She never underwent formal art training, but she received limited instruction from Jean-Auguste-Dominique Ingres (1780–1867) and advice from Paul Gauguin (1848–1903) which contributed to her stylistic approach.

[2] Indeed, Pierre Bracquemond, their son, stated that his father was jealous of Marie's work, belittled her ambition, and refused to show her paintings to visitors.

Her mother, Aline Hyacinthe Marie Pasquiou, pursued her life with Émile Langlois, and thereafter they led an unsettled existence, moving from Brittany to the Jura, to Switzerland, and to Limousin, before settling in Étampes, south of Paris.

[7] She had one sister, Louise, born in 1849 while her family lived near Ussel (department Corrèze in Limousin) in the ancient abbey Notre-Dame de Bonnaigue.

"[10] She later left Ingres' studio and began receiving commissions for her work, including one from the court of Empress Eugenie for a painting of Cervantes in prison.

This evidently pleased, because she was then asked by the Count de Nieuwerkerke, the director-general of French museums, to make important copies in the Louvre.

[8] Because of the scarcity of good medical care during the War of 1870 and the Paris Commune, Bracquemond's already delicate health deteriorated after her son's birth.

Gauguin had a decisive influence on Marie Bracquemond and, in particular, he taught her how to prepare her canvas in order to achieve the intense tones she now desired.

According to their son Pierre, Félix Bracquemond was often resentful of his wife, brusquely rejecting her critique of his work, and refusing to show her paintings to visitors.

In an unpublished manuscript written by Pierre about his parents' life, he shares that his father "seldom showed her work to their friends.

Therefore, none of their artists friends paid attention to her works or spoke of her efforts, and when she revealed hopes for success, Félix put her ambition down to 'incurable vanity.

"[15] Henri Focillon described Bracquemond in 1928 as one of "les trois grandes dames" of Impressionism alongside Berthe Morisot and Mary Cassatt.

[1] This is an incomplete and unsorted list of public and privately owned paintings, watercolors, and etchings by Marie Bracquemond according to the 1919 exhibition catalog of the Bernheim-Jeune art gallery.

At least two of her works, the ceramic faience panel The Muses (1878) and the painting The Swallow (1880), depicting the Sisleys in a boat on the Seine, are presumed lost.