I adore discovering female artists I’d never heard of before, but color me surprised that this one was involved in the beginnings of one of my favorite art movements: the Impressionists!

Natalia Iacobelli is an author and translator with a passion for uncovering the overlooked stories of historical figures—especially women who made history with a paintbrush. She holds degrees in art history and Italian literature and has translated exhibitions for world-renowned institutions, including the Uffizi Gallery and the Venice Biennale, helping bring art to life for international audiences. She lives in Detroit, Michigan with her husband and three children. You can learn more about her at her website or follow her on Instagram.

PAINTING THE LIGHT: THE STORY OF BERTHE MORISOT is a picture book biography. It tells the story of a female artist in France in the 1800s who defied the societal standards set for women and decided to pursue art instead of marrying. (Though she did end up marrying a man who supported her artistic endeavors.) She received constant rejection and criticism, and yet she persevered and influenced an entire movement! I had no idea! I really wish I’d known about her work before I went to Paris a few years back to look at Impressionist paintings. I had never heard her story until now and it’s another fantastic one. The art work really captures the essence of light (that Berthe was captivated with) as well as artfully tells a story of its own. This book is a gorgeous work of art by itself.

Welcome Natalia!

Me: Can you tell us a little bit about your creative journey? When did you start writing? How did that lead to where you are now as the author of this book?

Natalia: Looking back, writing has always been at the heart of what I do. I was the editor of my high school newspaper, wrote for my university magazine, and eventually built a career as a translator in the world of art. For more than fifteen years, I’ve translated museum exhibitions, exhibition catalogues, and art books, while also writing about art as a staff writer for DailyArt Magazine. With a background in art history, writing about art has always felt like my natural state. So, when I decided to venture into picture books, telling the story of the first female Impressionist felt like a natural choice.

Me: I love the Impressionists. They are one of my favorite art movements! What was it about Berthe specifically that drew you to her story? What gave you the idea?

Natalia: Impressionism is arguably the most beloved art movement in history! Most people have heard of Monet, Renoir, and Degas, but far fewer know Berthe Morisot—even though she stood shoulder-to-shoulder with them, helping shape Impressionism from its inception. When I went looking for a picture book about Morisot to read to my own children and realized one simply didn’t exist, I knew I’d found the story I wanted to tell. That was the real impetus behind the book.

Me: I love that! Can you talk about your research methods? I understand that you have a degree in Art History, work with museums and galleries across Europe, and publish articles regularly about women artists. Did any of this help with your research for this book? Or did you have to dig even further into Berthe’s life to help write this book? Did you have to do anything special (travel to Paris, visit her house, etc.) to help you have a better understanding of Berthe’s life and dreams?

Natalia: I’m a leave-no-stone-unturned researcher, so, even though I had studied Morisot and her work for years, I knew I had to dig much deeper to uncover the heart of the story I wanted to tell. Once I began writing, it became a total immersion. I read everything I could get my hands on—letters, diaries, biographies, exhibition catalogues, and countless other secondary sources—as well as anything that helped me understand the world she moved through. I wanted to move beyond the facts and get as close as I could to her perspective, her personality, and her artistic vision. By the end of the process, I felt as though I had almost inhabited her character.

Me: You have managed to pare down a lot of information (i.e., Berthe’s whole entire life) into such a deceptively simple and beautifully focused story. Did it take a lot of revisions to get to this final state? Were there any facts or tidbits that you had to leave out that you really wish you could’ve included?

Natalia: Oh, yes! It went through multiple iterations and countless rounds of revision over six years before reaching its final form. Writing a picture book is like sculpting. You have to chisel away everything that isn’t absolutely essential until only the heart of the story remains. It’s not so much about what you add as what you’re willing to take away. With so few words at your disposal, there’s very little room to linger over every fascinating detail you uncover during research. Thankfully, the back matter offers a wonderful opportunity to share those extra nuggets with curious readers without interrupting the flow of the story.

Me: The illustrations by Rosanna Tasker are glorious. They’re so colorful and perfectly capture the essence of light and Impressionism! I love the scene with her shadow on the gallery wall towards the beginning. Any illustration surprises for you? Any favorites?

Natalia: Rosanna is incredibly talented! She did a beautiful job capturing both Berthe and the spirit of her story. I was especially surprised by the spread depicting Berthe’s sketchbook. It wasn’t at all how I had imagined it while I was writing, but Rosanna’s interpretation is so imaginative and evocative that it has become one of the favorite spreads in the book.

Me: What is one thing that surprised you in writing this story?

Natalia: What surprised me most was discovering just how transformative a strong theme can be. Early drafts of the story felt flat because I was simply recounting the facts. It wasn’t until I realized that light could serve as the story’s emotional and symbolic through line that everything fell into place. Suddenly, the story had depth, heart, and momentum. It felt like a kind of alchemy.

Me: Any advice for other aspiring picture book writers?

Natalia: Keep at it. Publishing can often feel like one long series of setbacks. Learn to accept rejections as redirections. There were many moments when I could have given up on this book, but I knew I had a story to tell. It wasn’t on the shelf yet, and I felt it was simply waiting to be told. From the first draft to seeing it in bookstores took six years, so perseverance was essential. If you have an idea you can’t stop thinking about, keep fighting for it. After all, it only takes one yes!

That is great advice! Thank you for stopping by my blog today Natalia.

Dear readers, this book publishes next week! Keep an eye out for it. It’s always fascinating to me to see what books get published in genres when publishers are saying they aren’t interested in them any more (like picture book biographies). This is a beautiful example of a hole in the market that proves why biographies keep selling. History has more stunning stories to tell like this one! Trust me when I say, you won’t want to miss it!