1 00:00:01,280 --> 00:00:04,320 Speaker 1: Welcome to Stuff You Missed in History Class, a production 2 00:00:04,360 --> 00:00:13,840 Speaker 1: of I Heart Radio. Hello, and welcome to the podcast. 3 00:00:13,920 --> 00:00:16,800 Speaker 1: I'm Tracy V. Wilson and I'm Holly Frying. Do you 4 00:00:16,840 --> 00:00:18,959 Speaker 1: remember when we went to Paris? It feels like a 5 00:00:19,000 --> 00:00:22,240 Speaker 1: million years ago. I remember. I think about it every day. 6 00:00:22,680 --> 00:00:28,040 Speaker 1: It was in I went to the Museum marmsam Monet, 7 00:00:29,040 --> 00:00:31,160 Speaker 1: and as that name suggests, they have a lot of Monet. 8 00:00:31,360 --> 00:00:34,360 Speaker 1: That's why we were there. My spouse is a big 9 00:00:34,360 --> 00:00:38,040 Speaker 1: Monet fan, and I just generally like the Impressionists, so 10 00:00:38,200 --> 00:00:40,599 Speaker 1: we decided to go to this museum that has the 11 00:00:40,720 --> 00:00:44,879 Speaker 1: largest collection of Monet all in one place, which is 12 00:00:44,920 --> 00:00:48,680 Speaker 1: thanks to Claude Monet's son, Michelle, who donated a lot 13 00:00:48,680 --> 00:00:52,840 Speaker 1: of his father's artwork to the museum. While we were there, though, 14 00:00:53,600 --> 00:00:56,880 Speaker 1: I really fell in love with the work of Bart 15 00:00:57,040 --> 00:01:01,080 Speaker 1: Marie zoo So. I had seen a couple of Morisso's 16 00:01:01,120 --> 00:01:05,280 Speaker 1: paintings reproduced in books, but as is so often the case, 17 00:01:05,360 --> 00:01:08,319 Speaker 1: that really just didn't compare to being there looking at 18 00:01:08,319 --> 00:01:11,800 Speaker 1: it in person, also with an audio tour to kind 19 00:01:11,800 --> 00:01:14,080 Speaker 1: of draw my attention to things that I might not 20 00:01:14,160 --> 00:01:19,280 Speaker 1: have noticed otherwise. Bart Morisso primarily worked in oils and 21 00:01:19,319 --> 00:01:22,760 Speaker 1: watercolors and pastel's, and her favorite subjects were really the 22 00:01:22,840 --> 00:01:26,280 Speaker 1: other women in her life, often captured in these very 23 00:01:26,360 --> 00:01:30,560 Speaker 1: like tenderly private domestic moments. The paintings that were on 24 00:01:30,640 --> 00:01:34,000 Speaker 1: display while we were there included several that she had 25 00:01:34,040 --> 00:01:37,200 Speaker 1: done of her daughter from her childhood into her adolescence, 26 00:01:37,240 --> 00:01:39,880 Speaker 1: and I just became really entranced with this idea that 27 00:01:39,920 --> 00:01:43,479 Speaker 1: a woman who's focus was on painting things that are 28 00:01:43,520 --> 00:01:47,199 Speaker 1: traditionally considered feminine, like she was right at the heart 29 00:01:47,240 --> 00:01:52,600 Speaker 1: of the Impressionist movement. Um, it's been almost two years 30 00:01:52,640 --> 00:01:55,840 Speaker 1: since I pulled anything off of my stuff from the 31 00:01:55,880 --> 00:02:01,200 Speaker 1: Paris trip idealist on the show, so High decided it 32 00:02:01,240 --> 00:02:04,600 Speaker 1: was time time to go back to that list again. Yea, 33 00:02:05,120 --> 00:02:08,840 Speaker 1: all things Paris all good by me. So Bert Marie 34 00:02:08,919 --> 00:02:13,280 Speaker 1: Pauline Marisseau was born in Bourge, France, on January eighteen 35 00:02:13,360 --> 00:02:16,280 Speaker 1: forty one, and a lot of sources you'll see say 36 00:02:16,360 --> 00:02:20,040 Speaker 1: that she was descended from Rococo painter Jean Honore fragon Now, 37 00:02:20,440 --> 00:02:22,919 Speaker 1: who died about thirty five years before she was born. 38 00:02:23,480 --> 00:02:25,720 Speaker 1: There are articles all over the web that say he 39 00:02:25,800 --> 00:02:29,200 Speaker 1: was her grandfather. That is definitely not the truth, they 40 00:02:29,360 --> 00:02:32,640 Speaker 1: might have been more distantly related though, Yeah, it's a 41 00:02:32,639 --> 00:02:35,040 Speaker 1: little unclear. It was maybe even just like a family 42 00:02:35,160 --> 00:02:38,560 Speaker 1: lore of ah he's we were related to him. It's 43 00:02:38,600 --> 00:02:43,360 Speaker 1: not clearly documented anywhere. He could have also been found 44 00:02:43,400 --> 00:02:45,680 Speaker 1: family and they just called him her grand like. There 45 00:02:45,680 --> 00:02:48,919 Speaker 1: are so many options. Yeah, yeah, and they're also there 46 00:02:48,919 --> 00:02:54,600 Speaker 1: are some parallels between Rococo artwork and uh Morizeau's artwork, 47 00:02:54,720 --> 00:02:57,840 Speaker 1: so people may have been seeing some commonalities there. I 48 00:02:57,880 --> 00:03:02,400 Speaker 1: don't really know. Her mother was Marie Joseph being Cornelioma, 49 00:03:02,600 --> 00:03:05,280 Speaker 1: who was known as Cornelie. She was from a pretty 50 00:03:05,320 --> 00:03:09,600 Speaker 1: affluent family. And then Bert's father, ed made t Buers Morisso, 51 00:03:09,760 --> 00:03:13,359 Speaker 1: who was known as Tabuers, picked up an independent income 52 00:03:13,680 --> 00:03:16,920 Speaker 1: of about eight thousand francs a year through his marriage 53 00:03:16,960 --> 00:03:20,520 Speaker 1: to her. This was a pretty good amount of money 54 00:03:20,560 --> 00:03:24,520 Speaker 1: for comparison, the average worker made about three francs a day, 55 00:03:24,560 --> 00:03:29,280 Speaker 1: so this family was living very comfortably. Most sources described 56 00:03:29,320 --> 00:03:32,560 Speaker 1: them as being very firmly in the upper middle class 57 00:03:32,680 --> 00:03:36,400 Speaker 1: or the grand bourgeoisie. Tibus did still work, though he 58 00:03:36,480 --> 00:03:39,400 Speaker 1: had studied art and architecture, and he had tried and 59 00:03:39,480 --> 00:03:42,840 Speaker 1: failed to start an architecture journal in the years before 60 00:03:42,880 --> 00:03:46,520 Speaker 1: his marriage, he became a civil servant. In his exact 61 00:03:46,640 --> 00:03:49,960 Speaker 1: job and how high up that job was varied from 62 00:03:50,040 --> 00:03:53,560 Speaker 1: one administration to another. When the children were young, the 63 00:03:53,600 --> 00:03:56,200 Speaker 1: family moved from place to place as he was appointed 64 00:03:56,240 --> 00:04:00,440 Speaker 1: to different posts. But he was also something of a yalist, 65 00:04:00,520 --> 00:04:04,200 Speaker 1: which led to his resignation or to being dismissed at 66 00:04:04,240 --> 00:04:07,840 Speaker 1: several points along the curve as this job progressed. This 67 00:04:07,920 --> 00:04:10,920 Speaker 1: included when King Louis Philippe was forced off the throne 68 00:04:10,920 --> 00:04:13,480 Speaker 1: in eighteen forty eight, when Napoleon the Third came to 69 00:04:13,520 --> 00:04:17,680 Speaker 1: power in eight one, and when Napoleon the Third nationalized 70 00:04:17,680 --> 00:04:21,560 Speaker 1: property that had previously belonged to the Royal House of Orleons. 71 00:04:22,120 --> 00:04:25,239 Speaker 1: After all that, in about eighteen fifty two, tib Yours 72 00:04:25,320 --> 00:04:28,679 Speaker 1: moved the family to Passy that's now part of Paris, 73 00:04:28,720 --> 00:04:30,680 Speaker 1: but at the time it was more like a suburb, 74 00:04:30,920 --> 00:04:34,200 Speaker 1: and aside from travel and vacations things like that, the 75 00:04:34,320 --> 00:04:37,560 Speaker 1: Morrisa's lived in the Passy neighborhood for most of the 76 00:04:37,600 --> 00:04:41,320 Speaker 1: rest of their lives. Barts had two older sisters, Marie 77 00:04:41,360 --> 00:04:45,520 Speaker 1: Elizabeth's Eve known as Eve, and Marie ed Maquereline known 78 00:04:45,600 --> 00:04:49,640 Speaker 1: as Edma. Their younger brother, Tiburs, was born when Bert 79 00:04:49,640 --> 00:04:52,560 Speaker 1: was somewhere between the ages of four and seven. His 80 00:04:52,640 --> 00:04:55,520 Speaker 1: birth year not entirely clear, and we don't really have 81 00:04:55,720 --> 00:04:59,359 Speaker 1: much information about the siblings young lives, and what we 82 00:04:59,440 --> 00:05:02,560 Speaker 1: do have mostly comes from Tiber's who was interviewed by 83 00:05:02,600 --> 00:05:05,800 Speaker 1: Barrett's first biographers, but that didn't happen until he was 84 00:05:05,839 --> 00:05:09,919 Speaker 1: in his sixties. Yeah, who even knows how accurate a 85 00:05:09,960 --> 00:05:16,480 Speaker 1: person's recollection of their sisters childhood's where that far out. 86 00:05:17,160 --> 00:05:21,040 Speaker 1: The Morizo's sisters had a pretty conventional upbringing, though they 87 00:05:21,040 --> 00:05:24,640 Speaker 1: were raised by their mother and grandmother and governesses, including 88 00:05:24,720 --> 00:05:28,720 Speaker 1: one English governess who left bart with a love of Shakespeare. 