Berthe Morisot (1841–1895) was one of the few women at the heart of the Impressionist circle in Paris, and Young Girl with a Fan exemplifies her signature focus on intimate, domestic subjects rendered with loose, luminous brushwork. The painting, executed in oil on canvas, is held in the collection of the National Gallery of Art in Washington, D.C. ^[3] Though the work depicts a young girl with a fan — a motif associated with feminine elegance and social ritual — Morisot’s handling transforms the subject into a study of fleeting light and private contemplation rather than a formal portrait.

Artist: Morisot among the Impressionists

Morisot first exhibited at the Paris Salon in 1864, listed as a student of Joseph Guichard and Achille-François Oudinot, and her work was accepted in six subsequent Salons ^[1]. In 1874, she joined the “rejected” Impressionists in their first independent exhibition, held at the studio of the photographer Nadar alongside Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley ^[1]. She participated in all but one of the eight Impressionist exhibitions held between 1874 and 1886 ^[1]. Morisot married Eugène Manet, brother of her friend and colleague Édouard Manet, and was described by art critic Gustave Geffroy in 1894 as one of Les trois grandes dames — “the three great ladies” — of Impressionism, alongside Marie Bracquemond and Mary Cassatt ^[1].

Subject and iconography: the fan as feminine signifier

The fan, a recurring accessory in 19th-century French depictions of women, carries connotations of social performance, modesty, and flirtation. In Young Girl with a Fan, Morisot presents the object not as a prop for a formal likeness but as an extension of the sitter’s casual, absorbed pose. The girl’s gaze and the fan’s open form draw the viewer into a quiet, private moment — a characteristic Morisot approach to depicting female subjects within the domestic sphere ^[1]. Her focus on such scenes distinguished her from many male Impressionist contemporaries, who more often painted public leisure spaces.

Technique: loose brushwork and light

Morisot’s technique in Young Girl with a Fan reflects the broader Impressionist commitment to capturing transient effects of light and atmosphere. Her brushwork is rapid and feathery, with passages of color laid side by side to suggest form without hard outlines. This method, applied here to the girl’s face, dress, and the fan itself, produces a shimmering surface that emphasizes the play of light across fabric and skin. The oil-on-canvas medium allowed Morisot to build up these delicate layers of pigment while retaining a sense of spontaneity ^[3].

Provenance and collection: National Gallery of Art

The painting is documented in the collection of the National Gallery of Art, which holds the work under its open data program ^[3]. The museum’s catalogue lists the medium as oil on canvas and attributes the work to Morisot ^[3]. While the National Gallery’s record for this specific painting does not provide a full ownership chain, the museum’s acquisition reflects the institutional recognition of Morisot’s place within the Impressionist canon — a recognition that grew steadily after her death in 1895 ^[1].

Related works and legacy

Morisot’s oeuvre is marked by repeated engagement with young female sitters, fans, and domestic interiors. The National Gallery of Art also holds Young Girl with an Apron (1891), another oil-on-canvas work by Morisot, demonstrating the artist’s sustained interest in similar subjects late in her career ^[3]. Together, these works illustrate how Morisot developed a consistent visual language around femininity, intimacy, and light — themes that later critics and historians would recognize as central to her contribution to Impressionism ^[1].

Frequently asked questions

Where is Young Girl with a Fan located?

The painting is in the collection of the National Gallery of Art in Washington, D.C. ^[3].

What medium did Morisot use for this work?

Morisot executed Young Girl with a Fan in oil on canvas, a medium she used throughout her career ^[3].

How does this painting relate to Morisot’s broader career?

Morisot was a central participant in the Impressionist exhibitions from 1874 to 1886, and her focus on intimate, domestic subjects — including young women with fans — was a defining feature of her art ^[1]. The National Gallery of Art also holds her later work Young Girl with an Apron (1891), showing her continued engagement with similar themes ^[3].