Her early training was more academically oriented. In 1856-57, Morisot starts attending drawing lessons with Geoffroy-Alphonse Chocarne, but in 1858 she and her sister Edma left to study under Joseph-Beno Guichard, a pupil of Ingres and Delacroix. In the same year they registered as copyists in the Louvre, copying Veronese and Rubens (Rewald 593).
Her big change came in 1861 when she met the influential landscape painter Camille Corot (1796-1875), who introduced her to other artists and teachers, and taught her the concept of plein air (open air) painting. She subsequently began painting on site and in the open air. A good comparison of Corot 's influence on her style is his Landscape at Limay, which has many similarities to her many small paintings, such as the cityscape entitled View of Paris from the Trocadero, using this approach to produce, either finished works or studies for larger works that she would complete in the studio. Morisot 's work, with its luminous palette, open brushwork, impasto application, and sense of immediacy in conception, was painted in a more typically Impressionist style.
In 1864, Morisot 's submitted two landscape paintings to the Paris
Bibliography: Altshuler, Bruce, and Phaidon, eds. Salon to Biennial Exhibitions That Made Art History. Vol. 1. New York: Phaidon, 2008. Print. Coyner, Jean-Alice, Helena Moinier, Fenn Georgina Troller, and Percy Lund, trans. Berthe Morisot 1841-1895. London: Humphries &,ltd., 1957. Print. Rewald, John. The History of Impressionism. New York: Museum of Modern Art, 1955. Print. Roe, Sue. The Private Lives of the Impressionists. New York: Harper Perennial, 2007. Print.