89 00:05:29,360 --> 00:05:32,680 Speaker 1: They also took music lessons, and in eighteen fifty seven, 90 00:05:32,720 --> 00:05:37,120 Speaker 1: Cornelie decided to have them instructed in art. Their father 91 00:05:37,200 --> 00:05:39,799 Speaker 1: had said that he wished his daughters knew how to draw, 92 00:05:40,120 --> 00:05:43,480 Speaker 1: so Cornelie thought she would get lessons for them and 93 00:05:43,560 --> 00:05:45,800 Speaker 1: have each of them make a drawing for him as 94 00:05:45,800 --> 00:05:49,120 Speaker 1: a surprise gift. It's a lovely sentiment. I think it's 95 00:05:49,200 --> 00:05:53,120 Speaker 1: very sweet. Their first teacher was Geoffrey alfran Chokern, and 96 00:05:53,160 --> 00:05:56,440 Speaker 1: their instruction with him doesn't seem to have actually gone 97 00:05:56,560 --> 00:06:00,240 Speaker 1: very well. He started out teaching them cross hatch sing 98 00:06:00,520 --> 00:06:04,159 Speaker 1: three times a week in four hour sessions. If you've 99 00:06:04,160 --> 00:06:06,479 Speaker 1: ever done any cross hatching, you can see where this 100 00:06:06,520 --> 00:06:08,680 Speaker 1: would not be the most delightful way to get a 101 00:06:08,760 --> 00:06:12,080 Speaker 1: child interested in art. Sounds tedious to me, This is 102 00:06:12,279 --> 00:06:15,479 Speaker 1: very tedious. Eve found this so tedious that she gave 103 00:06:15,560 --> 00:06:19,120 Speaker 1: up drawing to do needlework. But bet and Edma became 104 00:06:19,240 --> 00:06:22,560 Speaker 1: artistic partners for more than a decade, supporting one another 105 00:06:22,680 --> 00:06:26,760 Speaker 1: and critiquing each other's work. When they started their art lessons, 106 00:06:27,080 --> 00:06:29,560 Speaker 1: there and Edma were in their late teens and it 107 00:06:29,680 --> 00:06:32,799 Speaker 1: just wasn't considered appropriate for them to be out alone. 108 00:06:33,360 --> 00:06:36,039 Speaker 1: But if the two of them were together, that was 109 00:06:36,240 --> 00:06:38,480 Speaker 1: less of an issue. As long as they were somewhere 110 00:06:38,480 --> 00:06:41,120 Speaker 1: that it was appropriate for young women to be at all. 111 00:06:42,120 --> 00:06:45,760 Speaker 1: They were really in agreement about where and how much 112 00:06:45,800 --> 00:06:48,000 Speaker 1: they wanted to paint, and so the fact that they 113 00:06:48,040 --> 00:06:51,600 Speaker 1: were both pursuing this made it much easier for the 114 00:06:51,600 --> 00:06:54,560 Speaker 1: two of them to just paint whenever they wanted as 115 00:06:54,640 --> 00:06:58,240 Speaker 1: much as they wanted. Their mother did accompany them, sometimes, 116 00:06:58,400 --> 00:07:00,800 Speaker 1: usually bringing along her sewing with her when she did, 117 00:07:00,839 --> 00:07:03,359 Speaker 1: but like they had more options, they didn't have to 118 00:07:03,520 --> 00:07:06,720 Speaker 1: like goad their mom into coming with them so they 119 00:07:06,720 --> 00:07:10,680 Speaker 1: could go somewhere in paint. After becoming dissatisfied with Showkaarn's 120 00:07:10,800 --> 00:07:13,480 Speaker 1: art classes and all of that cross hatching, which is 121 00:07:13,480 --> 00:07:16,440 Speaker 1: an important skill, but that's a lot uh, Barrett and 122 00:07:16,600 --> 00:07:20,680 Speaker 1: Edma found a new teacher that was Joseph bag and 123 00:07:20,720 --> 00:07:23,480 Speaker 1: he seems to have recognized their potential and that they 124 00:07:23,520 --> 00:07:27,440 Speaker 1: had a dedication beyond what was expected for middle class teenagers. 125 00:07:27,440 --> 00:07:31,520 Speaker 1: Taking art lessons like taking classes in painting or drawing 126 00:07:31,560 --> 00:07:34,520 Speaker 1: was not unusual, but their level of focus on it 127 00:07:34,560 --> 00:07:38,000 Speaker 1: really was. According to their younger brother. At one point, 128 00:07:38,520 --> 00:07:40,840 Speaker 1: Ard said to their mother, are you sure that you 129 00:07:40,840 --> 00:07:43,440 Speaker 1: will never rue the day when art, having entered a 130 00:07:43,480 --> 00:07:47,400 Speaker 1: once respectable, peaceful home, becomes the sole master of your 131 00:07:47,400 --> 00:07:52,680 Speaker 1: two children's destinies. But Cornelie wasn't concerned about her daughter's 132 00:07:52,680 --> 00:07:56,960 Speaker 1: painting becoming a problem, at least she wasn't yet. One 133 00:07:56,960 --> 00:07:59,600 Speaker 1: of the standard ways to study art at this point 134 00:07:59,680 --> 00:08:02,880 Speaker 1: was to copy the work of the old masters, and 135 00:08:03,120 --> 00:08:06,840 Speaker 1: Guichard registered the Morizzo's sisters at the Louver so they 136 00:08:06,840 --> 00:08:11,040 Speaker 1: could work there. Barrett particularly focused on copying the work 137 00:08:11,080 --> 00:08:15,960 Speaker 1: of Titian and Peter Paul Rubens. Eventually, Bart and Edma 138 00:08:16,040 --> 00:08:19,000 Speaker 1: told their mother they wanted to study plan air painting, 139 00:08:19,120 --> 00:08:23,000 Speaker 1: that is, painting outdoors rather than sketching an outdoor scene 140 00:08:23,000 --> 00:08:26,320 Speaker 1: to paint in the studio. By eighteen sixty two they 141 00:08:26,360 --> 00:08:30,720 Speaker 1: were studying with landscape painter Jean baptisque amuco Or when 142 00:08:30,720 --> 00:08:32,800 Speaker 1: he was away or he was too busy with his 143 00:08:32,840 --> 00:08:37,680 Speaker 1: student Francois Udon, Although this continued until about eighteen sixty eight. 144 00:08:37,720 --> 00:08:40,280 Speaker 1: At some point they had a falling out with Udnan. 145 00:08:40,840 --> 00:08:44,200 Speaker 1: The details are unknown, but bear to Edma's letters to 146 00:08:44,200 --> 00:08:46,160 Speaker 1: one another and make it clear that in the end 147 00:08:46,520 --> 00:08:49,760 Speaker 1: they both hated him and they found him ridiculous. In 148 00:08:49,800 --> 00:08:53,640 Speaker 1: eighteen sixty four, Barrett and Edma both had pieces accepted 149 00:08:53,679 --> 00:08:57,240 Speaker 1: to the government sponsored art exhibition known as the Salon, 150 00:08:58,120 --> 00:09:01,959 Speaker 1: and that was a critically important venue for artists to 151 00:09:02,160 --> 00:09:06,680 Speaker 1: establish their reputations antifined buyers for their work. The sisters 152 00:09:06,679 --> 00:09:10,719 Speaker 1: were listed as students of Guichard and Udineaux, and this 153 00:09:10,800 --> 00:09:13,680 Speaker 1: was the first of several appearances at the Salon for 154 00:09:13,760 --> 00:09:16,800 Speaker 1: each of them. At my Head, pieces accepted every year 155 00:09:16,880 --> 00:09:20,880 Speaker 1: until eighteen sixty eight, and Bart exhibited work there six 156 00:09:21,000 --> 00:09:25,240 Speaker 1: times between eighteen sixty five and eighteen seventy three. The 157 00:09:25,400 --> 00:09:29,120 Speaker 1: jury at the Salon tended to be pretty conservative, though, 158 00:09:29,240 --> 00:09:32,880 Speaker 1: and as her work got more experimental, less and less 159 00:09:32,880 --> 00:09:35,920 Speaker 1: of it was accepted, until none of her submitted pieces 160 00:09:35,920 --> 00:09:39,040 Speaker 1: were accepted in eighteen seventy four, the first time their 161 00:09:39,080 --> 00:09:41,800 Speaker 1: work appeared at the salon, Bart was twenty three and 162 00:09:41,960 --> 00:09:45,800 Speaker 1: Edma was twenty five, and even though the standard life 163 00:09:45,800 --> 00:09:48,200 Speaker 1: path for women of their station was to marry and 164 00:09:48,280 --> 00:09:51,760 Speaker 1: have children, their parents were still quite supportive of their art. 165 00:09:52,640 --> 00:09:56,080 Speaker 1: In eighteen sixty five, the Morrisseauls had a standalone studio 166 00:09:56,120 --> 00:09:59,240 Speaker 1: built at their Posse home, and they hosted dinners every 167 00:09:59,280 --> 00:10:04,160 Speaker 1: Tuesday night, inviting painters, writers, musicians, basically making their home 168 00:10:04,200 --> 00:10:08,160 Speaker 1: into a gathering place for creatives and intellectuals. But then, 169 00:10:08,200 --> 00:10:12,520 Speaker 1: in eighteen sixty seven, Eves, the oldest of the Morizo daughters, 170 00:10:12,720 --> 00:10:15,760 Speaker 1: got married, and in one way, this opened up some 171 00:10:15,840 --> 00:10:19,440 Speaker 1: new opportunities for Bear and Edma. While they could get 172 00:10:19,480 --> 00:10:22,800 Speaker 1: away with painting together without another chaperone, they couldn't really 173 00:10:22,920 --> 00:10:26,880 Speaker 1: travel on their own, so having a married, older sister 174 00:10:27,080 --> 00:10:31,360 Speaker 1: gave them a new potential chaperone and traveling companion. At 175 00:10:31,360 --> 00:10:35,520 Speaker 1: the same time, though Eve's marriage seems to have prompted 176 00:10:35,559 --> 00:10:39,280 Speaker 1: Cornelie to start worrying about when her younger daughters would 177 00:10:39,320 --> 00:10:42,280 Speaker 1: find husbands of their own, and whether their art was 178 00:10:42,320 --> 00:10:45,280 Speaker 1: getting in the way of that. In eighteen sixty eight, 179 00:10:45,440 --> 00:10:48,080 Speaker 1: the Maurisso's met a family that would have a big 180 00:10:48,240 --> 00:10:51,439 Speaker 1: effect on their lives, and vice versa. We're going to 181 00:10:51,520 --> 00:11:03,920 Speaker 1: talk more about that after a sponsor break. In eighteen 182 00:11:03,960 --> 00:11:08,320 Speaker 1: sixty eight, the Morrisso's met the Manet's after Bart Morrisso 183 00:11:08,480 --> 00:11:11,360 Speaker 1: met Eduard Manet while she was copying at the Loop, 184 00:11:12,160 --> 00:11:15,880 Speaker 1: but each of their reputations had preceded them. Manet was 185 00:11:16,000 --> 00:11:19,760 Speaker 1: already known as a controversial and sometimes really scandalous artist. 