Marie BRACQUEMOND (Argenton-en-Landunvez, 1840 - Sèvres, 1916) On the terrace of La Chabanne Oil on canvas mounted on cardboard Without frame 34.5 x 24.0 cm Exhibitions : Marie Bracquemond, Bernheim-Jeune 1919, cat. n° 75 : " On the terrace of La Chabanne ". Meticulously prepared with a watercolour now in the Musée d'Orsay, this canvas is the most seductive of Marie's paintings, combining a very free, fluttering brushstroke with a bright, clear range of colours, reminiscent of the works of Eva Gonzales, Mary Cassatt and Berthe Morisot. Here, the artist is probably depicting her half-sister Louise breathing in the scent of a rosebush on the terrace of La Chabanne, the Bracquemond family villa near Ussel. The model's blue-grey dress is nothing more than a pretext for translating the reflections of light on the fabric into paste effects that unfold freely and bear witness to perfect technical mastery, eliciting the praise of Gustave Geffroy a few years later, "Par le faire aisé, the first-draft painting from studies that are usually drawn, there is a kinship with the painting of the last century, a continuation of art without imitation, with the addition of a very lively sense of modernity, of a rapid and frank originality<a href="about:blank" rel="noopener noreferrer" target="_blank">^{<strong><i>[1]</i></strong>}</a>". <a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a> Gustave Geffroy, "Marie Bracquemond", La Vie artistique, III, Paris, 1894. Marie BRACQUEMOND (Argenton-en-Landunvez, 1840 - Sèvres, 1916) 34.5 x 24.0 cm Meticulously prepared by a watercolour now in the Musée d'Orsay, this canvas is the most seductive of Marie's paintings, combining a very free, fluttering brushstroke with a bright, clear range of colours, reminiscent of the works of Eva Gonzales, Mary Cassatt and Berthe Morisot. Here, the artist is probably depicting her half-sister Louise breathing in the scent of a rosebush on the terrace of La Chabanne, the Bracquemond family villa near Ussel. The model's blue-grey dress is nothing more than a pretext for translating the reflections of light on the fabric into paste effects that unfold freely and bear witness to perfect technical mastery, eliciting the praise of Gustave Geffroy a few years later, "Par le faire aisé, the first-draft painting from studies that are usually drawn, there is a kinship with the painting of the last century, a continuation of art without imitation, with the addition of a very lively sense of modernity, of a rapid and frank originality<a href="about:blank" rel="noopener noreferrer" target="_blank">^{<strong><em>[1]</em></strong>}</a>". <a href="about:blank" rel="noopener noreferrer" target="_blank">[1]</a> Gustave Geffroy, "Marie Bracquemond", La Vie artistique, III, Paris, 1894.