Envy, lack, and substitution in Berthe Morisot''s life and her creations

• Main Authors: Wen-ying LAI, 賴雯英
• Other Authors: Chen-sheng Weng
• Format: Others
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/45803885798422655356

碩士 === 國立中央大學 === 法國語文學系 === 98 === Applying methods by Freud Sigmund and by other psychoanalysts to the private life and the paintings of Berthe Morisot, I propose to study this nineteenth-century painterřs unconsciously projecting his personal feelingsŕenvy, lack, and substitutionŕinto her art works. Painting, as a form of work of art, is least regarded as a way profit making. She thus shuns away from any exhibitions, except for those of impressionists. Paintings are not only the manifestation of personal feelings and a way of healing, but also a picturesque diary that preserves her own life experiences and impressions. Through the combinations of designs, lines, colors, paints, shades, and characters on the canvas, the painter relieves her psychological separation and hidden desires In the first chapter, references are drawn from the painterřs life, the social background, and the contemporary art. It is known that female painters back then are not only sexually discriminated but also professionally challenged, whose art works are severely criticized. Besides, Morisot is closely related to the impressionist movement. Her ambition in painting, which on the one hand makes her a great painter, on the other hand, casts doubts, evokes conflicts, and causes anxieties on her female identity. Even more, can her artistic accomplishment be simply achieved owing to the fact that the position, rather than her works of art per se, of female artists are being promoted? The question is : does sexual consciousness supersede artistic achievement? The second chapter is the study of Morisotřs childhood, in which the painter lacks paternal love. This has thus become Morisotřs original trauma. Can this lead to a shift of her subject of concern into Sister Edma, which integrates and transforms into a double so as to supplement the lack of paternal love. The trauma has created a crack. In confronting the crack, the subject is forced to transfer it into an object. In order to iii differentiate Morisotřs transfer and love from those of Edouard Manet, we find out that the emotional substitution sought by Morisot must not be interpreted random. Those traumatic incidents cause negative reaction from Moriost : the loss of self-esteem, envy and jealousy. The third chapter analyses the role and function of painting in Morisot under external as well as internal pressure. To a nineteenth-century woman, it is not easy to become a professional painter. She must seek support from her family, especially her husbandřs recognition and sacrifice. Painting is not only an artistic product, but also a function of healing. The canvas can be seen as the silhouette for desire. It also alleviates the painterřs traumatic pains. In light of Moriostřs personal letters, I examine the healing effect in Morisotřs case since she has considered painting as a cure.