186 00:11:20,360 --> 00:11:22,840 Speaker 1: He had shown his work at the Salon de Refuse 187 00:11:23,200 --> 00:11:27,240 Speaker 1: in eighteen sixty three after the official salon had rejected it, 188 00:11:27,960 --> 00:11:30,800 Speaker 1: and Carlie Morrisseau also had a friend who had spent 189 00:11:30,840 --> 00:11:33,920 Speaker 1: an evening at the man A residence and then afterward 190 00:11:33,960 --> 00:11:37,160 Speaker 1: had told her all about how her daughter's artwork had 191 00:11:37,160 --> 00:11:40,880 Speaker 1: been a topic of conversation that night. Edwar Many was 192 00:11:41,000 --> 00:11:43,640 Speaker 1: married when he and Bart first met, and there's been 193 00:11:43,720 --> 00:11:46,480 Speaker 1: some speculation that they may have had an affair, or 194 00:11:46,520 --> 00:11:49,000 Speaker 1: at least that she was in love with him. She 195 00:11:49,200 --> 00:11:52,720 Speaker 1: clearly found him attractive, and he painted at least fourteen 196 00:11:52,760 --> 00:11:56,559 Speaker 1: pictures of her during his lifetime. But there really isn't 197 00:11:56,600 --> 00:12:00,600 Speaker 1: any substantiation for an affair. And and there is this 198 00:12:00,679 --> 00:12:05,360 Speaker 1: which Manet wrote to a reftin Latu, in quote the 199 00:12:05,440 --> 00:12:09,040 Speaker 1: young Mori, so girls are charming. It's annoying that they 200 00:12:09,040 --> 00:12:12,520 Speaker 1: are not men. However, as women they could serve the 201 00:12:12,559 --> 00:12:15,040 Speaker 1: cause of painting by each marrying a member of the 202 00:12:15,040 --> 00:12:18,920 Speaker 1: French academy and sewing discord in the camp of those daughterards. 203 00:12:19,800 --> 00:12:24,240 Speaker 1: I find that both hilarious and kind of insulting, a 204 00:12:24,280 --> 00:12:27,360 Speaker 1: little yucky, but also kind of funny. Maybe not a 205 00:12:27,440 --> 00:12:30,520 Speaker 1: thing you would say about somebody you were having an 206 00:12:30,559 --> 00:12:36,280 Speaker 1: affair with, but who knows. Regardless of that detail, the 207 00:12:36,400 --> 00:12:40,600 Speaker 1: Manet's and the Morrison's became friends. They entertained each other regularly, 208 00:12:41,040 --> 00:12:43,560 Speaker 1: and they also made a lot of connections to other 209 00:12:43,720 --> 00:12:49,640 Speaker 1: prominent people in Paris, like Charles Boulaire and Emulola. Sometimes 210 00:12:49,720 --> 00:12:54,240 Speaker 1: Manee is described as influencing bart to Morizeau, but really 211 00:12:54,480 --> 00:12:58,439 Speaker 1: each of them was influencing the other one, including her 212 00:12:58,679 --> 00:13:02,360 Speaker 1: encouraging him to try painting on plan air. Each of 213 00:13:02,400 --> 00:13:05,199 Speaker 1: them was really playing off of the other and developing 214 00:13:05,200 --> 00:13:08,280 Speaker 1: their own artistic styles, which for both of them would 215 00:13:08,320 --> 00:13:11,480 Speaker 1: be a big part of the foundation of the Impressionist movement. 216 00:13:12,120 --> 00:13:16,280 Speaker 1: In eighteen sixty nine, Edma Maurrisso married a Navy lieutenant 217 00:13:16,480 --> 00:13:20,439 Speaker 1: named Adolph Pantillon, who was a longtime friend of Eduard Maney's, 218 00:13:21,280 --> 00:13:23,800 Speaker 1: and this had at least as much of an impact 219 00:13:23,840 --> 00:13:26,640 Speaker 1: on Bert's life as the connection to Manna had the 220 00:13:26,720 --> 00:13:30,679 Speaker 1: year before. Bett and admir were each other's best friends 221 00:13:30,760 --> 00:13:35,000 Speaker 1: and artistic partners, and they had really never been separated before. 222 00:13:35,880 --> 00:13:39,560 Speaker 1: They both missed one another terribly once this marriage took place, 223 00:13:39,640 --> 00:13:44,680 Speaker 1: exchanging lots of sorrowful letters. Although Edma still painted from 224 00:13:44,720 --> 00:13:48,320 Speaker 1: time to time, her career as an artist really ended 225 00:13:48,360 --> 00:13:51,480 Speaker 1: when she got married. She wrote to her sister about 226 00:13:51,520 --> 00:13:54,960 Speaker 1: being dissatisfied with what she tried to paint, and also 227 00:13:55,040 --> 00:13:58,400 Speaker 1: about just time kind of getting away from her, especially 228 00:13:58,400 --> 00:14:02,160 Speaker 1: after she became a mother. Edma suggested that marriage might 229 00:14:02,200 --> 00:14:05,840 Speaker 1: be challenging for Bart as well. At one point Bart 230 00:14:05,880 --> 00:14:08,800 Speaker 1: wrote to her sister, quote, men are inclined to believe 231 00:14:08,840 --> 00:14:11,439 Speaker 1: that they fell all of one's life. But as for me, 232 00:14:12,000 --> 00:14:14,280 Speaker 1: I think that no matter how much affection one might 233 00:14:14,360 --> 00:14:17,480 Speaker 1: feel for one's husband, it is not easy to break 234 00:14:17,480 --> 00:14:20,920 Speaker 1: off a life of work. Romance is all very well 235 00:14:20,960 --> 00:14:23,360 Speaker 1: as long as there is something else besides it to 236 00:14:23,440 --> 00:14:27,880 Speaker 1: fill one's days. Edma encouraged her to delay getting married, 237 00:14:27,920 --> 00:14:30,920 Speaker 1: telling her to quote, use all your skill and all 238 00:14:30,960 --> 00:14:34,920 Speaker 1: your charm to find something more satisfactory for you. About 239 00:14:34,960 --> 00:14:38,040 Speaker 1: three months after Edma got married, Bart went to visit 240 00:14:38,080 --> 00:14:40,840 Speaker 1: her and stayed for part of the summer, and this 241 00:14:40,920 --> 00:14:45,040 Speaker 1: is when she started painting pictures of her sister. Basically, 242 00:14:45,080 --> 00:14:49,280 Speaker 1: every time the sisters visited one another, art painted. It 243 00:14:49,480 --> 00:14:53,000 Speaker 1: is possible that Bart painted her sister before this point, 244 00:14:53,080 --> 00:14:56,280 Speaker 1: but she later destroyed much of her work from before 245 00:14:56,320 --> 00:14:59,400 Speaker 1: eighteen sixty nine, so if there are pictures that she 246 00:14:59,440 --> 00:15:01,760 Speaker 1: made of her her before this point, they did not survive. 247 00:15:02,600 --> 00:15:07,160 Speaker 1: Their mother, though, was becoming less supportive of their artistic career. 248 00:15:07,360 --> 00:15:10,040 Speaker 1: She was starting to really fear that her youngest daughter 249 00:15:10,160 --> 00:15:12,760 Speaker 1: was just never going to get married. Yeah, keeping in 250 00:15:12,840 --> 00:15:16,200 Speaker 1: mind that at that point that was really the only 251 00:15:16,240 --> 00:15:19,360 Speaker 1: path to know you had like financial stability in life 252 00:15:19,600 --> 00:15:23,400 Speaker 1: for a woman, So you know, a little different than 253 00:15:23,440 --> 00:15:26,160 Speaker 1: the way people push people into marriage today, but still 254 00:15:26,480 --> 00:15:31,560 Speaker 1: probably annoying if you're Bart right. Bart did not submit 255 00:15:31,600 --> 00:15:34,600 Speaker 1: any work to the Salon in eighteen sixty nine. She 256 00:15:34,720 --> 00:15:39,040 Speaker 1: had submitted every year since eighteen sixty four, although she 257 00:15:39,120 --> 00:15:43,240 Speaker 1: did not document her reasons anywhere. This exceptional year was 258 00:15:43,240 --> 00:15:46,840 Speaker 1: probably a combination of her sister's marriage, her spending some 259 00:15:46,920 --> 00:15:50,400 Speaker 1: of her time modeling for Edua Manet and Alfred Stevens, 260 00:15:50,440 --> 00:15:52,680 Speaker 1: and some kind of issue with one of her eyes. 261 00:15:53,320 --> 00:15:55,720 Speaker 1: She described it swelling and that she had to wear 262 00:15:55,760 --> 00:15:59,600 Speaker 1: a bandage there. Did submit to the Salon again in 263 00:15:59,680 --> 00:16:02,720 Speaker 1: eight and seventy and two of her paintings were accepted 264 00:16:02,760 --> 00:16:05,880 Speaker 1: that year. Both of them featured her sister, ed Ba. 265 00:16:06,280 --> 00:16:09,120 Speaker 1: One of them was the artists sister at a Window 266 00:16:09,400 --> 00:16:12,240 Speaker 1: and the other was portrait of two women also called 267 00:16:12,280 --> 00:16:15,920 Speaker 1: the mother and sister of the artist. Edma was pregnant 268 00:16:15,920 --> 00:16:18,360 Speaker 1: with her first child and both of these paintings, and 269 00:16:18,400 --> 00:16:23,200 Speaker 1: that's something that's disguised a bit through she's wearing these 270 00:16:23,200 --> 00:16:26,480 Speaker 1: flowing white dresses. If you know she's pregnant. Looking at it, 271 00:16:26,520 --> 00:16:29,720 Speaker 1: you can kind of see that she looks a little pregnant, 272 00:16:29,800 --> 00:16:33,160 Speaker 1: but it's not as obvious as it might have been 273 00:16:33,200 --> 00:16:38,880 Speaker 1: in another outfit or posture. Baird had asked Edward Mane 274 00:16:39,000 --> 00:16:41,760 Speaker 1: for some advice on the painting of her sister and mother, 275 00:16:42,440 --> 00:16:46,440 Speaker 1: and in response, he had significantly retouched and repainted part 276 00:16:46,480 --> 00:16:49,400 Speaker 1: of that painting before he submitted it to the salon. 