be read as an intention to redefine what “finished” looks like. Except for a patch of brightly painted garden visible through a door in the background, the image is a delightfully thin skin of black, gray and white, brushed on casually but with unerring accuracy. Economical use is made of negative areas (the sitter’s hands and arms, visible through chiffon sleeves), while boldness prevails elsewhere (in the dress itself, in the broad sofas and in the heavily framed mirror). The head is an exquisite bit of underdrawing….Degas seems to have decided that with Madame Gobillard, less was more.

Roberta Smith, NYT 2/10/14