Edma In Heaven Laughing

“I have entered into the positive life after having lived for a long time by chimeras.”

Berthe Morisot
writing to her brother after her marriage
quoted in “The Private Lives of the Impressionists”

“I want you to give me a reason why I should wish to design Cortlandt. I want you to make me an offer.”

“...It’s a great public project, Howard. A humanitarian undertaking. Think of the poor people who live in slums. If you can give them decent comfort within their means, you’ll have the satisfaction of performing a noble deed.”

“Peter, you were more honest than that yesterday.”

His eyes dropped, his voice low, Keating said: “You will love designing it.”

“Yes, Peter. Now you’re speaking my language.”

from “The Fountainhead”

If the most beautiful paintings
historically attributed
to Berthe Morisot really
were painted by Berthe’s sister
Edma who had respectably
married and put artistic life
behind her should anyone now
feel any desire to divide
the work of “Berthe Morisot”
into “impressionist pieces”
of brushwork and fields of color
and “delineative pieces”
of defined edges and clear shapes?

Is history outside of us?

Is history what we can see?

Is Edma in heaven laughing?









. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

This is a painting of Berthe Morisot, painted by Edma:

This is a painting reasonably well-attributed to Berthe Morisot:

This is a painting that is historically attributed to Berthe Morisot:

Later, Wynand showed the picture to Dominique and asked: “Who designed this?”

She looked at it. “Of course,” was all she answered.

from “The Fountainhead”

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .




“The Garden’s Edge”



Haunted


The Application Of Beyond Understanding