277 00:16:50,360 --> 00:16:54,040 Speaker 1: Morrisseau had developed this very light, almost sketchy style that 278 00:16:54,160 --> 00:16:58,760 Speaker 1: intentionally left parts of her paintings looking almost unfinished, and 279 00:16:58,800 --> 00:17:01,560 Speaker 1: in my name's mind he finished it for her in 280 00:17:01,640 --> 00:17:05,199 Speaker 1: the process, causing Marissa's mother to look different from the 281 00:17:05,240 --> 00:17:08,679 Speaker 1: rest of the painting. Morrissau was just sick about this, 282 00:17:08,880 --> 00:17:11,720 Speaker 1: writing to her sister that her only hope for it 283 00:17:11,760 --> 00:17:15,680 Speaker 1: was that it would be rejected and it was not. Yeah, 284 00:17:15,760 --> 00:17:20,520 Speaker 1: it's She was deeply upset. You can see pictures of 285 00:17:20,560 --> 00:17:25,600 Speaker 1: this painting online, and her mother is noticeably different, even 286 00:17:25,640 --> 00:17:28,320 Speaker 1: for someone who doesn't have a lot of formal training 287 00:17:28,400 --> 00:17:32,760 Speaker 1: or any really formal training in art, like noticeable differences 288 00:17:32,800 --> 00:17:36,040 Speaker 1: and how her mother has painted versus her sister and 289 00:17:36,080 --> 00:17:40,360 Speaker 1: the rest of the picture. The Franco Prussian War started 290 00:17:40,359 --> 00:17:44,200 Speaker 1: in eighteen seventy and Paris was under siege from September 291 00:17:44,320 --> 00:17:48,359 Speaker 1: nineteenth of eighteen seventy to January of eighteen seventy one. 292 00:17:48,880 --> 00:17:52,080 Speaker 1: The Morrissa's were affluent enough to be sheltered from some 293 00:17:52,240 --> 00:17:55,640 Speaker 1: of the worst of this, but this was still a 294 00:17:55,640 --> 00:18:00,399 Speaker 1: time of fear, danger, and deprivation. Members of them Licia 295 00:18:00,480 --> 00:18:04,639 Speaker 1: were quartered at the Morristo home and Passi. Bart's brother 296 00:18:04,800 --> 00:18:08,040 Speaker 1: served in the military and was captured, eventually escaping in 297 00:18:08,080 --> 00:18:11,240 Speaker 1: the hold of a ship. Eve described Bart as being 298 00:18:11,320 --> 00:18:15,480 Speaker 1: nervous and sad, fainting and developing consumption during the war. 299 00:18:16,480 --> 00:18:20,400 Speaker 1: Bart referred to it as a quote leaden nightmare. When 300 00:18:20,440 --> 00:18:23,520 Speaker 1: she could, she painted mostly in watercolors, just so that 301 00:18:23,560 --> 00:18:26,680 Speaker 1: she could have something to focus on. By January of 302 00:18:26,760 --> 00:18:30,720 Speaker 1: eighteen seventy one, all the Morristo's had to eat were crackers, 303 00:18:30,920 --> 00:18:35,679 Speaker 1: and they ate only crackers for days. This deprivation seems 304 00:18:35,720 --> 00:18:39,879 Speaker 1: to have negatively affected Bart's health. She had recurring illnesses, 305 00:18:39,920 --> 00:18:42,520 Speaker 1: and it is not clear whether her digestion was affected 306 00:18:42,600 --> 00:18:46,520 Speaker 1: or whether her eating became disordered. After the war was over, 307 00:18:46,720 --> 00:18:49,640 Speaker 1: Bart and her parents retreated to San German on Lay, 308 00:18:50,160 --> 00:18:54,119 Speaker 1: and they narrowly avoided the violence and destruction that followed. 309 00:18:54,160 --> 00:18:57,840 Speaker 1: When Adolph Tier, who was the head of the National Assembly, 310 00:18:58,400 --> 00:19:01,399 Speaker 1: dispatched troops to deal with the uprising known as the 311 00:19:01,400 --> 00:19:05,840 Speaker 1: Paris Commune. Briefly, this was an insurrection against the National 312 00:19:05,880 --> 00:19:08,440 Speaker 1: Assembly and the decisions that it made following the Franco 313 00:19:08,560 --> 00:19:11,440 Speaker 1: Prussian War. There's a bit more about this whole period 314 00:19:11,560 --> 00:19:16,000 Speaker 1: in our recent episodes on the Dreyfus affair. Bart's studio 315 00:19:16,240 --> 00:19:19,439 Speaker 1: was destroyed during this wave of violence, along with the 316 00:19:19,480 --> 00:19:22,480 Speaker 1: work that was in it. Adolph Tier was a family 317 00:19:22,520 --> 00:19:26,560 Speaker 1: friend of the Morrisso's, and Bart's parents supported his decisions 318 00:19:26,600 --> 00:19:29,399 Speaker 1: in dealing with the Paris Commune. There was something that 319 00:19:29,480 --> 00:19:32,160 Speaker 1: led to the deaths of at least twenty thousand Parisians. 320 00:19:33,080 --> 00:19:37,280 Speaker 1: There's specific opinions about this aren't really recorded anywhere aside 321 00:19:37,320 --> 00:19:41,919 Speaker 1: from mentioning increasing disagreements with her parents, But many of 322 00:19:41,920 --> 00:19:46,119 Speaker 1: the artists she knew, including Mane, were relatively moderate, not 323 00:19:46,280 --> 00:19:51,800 Speaker 1: supporting the Communards but also denouncing the government's response. Yeah, 324 00:19:51,880 --> 00:19:57,600 Speaker 1: the Communards generally tended to be working class people. Some 325 00:19:57,680 --> 00:20:01,360 Speaker 1: were also artists, but not general people who were more affluent, 326 00:20:01,440 --> 00:20:03,960 Speaker 1: and so the their position and more of the upper 327 00:20:04,000 --> 00:20:05,800 Speaker 1: middle class meant that a lot of the people that 328 00:20:05,880 --> 00:20:10,439 Speaker 1: Barrett was more directly connected with. Uh, we're opposed to 329 00:20:10,480 --> 00:20:14,440 Speaker 1: what the government was doing, but also we're really supporting 330 00:20:14,680 --> 00:20:18,840 Speaker 1: the uprising itself that much. After all of this was over, 331 00:20:19,119 --> 00:20:21,600 Speaker 1: Barrett and her sister Eves took a trip to Spain. 332 00:20:22,119 --> 00:20:24,640 Speaker 1: Barrett seems to have wanted a break from her parents 333 00:20:24,640 --> 00:20:27,400 Speaker 1: and maybe also from some of the other more conservative 334 00:20:27,440 --> 00:20:30,840 Speaker 1: people who were living in their neighborhood. She also started 335 00:20:30,880 --> 00:20:34,240 Speaker 1: talking about really trying to make a living as a painter, 336 00:20:34,880 --> 00:20:37,720 Speaker 1: and this was becoming a little more possible thanks to 337 00:20:37,800 --> 00:20:41,160 Speaker 1: the existence of private dealers who were starting to sell 338 00:20:41,280 --> 00:20:45,720 Speaker 1: more artwork outside of official venues like the Selon. Morrisso's 339 00:20:45,760 --> 00:20:49,880 Speaker 1: first private sales were through Paul Drouet in eighteen seventy two. 340 00:20:50,400 --> 00:20:53,560 Speaker 1: He had developed a reputation for taking on more experimental 341 00:20:53,640 --> 00:20:57,959 Speaker 1: avant garde work and successfully finding buyers for it. The 342 00:20:58,080 --> 00:21:02,159 Speaker 1: term Impressionist hadn't yet ben coined when Deron Rouetta started 343 00:21:02,160 --> 00:21:05,520 Speaker 1: buying the work of artists like Bert Morrisso, Claude Monet, 344 00:21:05,920 --> 00:21:10,680 Speaker 1: guard Ga, and Camille Pizzaro, but today he's known for recognizing, promoting, 345 00:21:10,720 --> 00:21:15,480 Speaker 1: and really financing the Impressionist movement. Eighteen seventy four was 346 00:21:15,520 --> 00:21:19,399 Speaker 1: a tumultuous year in Morrisso's life, her father died on 347 00:21:19,480 --> 00:21:24,680 Speaker 1: January of a progressive heart condition. In addition to her grief, 348 00:21:24,880 --> 00:21:28,280 Speaker 1: his passing raised financial issues for her and for the 349 00:21:28,320 --> 00:21:32,159 Speaker 1: rest of the family. Barrett inherited about forty thou francs. 