Desfazer os “casos”

O exemplo de Manet

Abstract

Berthe Morisot is presented in this article as one of the most fundamental figures of Impressionism, because of the relevance of her painting for Impressionism and her dialogue with the other painters of this movement, and not because she appears as a femme fatale in paintings of her time, especially Manet’s paintings. The approach starts with the study of the Manet “case”, by revisiting writings excerpts from Bataille, Foucault, Bourdieu and Michael Fried with the aim of deconstruct them, re-presenting Morisot built on the way she contributed to the emergence of Impressionism: the open-air, the colors vibration, the impossible fixation of the present and the non finito no longer define a style and must be reinterpreted. In this reinterpretation, which is also a reparing to Morisot, the partitions between feminine and masculine, social and intimate and between what is and what is not art are shuffled.