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If they are a couple, they have no children together. Whereas Morisot focuses on the child in "The Basket Chair," Caillebotte accomplishes the opposite. Caillebotte's painting lacks emotional intensity, because his palette is far more retrained than that of Morisot. Morisot's garden is rendered in vivid greens and intensely saturated hues. Caillebotte's, on the other hand, is a more staid palette. Furthermore, unlike Morisot's fenced-off garden, Caillebotte's is a public park. Yet there are no other people in the park: which suggests that there are a disproportionate number of wealthy elite in Paris at the time of painting. In their own ways, the two Impressionists suggest that the bourgeois live in a world apart from the working class society. Beyond the boundaries of their respective gardens, scores of working class French men and women toil to feed the burgeoning capitalist enterprise that characterizes urbanization and industrialization. However, the subjects in the Caillebotte and Morisot paintings do not seem to work very much at all.
Both Berthe Morisot and Gustave Caillebotte use a garden setting to convey themes related to social, economic, and political realities in late nineteenth-century France. The bourgeoisie...
Instead, the viewer is treated to an insider version of how the wealthy life a life of utter leisure. Symbolism related to fertility and femininity pervade both paintings, albeit differently. Whereas Morisot clearly paints a scene in which womb and phallic imagery converge on a child, Caillebotte accomplishes exactly the opposite. By showing a barren orange tree and a child-free couple, the artist suggests that modern women do not need to be confined to their roles as wife or mother. The Impressionist renderings of upper-class life reveal changes in social, economic, and political climates.
References
Caillebotte, Gustave. "The Orange Trees." 1878.
Duret, Theodore. Manet and the French Impressionists. London: Grant Richards, 1910.
Fell, Derek. The Impressionist Garden. London: Frances Lincoln, 1994.
Harrison, Charles. Painting the Difference: Sex and Spectator in Modern Art. Chicago: University of Chicago Press, 2005.
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