350 00:21:32,200 --> 00:21:35,000 Speaker 1: That was the substantial amount of money, but it also 351 00:21:35,160 --> 00:21:37,119 Speaker 1: was not enough to just live off of for the 352 00:21:37,160 --> 00:21:40,960 Speaker 1: rest of her life. Then, April fifteenth, eighteen seventy four 353 00:21:41,080 --> 00:21:44,639 Speaker 1: was the opening of the first Impressionist art exhibition, although 354 00:21:44,640 --> 00:21:48,000 Speaker 1: again the organizers didn't call themselves that, they were the 355 00:21:48,080 --> 00:21:53,520 Speaker 1: anonymous Society of painters, sculptors, printmakers, etcetera. Their artwork was 356 00:21:53,600 --> 00:21:56,679 Speaker 1: so controversial that they tried to keep their names at 357 00:21:56,760 --> 00:22:00,520 Speaker 1: least somewhat out of the spotlight. But the name Impressionists 358 00:22:00,720 --> 00:22:05,200 Speaker 1: followed this exhibition. Critic Louis Leroy wrote a scathing review, 359 00:22:05,359 --> 00:22:07,520 Speaker 1: and he picked up the name from one of Monet's 360 00:22:07,560 --> 00:22:13,080 Speaker 1: exhibited works, titled impression Sunrise. Most of the Impressionists did 361 00:22:13,119 --> 00:22:16,440 Speaker 1: not start using that name themselves until a few years later. 362 00:22:16,600 --> 00:22:19,240 Speaker 1: Some of them never ever did. Yeah, some of them 363 00:22:19,240 --> 00:22:23,720 Speaker 1: hated that name a whole lot. Morristeau had ten pieces 364 00:22:23,720 --> 00:22:26,280 Speaker 1: in this exhibition, and she was the only woman whose 365 00:22:26,359 --> 00:22:29,960 Speaker 1: art was included but this really cemented her as one 366 00:22:30,040 --> 00:22:34,160 Speaker 1: of these central artists in this movement, along with Claude Monet, 367 00:22:34,600 --> 00:22:39,200 Speaker 1: Edguard de Gas, Pierre, Auguste Renoir, Commute Pizarro, and Alfred Sisley. 368 00:22:40,080 --> 00:22:43,800 Speaker 1: Although the exhibition was praised for its organization, it was 369 00:22:43,880 --> 00:22:48,240 Speaker 1: generally panned by art critics and sometimes panned viciously. It 370 00:22:48,440 --> 00:22:50,720 Speaker 1: was full of art that the French Academy would not 371 00:22:50,960 --> 00:22:53,280 Speaker 1: have accepted for the salon, which broke a lot of 372 00:22:53,320 --> 00:22:57,399 Speaker 1: the formal conventions related to everything from painting technique to 373 00:22:57,480 --> 00:23:00,880 Speaker 1: subject matter. Many of the painters and selves were also 374 00:23:01,160 --> 00:23:04,800 Speaker 1: just viewed as degenerate radicals and a cap off eighteen 375 00:23:04,840 --> 00:23:08,840 Speaker 1: seventy four. On December twenty two, Barrett Morriso got married 376 00:23:09,000 --> 00:23:12,240 Speaker 1: to Eugene Mane, who was the brother of Edward Mane. 377 00:23:12,680 --> 00:23:15,639 Speaker 1: She had known him since eighteen sixty eight. Her marriage 378 00:23:15,680 --> 00:23:20,440 Speaker 1: certificate described her as having no profession. Sometimes people interpret 379 00:23:20,520 --> 00:23:22,280 Speaker 1: that as a slight on her painting, but it was 380 00:23:23,040 --> 00:23:27,560 Speaker 1: not really considered appropriate for an upper middle class woman 381 00:23:27,640 --> 00:23:31,239 Speaker 1: to have a profession. Her husband, though, was listed as 382 00:23:31,240 --> 00:23:34,480 Speaker 1: a man of property, which cracks me up a little 383 00:23:34,480 --> 00:23:38,159 Speaker 1: bit there. It was thirty two that was really pretty 384 00:23:38,200 --> 00:23:41,280 Speaker 1: old for someone's first marriage, and she also seems to 385 00:23:41,359 --> 00:23:44,479 Speaker 1: have been really pragmatic about it. She described herself as 386 00:23:44,600 --> 00:23:47,600 Speaker 1: getting married quote without the least pomp, in a dress 387 00:23:47,680 --> 00:23:49,880 Speaker 1: and a hat, like an old woman that I am, 388 00:23:50,080 --> 00:23:53,520 Speaker 1: and without guests. They did have both a civil and 389 00:23:53,800 --> 00:23:56,520 Speaker 1: religious service, was how it typically worked at this point. 390 00:23:56,920 --> 00:23:59,959 Speaker 1: Mariso had been raised Catholic, but she wasn't really observed 391 00:24:00,000 --> 00:24:03,560 Speaker 1: it anymore. But skipping the church wedding entirely would have 392 00:24:03,680 --> 00:24:07,159 Speaker 1: really upset her family. Even though Bert's mother had been 393 00:24:07,320 --> 00:24:10,240 Speaker 1: really eager for her to be married, most of the 394 00:24:10,280 --> 00:24:14,600 Speaker 1: family was somewhere on a spectrum between ambivalent and disapproving 395 00:24:14,680 --> 00:24:17,720 Speaker 1: when it came to her choice of husband. Bart's brother 396 00:24:17,880 --> 00:24:22,040 Speaker 1: had described him as intelligent but lazy, criticizing him for 397 00:24:22,160 --> 00:24:24,399 Speaker 1: being in his thirties but still not seeming to know 398 00:24:24,560 --> 00:24:27,280 Speaker 1: what he wanted to do with his life. Her mother 399 00:24:27,400 --> 00:24:29,920 Speaker 1: had called him crazy and said that he had no 400 00:24:30,080 --> 00:24:34,040 Speaker 1: common sense, and she had criticized his Republican politics during 401 00:24:34,119 --> 00:24:38,600 Speaker 1: the Paris Commune. They were also both fairly anxious people. 402 00:24:39,880 --> 00:24:42,200 Speaker 1: It's an anxious person. I understand how this can be 403 00:24:42,280 --> 00:24:46,520 Speaker 1: challenging to have two anxious people and the relationship, but Eugene, 404 00:24:46,640 --> 00:24:49,359 Speaker 1: like Barrett, and like his brother Edward, was an artist. 405 00:24:49,520 --> 00:24:53,320 Speaker 1: He understood and supported and promoted Bart's work, and he 406 00:24:53,560 --> 00:24:57,000 Speaker 1: promoted her work rather than trying to build a professional 407 00:24:57,119 --> 00:25:00,439 Speaker 1: career for himself. She continued to sign all of her 408 00:25:00,480 --> 00:25:03,679 Speaker 1: work Barrett, more so after getting married, and we're going 409 00:25:03,720 --> 00:25:06,720 Speaker 1: to talk more about her life post marriage after we 410 00:25:06,840 --> 00:25:19,640 Speaker 1: pause for a sponsor break. The Impressionist movement in France 411 00:25:19,840 --> 00:25:23,280 Speaker 1: made it somewhat more possible for women to become publicly 412 00:25:23,400 --> 00:25:28,000 Speaker 1: known as artists. Women weren't admitted to the prestigious at 413 00:25:28,040 --> 00:25:31,760 Speaker 1: col de Boisart, but the Impressionists were not following a 414 00:25:31,840 --> 00:25:34,840 Speaker 1: lot of the artistic rules and conventions that that school 415 00:25:34,960 --> 00:25:38,720 Speaker 1: was teaching. It wasn't considered appropriate for women to do 416 00:25:38,920 --> 00:25:43,119 Speaker 1: nude figure studies, but again, the Impressionists weren't really focused 417 00:25:43,160 --> 00:25:46,920 Speaker 1: on figure studies anyway. In terms of subject matter, a 418 00:25:47,000 --> 00:25:50,240 Speaker 1: lot of the Impressionists focused on landscapes and on the 419 00:25:50,320 --> 00:25:54,520 Speaker 1: everyday lives of the French middle class, so women could 420 00:25:54,560 --> 00:25:57,600 Speaker 1: paint or draw the world around them rather than needing 421 00:25:57,680 --> 00:26:00,760 Speaker 1: a studio to set up formal portrait. There's still lives 422 00:26:00,840 --> 00:26:04,560 Speaker 1: to work from. It also wasn't considered appropriate for women 423 00:26:04,680 --> 00:26:08,840 Speaker 1: to hire professional art models, since models were regarded almost 424 00:26:08,880 --> 00:26:12,800 Speaker 1: as sex workers. But the impressionists focus on everyday life 425 00:26:12,920 --> 00:26:15,479 Speaker 1: meant that women artists could depict their friends and their 426 00:26:15,520 --> 00:26:19,600 Speaker 1: families instead, and bear to Marisso's work fit right into this. 427 00:26:20,320 --> 00:26:23,639 Speaker 1: Her favorite subjects included her friends and family and the 428 00:26:23,720 --> 00:26:27,600 Speaker 1: places they lived and traveled. She portrayed her subjects in 429 00:26:27,680 --> 00:26:31,680 Speaker 1: an intimate and tender way that was simultaneously almost sketchy, 430 00:26:31,840 --> 00:26:36,040 Speaker 1: with very loose brushstrokes, experimenting with light and color in 431 00:26:36,160 --> 00:26:39,320 Speaker 1: a way that kind of pushed the boundaries. All of 432 00:26:39,440 --> 00:26:42,480 Speaker 1: that said, though the position of women in the movement 433 00:26:42,680 --> 00:26:46,560 Speaker 1: was a little complicated. Morissau was a central figure and 434 00:26:46,640 --> 00:26:49,479 Speaker 1: the Impressionist movement from the very very beginning, but at 435 00:26:49,520 --> 00:26:53,520 Speaker 1: first she was also the only woman. Later prominent women 436 00:26:53,560 --> 00:26:58,159 Speaker 1: Impressionists include Mary Cassatt and Marie Breckemol, but most of 437 00:26:58,240 --> 00:27:00,639 Speaker 1: the well known figures in the movement it were and 438 00:27:00,800 --> 00:27:04,800 Speaker 1: continue to be men. In general, women faced criticism for 439 00:27:04,960 --> 00:27:08,399 Speaker 1: publicly showing and selling their art, but the hallmarks of 440 00:27:08,480 --> 00:27:11,399 Speaker 1: Impressionism shield them from some of the criticism of the 441 00:27:11,480 --> 00:27:15,320 Speaker 1: movement itself. In the late nineteenth century, women in France 442 