Marie Bracquemond (1840-1916)
Aliases:
Marie Quivoron-Pasquiou
Professions:
Painter
Biography
(b
Argenton,
nr
Quimper,
1
Dec
1840;
d
Sèvres,
nr
Paris,
17
Jan
1916).
Painter,
draughtsman,
printmaker
and
designer,
wife
of
(1)
Félix
Bracquemond.
After
a
difficult
start
in
life,
she
began
to
study
drawing
at
Etampes,
near
Paris.
She
took
advice
from
Ingres
but
never
received
any
formal
teaching.
Admitted
to
the
Salon
from
1857,
she
was
commissioned
by
the
State
to
copy
pictures
in
the
Louvre.
There
she
met
Félix
Bracquemond
in
about
... (view more)
(b Argenton, nr Quimper, 1 Dec 1840; d Sèvres, nr Paris, 17 Jan 1916). Painter, draughtsman, printmaker and designer, wife of (1) Félix Bracquemond. After a difficult start in life, she began to study drawing at Etampes, near Paris. She took advice from Ingres but never received any formal teaching. Admitted to the Salon from 1857, she was commissioned by the State to copy pictures in the Louvre. There she met Félix Bracquemond in about 1867 and married him on 5 August 1869. She was involved in her husband’s work for the Haviland Limoges factory and produced in particular several dishes and a wide panel of ceramic tiles entitled the Muses , shown at the Exposition Universelle in Paris in 1878; the sketch for this was shown at the Impressionist Exhibition of 1879 and was greatly admired by Degas. Originally very much influenced by Ingres and then by Alfred (Emile-Léopold) Stevens, her style of painting changed completely c . 1880 as a consequence of her admiration for Renoir and Monet and subsequently because of advice from Gauguin. The few pictures surviving from this period illustrate her conversion to a clearly Impressionist style, comparable to that of Berthe Morisot and Mary Cassatt. Examples include The Lady in White (1880; Cambrai, Mus. Mun.), On the Terrace at Sèvres (c. 1880; Geneva, Petit Pal.) and Afternoon Tea (c. 1880; Paris, Petit Pal.). After exhibiting at the Salon in 1874 and 1875, she took part in the Impressionist exhibitions of 1879, 1880 and 1886. In spite of the support of friends such as Gustave Geffroy, her husband was against any broadening of her career, and confined to Sèvres she produced only a limited amount of work. The retrospective exhibition of 1919 at the Galerie Bernheim-Jeune, Paris, included 90 paintings (to a large extent small sketches), 34 watercolours and 9 engravings. She also produced ceramics and several drawings for La Vie moderne (1879–80).
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