Farm in Normandy

surface prep

The canvas should be primed with a traditional ground suitable for oil painting. While the specific ground for this 1860 work is not detailed, Morisot worked in oil on canvas during this period (Source 4). A standard white or off-white gesso ground would provide the necessary tooth for the oil paint and allow for the luminosity characteristic of her later work.

underdrawing

Morisot did much sketching as preparation for her paintings, drawing from life to become familiar with her subjects (Source 1). For a landscape like 'Farm in Normandy,' the artist likely began with a charcoal or graphite sketch to establish the composition and major forms before applying paint. This preparatory step allowed her to paint quickly and decisively in the final stages.

underpainting

While not explicitly confirmed for this specific 1860 work, traditional oil painting techniques of the period often involved a monochrome underpainting (grisaille) to establish values before applying color (Source 3). Morisot’s later practice involved glazing and scumbling, which relies on a dry underlayer (Source 3). It is likely she employed a similar value-based underpainting to structure the landscape’s depth.

Quick Execution

Morisot painted very quickly, relying on preparatory sketches to allow for decisive, single brushstrokes in the final work (Source 1).

Glazing and Scumbling

These techniques were used by old masters and likely by Morisot to create depth and atmospheric effects, with glazing providing transparent color and scumbling creating semi-opaque layers (Source 3).

Preparatory Sketching

Morisot made countless studies of her subjects, drawing from life to become familiar with them, which informed her oil paintings (Source 1).