00:27:15,359 --> 00:27:19,200 Speaker 1: were generally viewed as inferior to men and less capable 443 00:27:19,280 --> 00:27:23,959 Speaker 1: of rational thought, so impressionists loose brushwork, fluidity and focus 444 00:27:24,040 --> 00:27:28,080 Speaker 1: on sensation rather than composition was more acceptable for a woman, 445 00:27:28,680 --> 00:27:31,399 Speaker 1: after all, that was probably the best that she could do, 446 00:27:32,200 --> 00:27:35,040 Speaker 1: but that was not the case for a man. For 447 00:27:35,160 --> 00:27:39,359 Speaker 1: her own part, Morrisso wrote this in her diary in quote, 448 00:27:39,400 --> 00:27:41,159 Speaker 1: I don't think there has ever been a man who 449 00:27:41,240 --> 00:27:43,520 Speaker 1: treated a woman as an equal, and that's all I 450 00:27:43,600 --> 00:27:46,280 Speaker 1: would have asked for. I know I'm worth as much 451 00:27:46,359 --> 00:27:50,280 Speaker 1: as they are. Although Cornelie Morrisseau didn't love the idea 452 00:27:50,400 --> 00:27:54,040 Speaker 1: of her daughter marrying Eugene Mane, once the wedding was over, 453 00:27:54,359 --> 00:27:57,960 Speaker 1: she got back to supporting Bart's artistic career. As Bert 454 00:27:58,080 --> 00:28:01,440 Speaker 1: adjusted to being married, she stopped producing as many paintings 455 00:28:01,520 --> 00:28:05,160 Speaker 1: of her sister Edma, and she painted her husband Eugene instead. 456 00:28:05,960 --> 00:28:09,840 Speaker 1: They honeymooned in England in eighteen seventy five. That same year, 457 00:28:09,960 --> 00:28:13,159 Speaker 1: the Impressionists held an art auction, and although some of 458 00:28:13,240 --> 00:28:17,280 Speaker 1: Morrisso's pieces sold for respectable amounts, the auction itself was 459 00:28:17,400 --> 00:28:20,360 Speaker 1: kind of a fiasco, with the auctioneer having to call 460 00:28:20,440 --> 00:28:24,040 Speaker 1: the police because of unruly detractors who disrupted the bidding. 461 00:28:24,760 --> 00:28:28,440 Speaker 1: In eighteen seventy six, the Impressionists held their second exhibition. 462 00:28:29,160 --> 00:28:32,960 Speaker 1: Critic Albert Wolfe described Morrisso this way in his review 463 00:28:33,040 --> 00:28:35,359 Speaker 1: of it, quote, there's also a woman in the group, 464 00:28:35,640 --> 00:28:40,040 Speaker 1: as in most notorious gangs. She's called Bert Morrisso and 465 00:28:40,400 --> 00:28:43,840 Speaker 1: is curious to note, and her case, a feminine grace, 466 00:28:43,920 --> 00:28:49,000 Speaker 1: has maintained amid the outpouring of a delirious mind. Eugene 467 00:28:49,040 --> 00:28:52,320 Speaker 1: considered challenging him to a duel over this, but did not. 468 00:28:53,520 --> 00:28:56,320 Speaker 1: I'm glad he didn't, but also what a jerk. On 469 00:28:56,440 --> 00:29:02,000 Speaker 1: December seventy six, Cornellie Morrisso did. Two years later, in 470 00:29:02,120 --> 00:29:05,120 Speaker 1: eighteen seventy eight, bear To Morris gave birth to a daughter. 471 00:29:05,320 --> 00:29:08,720 Speaker 1: Julie Bart was thirty seven at this point and had 472 00:29:08,760 --> 00:29:12,720 Speaker 1: been trying to get pregnant since marrying eugen Her recovery 473 00:29:12,800 --> 00:29:15,280 Speaker 1: from giving birth was quite difficult, but she really loved 474 00:29:15,320 --> 00:29:17,960 Speaker 1: her daughter, and she had a wet nurse and other 475 00:29:18,040 --> 00:29:20,080 Speaker 1: staff to take care of her, so she was still 476 00:29:20,120 --> 00:29:24,080 Speaker 1: able to paint. Julie became her favorite model. She was 477 00:29:24,160 --> 00:29:27,200 Speaker 1: in about one third of Morris's paintings. After she was born, 478 00:29:28,040 --> 00:29:31,360 Speaker 1: Morrisseau learned to paint very quickly, and her style became 479 00:29:31,440 --> 00:29:35,000 Speaker 1: even sketchier. Because her young daughter just didn't stay still 480 00:29:35,120 --> 00:29:39,240 Speaker 1: for very long. Since she was still recovering from giving birth, 481 00:29:39,760 --> 00:29:43,040 Speaker 1: Morrisseau was unable to participate in the eighteen seventy eight 482 00:29:43,120 --> 00:29:46,800 Speaker 1: Impressionist exhibition. This is the only one that she didn't 483 00:29:46,840 --> 00:29:50,200 Speaker 1: participate of the formal exhibitions that happened during these years. 484 00:29:51,160 --> 00:29:54,680 Speaker 1: But that year she did exchange several letters with Mary Cassette, 485 00:29:54,720 --> 00:29:57,840 Speaker 1: who first exhibited with the Impressionists in eighteen seventy nine. 486 00:29:58,800 --> 00:30:02,800 Speaker 1: That year, der Morrisseau had started working again, Mary Cassatt 487 00:30:02,840 --> 00:30:05,280 Speaker 1: wrote to her, quote, I am so pleased that you 488 00:30:05,320 --> 00:30:07,240 Speaker 1: have been working a lot. You're going to make a 489 00:30:07,360 --> 00:30:10,160 Speaker 1: brilliant return to the exhibition, and I assure you that 490 00:30:10,280 --> 00:30:14,640 Speaker 1: I am really envious of your talent. Cassette also proposed 491 00:30:14,720 --> 00:30:19,440 Speaker 1: that they each paint one another's portraits, but that never happened. Sadly, 492 00:30:19,960 --> 00:30:24,280 Speaker 1: by one more women had become associated with the Impressionist movement, 493 00:30:24,760 --> 00:30:27,000 Speaker 1: and women in France were generally trying to get more 494 00:30:27,080 --> 00:30:31,400 Speaker 1: exposure as artists. The Union of Women Painters and Sculptors 495 00:30:31,520 --> 00:30:33,880 Speaker 1: was founded in eighty one to promote the work of 496 00:30:33,960 --> 00:30:37,120 Speaker 1: women artists and to advocate for women to be admitted 497 00:30:37,160 --> 00:30:41,320 Speaker 1: to the Ecole de Bosare. Although Morrisso was well established 498 00:30:41,360 --> 00:30:44,320 Speaker 1: as an artist and she resisted the constraints that were 499 00:30:44,360 --> 00:30:48,040 Speaker 1: placed on women in French society, she didn't really participate 500 00:30:48,120 --> 00:30:51,920 Speaker 1: in this movement for women's inclusion and recognition. In addition 501 00:30:52,040 --> 00:30:56,360 Speaker 1: to the artwork that Barrett Morriso contributed to the Impressionist movement, 502 00:30:56,480 --> 00:30:59,480 Speaker 1: she and her husband bought the work of other artists 503 00:30:59,600 --> 00:31:03,120 Speaker 1: from the movement and also financially contributed to it. That 504 00:31:03,240 --> 00:31:05,920 Speaker 1: included paying the rent to rent the space for the 505 00:31:06,000 --> 00:31:11,000 Speaker 1: eighteen eighty two Impressionist exhibition. Bart couldn't personally attend that year. 506 00:31:11,280 --> 00:31:14,160 Speaker 1: They had been away from Paris and Julie had become ill, 507 00:31:14,360 --> 00:31:17,840 Speaker 1: so Bart had stayed with her her husband chose which 508 00:31:17,880 --> 00:31:21,520 Speaker 1: paintings for her to exhibit that year. Edoir Mane died 509 00:31:21,640 --> 00:31:25,760 Speaker 1: on April eighteen eighty three. He and Morrisso had been 510 00:31:25,840 --> 00:31:29,240 Speaker 1: influencing each other's work for about fifteen years, and after 511 00:31:29,400 --> 00:31:32,880 Speaker 1: his death, Morriso started to bring in more influences from 512 00:31:32,880 --> 00:31:36,560 Speaker 1: the work of Pierre Auguste Renoir. This included visiting his 513 00:31:36,640 --> 00:31:39,440 Speaker 1: studio in eighteen eighty six and seeing his work as 514 00:31:39,480 --> 00:31:44,320 Speaker 1: a draftsman. They discussed doing preparatory drawings in advance of painting, 515 00:31:44,560 --> 00:31:47,920 Speaker 1: and this became a bigger part of Morrisso's process. She 516 00:31:48,000 --> 00:31:50,800 Speaker 1: would make sketches and studies ahead of time in something 517 00:31:50,840 --> 00:31:54,760 Speaker 1: like red chalk, charcoal or pastel, before then moving on 518 00:31:54,920 --> 00:31:59,040 Speaker 1: to paint on canvas. In eighteen eighty nine, Morrisso made 519 00:31:59,160 --> 00:32:03,160 Speaker 1: multiple visit to the Expositial and Universal. We talked about 520 00:32:03,200 --> 00:32:06,600 Speaker 1: that in our episode on Gustavi Fell. That same year, 521 00:32:06,800 --> 00:32:11,000 Speaker 1: she organized a campaign to buy Eduard Manet's painting Olympia 522 00:32:11,120 --> 00:32:14,600 Speaker 1: for the Nation of France. In eighteen nineties, she visited 523 00:32:14,640 --> 00:32:17,720 Speaker 1: the Acole de Bozar to view a collection of Japanese 524 00:32:17,840 --> 00:32:20,480 Speaker 1: prints that was there. This was something that Mary Cassatte 525 00:32:20,520 --> 00:32:23,760 Speaker 1: had invited and encouraged her to do at some point 526 00:32:23,880 --> 00:32:27,440 Speaker 1: around that time. Morris So also traded some of her 527 00:32:27,560 --> 00:32:31,120 Speaker 1: paintings for some Japanese prints, and for a while she 528 00:32:31,240 --> 00:32:34,400 Speaker 1: and Cassette worked