Family Reunion Morisotís Work Shows Impressionistís Family and Artist Friends by Gary Tischler Walking around "Berthe Morisot: An Impressionist and Her Circle," the new show at the National Museum of Women in the Arts, is a little bit like being at a reception where you donít quite know how to act. The exhibitionórich in Morisotís own work and that of her compatriots in the impressionist movement that she prominently helped to pioneeródisplays some of the artist's best work and to reminds U.S. audiences that she was a major impressionist painter and leader. But the exhibition itself, as it moves from room to room with its wonderful treasures that jump out at you with delight, resembles other things just as strongly: a tribute and a gathering of old friends reunited on canvas, a family album, a class reunion, even a kind of belated wake. This show is an emotionally strong occasion, as if all of Morisotís highly distinctive paintings, elusive, shimmering and musical, have been somehow aided by the admirers and adjuncts of her life. The family album aspect of this exhibition seems especially apt because the displays speaks not only to Morisotís own familial identity as a daughter, mother, sister and mother-in-law-in-waiting, but also to her wider family of impressionists, where her standing as a pioneer, soul mate, original figure and important artist is imbedded. In fact, she stood at the center of French painting, artistically, socially, and by way of family and intimacy. In Morisot, impressionism had one of its most original artists and perhaps its most consistent, steadfast and ardent champions. As an artist, Morisot was an original in a way that transcended gender, while leading a life that hewed to certain upper-middle-class conventions, both familial and feminine. The exhibition in some ways seems as casual as Morisotís famous brushwork, which is not concerned with detail, but with color and soul. Sometimes, the effect is not exactly what youíd like in an exhibition: By arranging the display along genre and thematic lines, a certain sameness creeps into some of the roomsóa problem that, for instance, plagued the "Impressionists in Winter" exhibition at the Phillips Collection several years ago. Nevertheless, the rich selection of Morisotís paintings is a treat in and of itself. These paintings are on loan from the MusÈe Marmottan Monet in Paris, while the works by her peers and contemplatives come from Morisotís own collection and include a luscious portrait of Morisotís daughter by Pierre-Auguste Renoir, for instance, as well as works by Edgar Degas, Edouard Manet, Claude Monet and others. Thereís an assumption in this exhibition that Morisotís standing in the impressionist movement needs to be elevated, at least for American eyes, because sheís less well known in the United States than the other great female figure of impressionism, American expatriate Mary Cassatt. This may be true, but it may also be beside the point because the two hardly bear comparison in their work. The exhibition makes clear that Morisot stood front and center as a key figure and important artist, not only historically, but also in the eyes of her friends Degas, Renoir, Manet and later Monet. She and her sister studied under the great Jean-Baptiste-Camille Corot (a wonderful photograph of Corot is part of this exhibition), and in 1867, Morisot met Manet, who would go on to paint her 11 times. They forged a great friendship, but it was never one of student and teacher. In fact, Morisot married Manetís brother Edgar and had a child with him, the much beloved Julie. In Paris where the annual Salon was a must, Morisot joined her fellow impressionists in a show independent of the Salon. Her loose, fluid, wonderfully colorful and elusive brush strokes defined her impressionist identityóan identity that continued to expand over 20 years but was always true to her originality. Manet, Monet, Julie, collectors, amateur painters and other figures in Morisotís life roam through this exhibition like members of a householdóthe fabric of her life. There are also renderings of Morisot by Manet, including a haunting portrait that shows off her vivid look, with her dark eyes, dark hair, and an expression that is studied and a little detached. Contrast that with Morisotís paintings of her daughteróelusive, beautiful works that show off Julieís youth and energy. Morisot died at 54, after caring for her daughter who had fallen ill with influenza. The end caused no end of grief among her impressionist friends, who mounted a grand exhibition of her works. Julie would marry and stop painting, although she had her own gifts. Instead, she became a kind of guardian and protector of her motherís work, reputation and legend. If this exhibition shows anything, it is that Morisotís art was rich in originality and color, and her life was rich in the family and friends with whom she moved in contentment and camaraderie. "Berthe Morisot: An Impressionist and Her Circle" runs through May 8 at the National Museum of Women in the Arts, 1250 New York Ave., NW. For more information, please call (202) 783-5000 or visit www.nmwa.org. Gary Tischler is a contributing writer for The Washington Diplomat.