Berthe was obviously an anomaly in her day and age... and, being self-deprecating and reticent, might've actually wished to be forgotten. She WAS literally forgotten for many years after her death. I am grateful to Ms. Higonnet for writing the book, but I felt throughout the reading that, although it was obvious Ms. H. admired Berthe, she didn't truly understand her. It bothered me that most of the book was about OTHER people, although her life DID seem to be about OTHER people. Berthe was generous and hidden, yet daring and "out there." It was probably very difficult to find the true Berthe. She was obviously very much beloved by the other Impressionists and her contributions as the catalyst of the group were immeasurable. But I wanted to know more. I didn't like it that each time she had an accomplishment, it seemed to be overshadowed, in the biography, by moving on to the accomplishments of one of the other more luminous figures in her world. Berthe was beautiful, dedicated, a wonderful mother and wife... after years of pressure by society and her own parents whose biggest fear was that she was to stay a "spinster" (who the HECK invented that word???)... I really felt for Berthe. But was she bulimic? Was she anorexic? What WAS the true nature of her mental challenges? I'd like to have seen some more of that area explored - as it has been so deeply investigated in the case of Vincent van Gogh. Whatever her maladies, we've got to admire the fact that she, unlike Mary Cassatt, DID have it all - career, family, home life, social recognition... and balanced it all so beautifully. But I wished Ms. Higonnet had given us just a bit more to grasp onto.

GREAT BOOK!! I bought this book used from That Book Lady,
I recieved the book promptly and it was in excellent condition.
The book has wonderful information on Berthe Morisot.

My first reaction to Anne Higonnet's biography of Berthe Morisot was that it was a bit stiff. I had recently read Dominique Bona's "Berthe Morisot: Le secret de la femme en noir" and found that book to be well done, even though lacking documentation and even though indulging in "maybe it was like this" speculations from time to time. But I very much liked Dominique Bona's informal style, referring to Berthe Morisot as "Berthe", while Anne Higonnet almost always refers to her as "Morisot" (a small issue but one that is quite representative of the stylistic difference in the two biographies).

Of course, Anne Higonnet's work is more than 10 years older than Dominique Bona's, so that Dominique Bona reaped the benefits of reading Anne Higonnet's book. And there are many benefits to be had. Anne Higonnet has done a superb job of researching direct and indirect and even background sources to fill in the picture of Berthe Morisot's life and setting.

Sometimes Anne Higonnet's presentation creates a distance: emotional connection is lost amid the cultural history. But overall, this is a fascinating "MUST" book for anyone who wants to understand Berthe Morisot's painting, persona, and life.

I found the text of this book rather hard-going; it requires quite some concentration to read. No doubt the content of the book is very good, but it's too hard for me to read to really be able to say.

There' a lot to recommend this book: Higonnet has you exercising your critical judgment on a plethora of everyday images, new and antiquarian, even if you disagree with her analysis.

However, readers should be aware that the author substantially misstates the law in several places. She cites some interpretive dicta from a district court case in California (US v. Dost) as being the actual text of the federal law. The federal law isn't nearly as vague as she suggests. Moreover she says that the Child Pornography Prevention Act of 1995 criminalized depictions of breasts and buttocks of minors. Untrue. The final bill passed deleted these provisions. These are serious omissions to a sensitive discussion.

Lawrence A. Stanley, Esq. NY, NY