pretty closely together on their artwork. I 529 00:32:34,480 --> 00:32:38,000 Speaker 1: feel like a whole thing about the interplay between Japanese 530 00:32:38,120 --> 00:32:42,000 Speaker 1: artwork and the Impressionists, like a whole other subject for 531 00:32:42,160 --> 00:32:45,280 Speaker 1: sure outside the scope of this podcast, but I wanted 532 00:32:45,320 --> 00:32:48,880 Speaker 1: to note it. Eugene Manet had gotten sick in eighteen 533 00:32:48,920 --> 00:32:52,240 Speaker 1: eighty six and he never fully recovered. He died on 534 00:32:52,320 --> 00:32:57,480 Speaker 1: April thirteenth. Before his death, though he had negotiated morris 535 00:32:57,560 --> 00:33:01,400 Speaker 1: Soo's first solo exhibition, which included forty of her paintings 536 00:33:01,480 --> 00:33:05,240 Speaker 1: along with work on paper. This exhibition was mostly but 537 00:33:05,440 --> 00:33:08,560 Speaker 1: not entirely, well reviewed, and some of her pieces sold 538 00:33:08,600 --> 00:33:12,800 Speaker 1: at good prices. Morisso said that Mary Cassatt never commented 539 00:33:12,880 --> 00:33:15,920 Speaker 1: on this exhibition. It is not clear whether this was 540 00:33:16,000 --> 00:33:19,280 Speaker 1: a cause or an effect, but their relationship seems to 541 00:33:19,400 --> 00:33:23,640 Speaker 1: have become more contentious over time. Yeah, she was bothered 542 00:33:23,760 --> 00:33:27,440 Speaker 1: by the fact that Mary Cassette never commented on this exhibition. 543 00:33:28,160 --> 00:33:32,400 Speaker 1: Um Way later, after Barrett Morrisso had died, one of 544 00:33:32,480 --> 00:33:34,520 Speaker 1: the things that I read was that Mary Cassatt was 545 00:33:34,600 --> 00:33:36,760 Speaker 1: giving some of her paintings to a museum, and the 546 00:33:36,880 --> 00:33:39,680 Speaker 1: ones that were selected, she was, like Barrett Morrisso, didn't 547 00:33:39,720 --> 00:33:43,200 Speaker 1: like those. They seem to have gotten into some kind 548 00:33:43,240 --> 00:33:47,800 Speaker 1: of like either adversarial or frenemy kind of situation eventually, 549 00:33:48,400 --> 00:33:52,040 Speaker 1: But I wish I knew more detail. About uh. Morris 550 00:33:52,160 --> 00:33:56,360 Speaker 1: So really grieved over her husband's death, and after the 551 00:33:56,480 --> 00:33:59,880 Speaker 1: exhibition was over, she and jually moved into a smaller 552 00:34:00,000 --> 00:34:03,840 Speaker 1: apartment that was what was expected for a widow. On 553 00:34:04,120 --> 00:34:08,080 Speaker 1: June eighth, eight three, Barrett's sister Eve died, and then 554 00:34:08,120 --> 00:34:11,759 Speaker 1: in July got the flu and Bart took care of her, 555 00:34:11,920 --> 00:34:15,640 Speaker 1: eventually getting sick herself and that developed into pneumonia, and 556 00:34:15,760 --> 00:34:19,200 Speaker 1: Bart morris died on March second, eight at the age 557 00:34:19,239 --> 00:34:22,640 Speaker 1: of fifty four. She was buried with the Mene brothers 558 00:34:22,680 --> 00:34:25,600 Speaker 1: in the family plot and had a gravestone that reads 559 00:34:26,120 --> 00:34:31,080 Speaker 1: Bart Morriso, widow of Eugene Manet. Like her marriage certificate, 560 00:34:31,400 --> 00:34:35,160 Speaker 1: her death certificates said that she had no profession. After 561 00:34:35,320 --> 00:34:38,840 Speaker 1: Morisso's death, Camille Bizarro wrote this to his son quote 562 00:34:39,320 --> 00:34:42,040 Speaker 1: still in Paris, because I want to attend the funeral 563 00:34:42,160 --> 00:34:45,520 Speaker 1: of our old comrade Barrett Morrisso, who died after an 564 00:34:45,520 --> 00:34:49,440 Speaker 1: attack of influenza. You can hardly conceive how surprised we 565 00:34:49,520 --> 00:34:52,440 Speaker 1: all were, and how moved too, by the disappearance of 566 00:34:52,480 --> 00:34:56,400 Speaker 1: this distinguished woman, who had such a splendid feminine talent, 567 00:34:56,560 --> 00:34:59,920 Speaker 1: and who brought honor to our impressionist group. Which has vanished. 568 00:35:00,239 --> 00:35:05,560 Speaker 1: Like all things poor Madame Morizo, the public hardly knows her. 569 00:35:06,680 --> 00:35:09,480 Speaker 1: Bart's death left her daughter, Julie an orphan at the 570 00:35:09,520 --> 00:35:13,920 Speaker 1: age of sixteen. Morrisseau had named French symbolist poet Stefan 571 00:35:14,000 --> 00:35:17,680 Speaker 1: Malami as Julie's guardian. Bart and Stefan had been friends 572 00:35:17,760 --> 00:35:21,640 Speaker 1: for years. Julie was looked after by her mother's friends 573 00:35:21,680 --> 00:35:25,640 Speaker 1: from the art world, particularly Renoir and Dega. Bart had 574 00:35:25,680 --> 00:35:27,879 Speaker 1: taught Julie to paint as soon as she was old 575 00:35:27,960 --> 00:35:30,800 Speaker 1: enough to start learning, although her work never really compared 576 00:35:30,840 --> 00:35:34,480 Speaker 1: to her mother's. Julie also kept a diary, which she 577 00:35:34,600 --> 00:35:37,520 Speaker 1: started when she was fourteen and which she continued through. 578 00:35:39,480 --> 00:35:43,279 Speaker 1: This period. Includes the Dreyfus affair, which reached its peak 579 00:35:43,480 --> 00:35:47,080 Speaker 1: after Morisso's death. As we talked about in our recent 580 00:35:47,160 --> 00:35:51,520 Speaker 1: two partner, the affair really divided the Impressionists, with Renoir 581 00:35:51,760 --> 00:35:57,600 Speaker 1: and Dega both being anti dreyfusards. So Julie's diary relates 582 00:35:57,640 --> 00:36:00,719 Speaker 1: the anti Semitic remarks of both Renas are and they got, 583 00:36:01,600 --> 00:36:05,200 Speaker 1: not really criticizing them for it, and then also reflects 584 00:36:05,239 --> 00:36:09,319 Speaker 1: her own anti Semitic attitudes. Where Barrett morris So might 585 00:36:09,400 --> 00:36:12,920 Speaker 1: have fallen on. This isn't really clear. Her circle of 586 00:36:13,040 --> 00:36:17,319 Speaker 1: close friends and colleagues included dre Fassards and anti Drafissards, 587 00:36:17,440 --> 00:36:20,680 Speaker 1: but really was like from de Gat on the virulently 588 00:36:20,840 --> 00:36:25,400 Speaker 1: anti Semitic, anti Dreyfisard's side of the equation too. Camille's 589 00:36:25,440 --> 00:36:29,680 Speaker 1: a lot on the other ends the whole spectrum. Uh So, 590 00:36:29,840 --> 00:36:32,120 Speaker 1: I don't really know what her opinions would have been 591 00:36:32,160 --> 00:36:36,200 Speaker 1: on that. During her lifetime, Bert Morris produced more than 592 00:36:36,320 --> 00:36:40,200 Speaker 1: eight hundred sixty paintings. The year after her death, Renoir, 593 00:36:40,360 --> 00:36:43,600 Speaker 1: Degat and Monet held a memorial show that featured three 594 00:36:43,800 --> 00:36:46,680 Speaker 1: d eight of her works. That is a lot of work. 595 00:36:47,280 --> 00:36:50,520 Speaker 1: But although Julie and some of Morisso's other friends and 596 00:36:50,600 --> 00:36:54,840 Speaker 1: relatives donated some pieces to museums, the vast majority of 597 00:36:54,920 --> 00:36:58,560 Speaker 1: this work remained with private collectors. Many that were part 598 00:36:58,640 --> 00:37:02,080 Speaker 1: of her memorial exhibition have not been publicly shown since then. 599 00:37:02,960 --> 00:37:06,680 Speaker 1: Since Morisso's work wasn't really on public view very much 600 00:37:06,719 --> 00:37:10,480 Speaker 1: after her death, her name became less remembered as one 601 00:37:10,520 --> 00:37:13,600 Speaker 1: of the central figures of the Impressionist movement, instead of 602 00:37:13,719 --> 00:37:17,200 Speaker 1: being really well known as such an important part of 603 00:37:17,239 --> 00:37:21,360 Speaker 1: that movement. She instead became mostly known as Eduard Manet's 604 00:37:21,440 --> 00:37:25,560 Speaker 1: model and muse This doesn't just mean that Morrisso's own 605 00:37:25,760 --> 00:37:29,120 Speaker 1: artwork was largely forgotten about. It also means that there 606 00:37:29,280 --> 00:37:32,160 Speaker 1: wasn't as much of an examination of how her work 607 00:37:32,360 --> 00:37:36,399 Speaker 1: influenced the Impressionist movement as a whole, specifically the work 608 00:37:36,480 --> 00:37:39,719 Speaker 1: of other artists like Dega Money Money and Red War 609 00:37:39,840 --> 00:37:43,239 Speaker 1: and vice versa. Like I read multiple articles by art 610 00:37:43,320 --> 00:37:46,160 Speaker 1: historians who were like, we understand all this work less 611 00:37:46,280 --> 00:37:49,520 Speaker 1: because we don't know enough about Barrett Morizou. That all 612 00:37:49,560 --> 00:37:53,120 Speaker 1: started to shift a little bit in when thirteen of 613 00:37:53,200 --> 00:37:57,160 Speaker 1: her paintings were shown in London at a post Impressionist exhibition. 614 00:37:58,120 --> 00:38:01,680 Speaker 1: Other exhibitions followed, but they've and relatively few and far between. 