Choir Boy 1894

Curator: Look at this oil painting, "Choir Boy" painted by Berthe Morisot in 1894. It's currently in a private collection, unfortunately, but what strikes you first about it? Editor: Well, immediately, there's this striking juxtaposition of the boy's serious face against the ethereality of his white robes and that vibrant splash of red at the collar and hem. It gives off an air of restrained piety. I wonder, does the color suggest passion held in check or a sort of imposed innocence? Curator: Morisot was working in the Impressionist style, so it feels almost incomplete. Look at the soft brushstrokes, especially around the boy’s head. There is such fleeting presence, but his folded hands lend gravity. This, along with the hints of red, almost look as if he's clutching a secret, wouldn't you say? Editor: Absolutely. The redness hints at symbolism, doesn't it? Red in religious art signifies sacrifice, love, maybe even martyrdom. It almost contradicts the innocence we typically associate with choirboys, creating a compelling tension. Are we seeing youthful anticipation, or something more knowing behind his eyes? Curator: Or maybe Morisot is just playing with colour, giving the boy a lively warmth. Given that it’s a portrait, and knowing Morisot's tendency toward portraying intimacy, do you think that we might look beyond established symbols, to discover just an expression of tenderness for her sitter? Editor: That's a lovely perspective! It highlights the beauty of portraiture. It also underscores a timeless fascination: a quiet meditation between innocence and the world awaiting, captured in a fleeting moment of paint. I’m glad this image has endured through time. Curator: Yes, and Berthe Morisot does not leave much up to our interpretation. Rather, in her painterly gesture, she invites us to consider those tender mercies of which human memory is the faithful storehouse. Thank you for this fascinating iconographic digression.