Two paintings by Marie Bracquemond that have never been publicly exhibited are going on view this autumn at the Saint Louis Art Museum in Missouri, part of the first exhibition devoted to landscape and nature imagery in the work of women Impressionists.

"Women Impressionists and the Land," curated by Simon Kelly, the museum's curator of modern and contemporary art, runs from 17 October 2026 through 10 January 2027 and brings together more than 70 works largely from the final decades of the 19th century. Entry costs US$20 for adults and US$16 for seniors and students, according to the museum's exhibition page. Saint Louis Art Museum

The two unseen Bracquemond canvases — Paysage (Landscape) and Femme à la Fenêtre — come from the Musée d'Orsay in Paris. They were among 170 works that Bracquemond's descendants donated to the museum in 2024, as reported by Artnet News. Artnet News

Bracquemond is one of the three leading women Impressionists who showed at the Impressionist exhibitions in Paris — the group's independent shows, held between 1874 and 1886, that gave the movement its name. She retired from painting after persistent criticism from her husband, Félix Bracquemond, and faded into obscurity. The exhibition devotes a full gallery to her, according to Artnet News, giving visitors a sustained look at an artist whose career was curtailed.

Her Still Life with Oranges (c. 1880) surfaced earlier this year on the market, presented by the Paris-based gallery Pavec at TEFAF Maastricht in March 2026 — a sign, however modest, of renewed commercial attention. TEFAF Maastricht is one of the art world's major annual fairs, held in the Netherlands.

The exhibition also pulls hidden works out of private hands. Three canvases by Edma Morisot — sister of Berthe Morisot, and a painter herself before she married and stopped — make their first museum appearances. They come from the collection of Bill Scott, a contemporary American painter, and include Souvenir de Campagne (1864), Women in Woods (c. 1860s) and Ville d'Avray (1863). Artnet News describes these newly unveiled paintings as showing the influence of Edma Morisot's Barbizon teacher, Camille Corot — the Barbizon school being a mid-19th-century French movement that painted directly from nature in the Forest of Fontainebleau, a precursor to Impressionism.

Berthe Morisot herself is represented by Washerwoman (c. 1863), a long-hidden early work showing an interest in a subject she would revisit in later decades. Mary Cassatt, Eva Gonzalès and others round out the exhibition, which the museum describes as revealing how nature became a site of artistic innovation for these painters.

The museum has published a companion book, also titled Women Impressionists and the Land, described as the first book on the subject. Kelly led an opening lecture ahead of the public opening, and a member opening lecture was scheduled for 15 October 2026. Visitors enter the exhibition in Taylor Hall.

What makes this stand out is the digging. These are not the usual suspects pulled from storage for a rotation. Several works are surfacing for the first time in public — from a family donation that landed at the Musée d'Orsay just two years ago, and from the walls of a living painter's collection. The Bracquemond gallery, in particular, gives a compressed portrait of an artist whose own household pushed her out.

For anyone within reach of St. Louis between October and January, the ticket buys access to paintings that, in a couple of cases, no member of the public has stood in front of before.