615 00:38:02,560 --> 00:38:06,400 Speaker 1: In the some of Morrissa's descendants donated paintings to the 616 00:38:06,480 --> 00:38:12,560 Speaker 1: muse Mama Now the Musee has the largest collection of 617 00:38:12,640 --> 00:38:16,439 Speaker 1: Bert Morrisso's artwork in the world, and includes twenty five 618 00:38:16,520 --> 00:38:20,920 Speaker 1: oil paintings and seventy five watercolors, along with pastels and drawings. 619 00:38:21,560 --> 00:38:24,040 Speaker 1: So in more recent years her work has become more 620 00:38:24,160 --> 00:38:27,960 Speaker 1: visible and accessible. We will end with a quote from 621 00:38:28,000 --> 00:38:31,080 Speaker 1: her daughters Julie who said, quote, every time I see 622 00:38:31,120 --> 00:38:34,239 Speaker 1: a beautiful landscape, I will think to myself how well 623 00:38:34,480 --> 00:38:38,560 Speaker 1: Mama would have painted that. I find that very sweet. 624 00:38:40,200 --> 00:38:42,800 Speaker 1: Do you have very sweet listener mail? I do have 625 00:38:42,960 --> 00:38:45,800 Speaker 1: listener mail. This is about something that came up in 626 00:38:45,880 --> 00:38:49,280 Speaker 1: this episode. It's our two parter on the Dreyfus affair. 627 00:38:49,360 --> 00:38:52,440 Speaker 1: I've gotten a couple of notes about this, uh so 628 00:38:52,640 --> 00:38:57,279 Speaker 1: I wanted to clarify. So this is from Michelle who 629 00:38:57,880 --> 00:39:03,560 Speaker 1: wrote an email told Alfred dreyfusts and Zionism, and she wrote, 630 00:39:03,600 --> 00:39:07,279 Speaker 1: Dear Holly and Tracy. I thoroughly enjoyed the two part 631 00:39:07,320 --> 00:39:10,560 Speaker 1: episode on Alfred Dreyfust. Growing up, we learned that the 632 00:39:10,640 --> 00:39:13,800 Speaker 1: Dreyfust affair was the spark that led directly to the 633 00:39:13,920 --> 00:39:17,000 Speaker 1: foundation of the State of Israel. A reporter in the 634 00:39:17,120 --> 00:39:20,520 Speaker 1: crowd at the public shaming of Dreyfus was to become 635 00:39:20,640 --> 00:39:24,719 Speaker 1: known as the father of modern Zionism. Theodore Herzel would 636 00:39:24,719 --> 00:39:27,239 Speaker 1: go on to be a national hero in Israel and 637 00:39:27,400 --> 00:39:30,840 Speaker 1: have many streets named in his honor. Mount Herzel and 638 00:39:31,000 --> 00:39:33,200 Speaker 1: Israel is a revered site which is home to his 639 00:39:33,280 --> 00:39:37,480 Speaker 1: final resting place. Political Zionism is very different from traditional 640 00:39:37,520 --> 00:39:40,680 Speaker 1: religious Zionism and that it is completely secular in nature. 641 00:39:40,800 --> 00:39:43,880 Speaker 1: In fact, Herzel suggested Uganda as a new home for 642 00:39:43,920 --> 00:39:46,719 Speaker 1: the Jews, since the Ottoman Empire at that time was 643 00:39:46,800 --> 00:39:49,600 Speaker 1: not such a friend to the Jewish people. As political 644 00:39:49,719 --> 00:39:53,640 Speaker 1: Zionism spread through Europe, it was exported to America through 645 00:39:53,719 --> 00:39:57,279 Speaker 1: publications and strengthened with the immigration of many Jewish people 646 00:39:57,360 --> 00:40:00,520 Speaker 1: fleeing violence and an increasing number of anti Jews laws. 647 00:40:01,160 --> 00:40:03,440 Speaker 1: When the British took over the land of Israel, there 648 00:40:03,560 --> 00:40:06,920 Speaker 1: had been a growing pressure from Jewish communities worldwide to 649 00:40:07,040 --> 00:40:10,400 Speaker 1: form a Jewish state in the Jewish indigenous homeland. A 650 00:40:10,480 --> 00:40:13,320 Speaker 1: white paper in the British Parliament was issued declaring just 651 00:40:13,440 --> 00:40:16,680 Speaker 1: such an intention in ninety nine, known as the Balfour Declaration. 652 00:40:17,239 --> 00:40:20,719 Speaker 1: The Zionism movement of Europe sparked several waves of immigration 653 00:40:20,840 --> 00:40:23,480 Speaker 1: over the century, resulting in a boom and the highly 654 00:40:23,600 --> 00:40:27,360 Speaker 1: secular population in Israel. This has greatly influenced the country 655 00:40:27,440 --> 00:40:30,520 Speaker 1: to this day. I highly suggest Theodore Herzl as a 656 00:40:30,600 --> 00:40:32,680 Speaker 1: follow up to the Dreyfast episodes. Thank you for the 657 00:40:32,719 --> 00:40:35,759 Speaker 1: great work that you do. Your podcast is continually on 658 00:40:35,800 --> 00:40:39,080 Speaker 1: our recommendations. Let's keep up the good work, Michelle um. 659 00:40:40,040 --> 00:40:42,680 Speaker 1: Michelle then followed with some notes about how to pronounce 660 00:40:42,760 --> 00:40:45,399 Speaker 1: things in Hebrew, and I will just note that when 661 00:40:45,520 --> 00:40:49,920 Speaker 1: we work on pronunciations for the show, I'm always finding 662 00:40:50,320 --> 00:40:53,160 Speaker 1: native speakers that I can hear say things, because when 663 00:40:53,160 --> 00:40:55,879 Speaker 1: people kind of type out notes about how to pronounce things, 664 00:40:56,560 --> 00:40:59,840 Speaker 1: that often does not translate to successfully figuring out how 665 00:40:59,880 --> 00:41:04,719 Speaker 1: to say it. In any way, whenever somebody tells me 666 00:41:04,840 --> 00:41:07,239 Speaker 1: that something rhymes with Sarah, I think about how my 667 00:41:07,320 --> 00:41:12,400 Speaker 1: grandmother said that as Sarah, which totally changes how you 668 00:41:12,440 --> 00:41:15,760 Speaker 1: would say that word. So anyway, we've gotten several notes 669 00:41:16,120 --> 00:41:19,920 Speaker 1: about about Herzel and Zionism and this idea that the 670 00:41:20,040 --> 00:41:24,960 Speaker 1: Drapest affair directly led to this, and that is almost 671 00:41:25,239 --> 00:41:29,320 Speaker 1: ubiquitous in popular writing about him. But there's actually some 672 00:41:29,600 --> 00:41:36,120 Speaker 1: controversy about whether the Drapeist affair directly led to his Zionism, 673 00:41:36,200 --> 00:41:40,120 Speaker 1: because he had witnessed and experienced anti Semitism in Vienna, 674 00:41:40,160 --> 00:41:43,240 Speaker 1: where he was from, for his whole life before covering 675 00:41:43,400 --> 00:41:47,120 Speaker 1: the Drapist affair. His diaries at the time don't really 676 00:41:47,280 --> 00:41:52,000 Speaker 1: mention it, and his contemporaries described his Zionism as really 677 00:41:52,080 --> 00:41:56,160 Speaker 1: stemming from his upbringing in Vienna, uh, including people who 678 00:41:56,200 --> 00:41:59,480 Speaker 1: were writing about his his life after he died in 679 00:41:59,600 --> 00:42:04,080 Speaker 1: nineteen four. So his own writing about the process of 680 00:42:04,200 --> 00:42:08,280 Speaker 1: writing The Jewish State, which became like a foundational text 681 00:42:08,400 --> 00:42:12,240 Speaker 1: within the movement, didn't really mentioned Dreyfus at all until 682 00:42:12,600 --> 00:42:17,520 Speaker 1: a lot later. His first mentions that directly connected Drapust 683 00:42:17,600 --> 00:42:20,759 Speaker 1: to his Zionism were in a publication that he was 684 00:42:20,880 --> 00:42:24,800 Speaker 1: writing for US audiences, where there was huge support for 685 00:42:25,000 --> 00:42:28,239 Speaker 1: Drapust overall. So there's some suggestion that he was kind 686 00:42:28,239 --> 00:42:30,719 Speaker 1: of bringing in the Dreyfust name to try to build 687 00:42:30,760 --> 00:42:34,759 Speaker 1: support for it, rather than that being like that specifically 688 00:42:34,840 --> 00:42:36,800 Speaker 1: the thing that led him to focus on zion is 689 00:42:36,880 --> 00:42:40,800 Speaker 1: um um. Most of the worst parts of the Drapist 690 00:42:40,840 --> 00:42:44,719 Speaker 1: affair actually played out after he published The Jewish State, 691 00:42:44,840 --> 00:42:47,920 Speaker 1: which was again that uh, that document that he wrote 692 00:42:47,920 --> 00:42:52,040 Speaker 1: about it. Um. So that is just a little note 693 00:42:52,080 --> 00:42:54,279 Speaker 1: on that for the folks that have sent that in 694 00:42:54,480 --> 00:42:58,200 Speaker 1: or for folks that that we're interested in that whole idea. UM. 695 00:42:58,719 --> 00:43:00,480 Speaker 1: If you would like to write to us about this 696 00:43:00,800 --> 00:43:04,440 Speaker 1: or any other podcast, we're at History Podcasts at I 697 00:43:04,480 --> 00:43:07,759 Speaker 1: heart radio dot com, and we're all over social media 698 00:43:07,840 --> 00:43:09,480 Speaker 1: at miss in History. So That's where you'll find our 699 00:43:09,520 --> 00:43:13,240 Speaker 1: Facebook and Twitter and Pinterest in Instagram. You can subscribe 700 00:43:13,280 --> 00:43:15,759 Speaker 1: to our show on the I heart Radio app or 701 00:43:15,840 --> 00:43:23,560 Speaker 1: anywhere else that eat your podcasts. Stuff you Missed in 702 00:43:23,680 --> 00:43:26,360 Speaker 1: History Class is a production of I heart Radio. For 703 00:43:26,480 --> 00:43:29,759 Speaker 1: more podcasts from I heart Radio, visit the iHeart Radio app, 704 00:43:29,840 --> 00:43:33,040 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.