plate no. 0781
Jeanne Pontillon Wearing a Hat
Berthe Morisot, 1893
recreation guide
This recreation guide focuses on Berthe Morisot’s 1893 pastel portrait, *Jeanne Pontillon Wearing a Hat*. Morisot’s late career is characterized by a shift toward drawing and pastel, often working in multiple media simultaneously to achieve a sense of spontaneity and lightness (Source 2, Source 3). By 1893, her technique had evolved from short, rapid strokes to long, sinuous lines that define form, with outer edges often left unfinished to allow the support to show through (Source 2). The work reflects her Impressionist commitment to capturing fleeting sensory perceptions and her mastery of color harmony, particularly the expansive use of white to create transparency and balance (Source 2). As a portrait, it aims for a recognizable likeness while maintaining the 'feminine charm' and elegance noted by contemporary critics, achieved through delicate repetition of hues and a restrained yet balanced palette (Source 1, Source 2).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Soft pastels (full set) | Primary medium for color application and layering. | High-quality soft pastels (e.g., Sennelier, Holbein) with high pigment load. |
| Toothed paper or cardboard | Support with a rough natural surface to mechanically hold the pastel powder, as pastels contain little medium and rely on friction for adhesion (Source 7). | Sanded pastel paper or heavy-weight textured watercolor paper. |
| Charcoal or graphite sticks | For preliminary drawing and sketching, which dominated her work after 1885 (Source 3). | Vine charcoal or compressed charcoal. |
| Fixative (optional, for layering) | To stabilize layers if working in multiple sessions, though Morisot often worked quickly to avoid over-fixing which can dull the pastel (Source 7 notes the difficulty of fixing crayons). | Workable fixative spray. |
| Kneaded eraser | To lift pastel and create highlights or correct lines, consistent with her 'effleurer' (light touch) technique (Source 2). | Standard kneaded eraser. |
preparation
surface prep
Select a support with a rough, toothed surface. Morisot’s pastels rely on mechanical adhesion rather than chemical binding, so the paper must have enough texture to grip the pigment powder (Source 7). If using smooth paper, it may need to be prepared with a layer of pumice stone or similar abrasive to create the necessary tooth (Source 7). Morisot’s works are almost always small in scale, so a modest-sized sheet is appropriate (Source 2).
underdrawing
Begin with a preliminary drawing. After 1885, drawing began to dominate Morisot’s process, and she worked mostly from preliminary drawings before beginning her final pieces (Source 2, Source 3). Use charcoal or graphite to sketch the basic forms. Morisot made countless studies of her subjects to become familiar with them, allowing her to paint 'a mouth, eyes, and a nose with a single brushstroke' (or in this case, a single pastel mark) (Source 3). The drawing should be loose but accurate, focusing on the sinuous lines that define form, characteristic of her 1888–89 transition (Source 2).
underpainting
Not applicable in the traditional oil sense, but Morisot often worked in oil, watercolors, and pastel simultaneously (Source 2, Source 3). If recreating strictly in pastel, the 'underpainting' phase is replaced by the initial laying in of broad color masses using the side of the pastel stick. Morisot used barely tinted whites to harmonize the painting, so start with light, neutral tones to establish the overall harmony before adding specific colors (Source 2).
color palette
White (pure and tinted)
Pure white pastel and whites mixed with other colors.
Morisot made expansive use of white to create a sense of transparency and harmony. She used barely tinted whites to harmonize the painting, responding to experiments by Manet and Degas (Source 2).
Restrained Hues
Low-chroma colors, avoiding high saturation.
Her choice of colors is rather restrained, but the delicate repetition of hues renders a balanced effect (Source 1). Avoid crude intensity; use light tones of respective scales if contrast is needed (Source 8).
Complementary Neutrals
Greys and near-blacks created by mixing complements.
To darken colors without shifting hue, use complementary colors rather than black, which can cause unwanted hue shifts (Source 5). This helps in creating depth and shadow while maintaining color harmony (Source 2).
composition
Morisot’s compositions often feature a balance between the density of figures and the atmospheric traits of light, a trait she shared with Renoir in her later works (Source 2). The outer edges of her paintings were often left unfinished, allowing the canvas (or paper) to show through, which increases the sense of spontaneity (Source 2). Do not overwork the edges; let the drawing breathe. The portrait should aim for a recognizable likeness, as portrait painting intends to represent a specific human subject faithfully (Source 6).
step by step
underdrawing→first pass→refining→finishing
underdrawing
step 01
Sketch the figure using charcoal or graphite. Focus on long, sinuous lines that define form, rather than short, rapid strokes (Source 2). Ensure the likeness is accurate, as Morisot made countless studies to become familiar with her subjects (Source 3).
Tip — Keep the drawing loose. Morisot’s mature style involved leaving outer edges unfinished (Source 2).
Preliminary Drawing
first pass
step 02
Lay in the broad color masses using the side of the pastel sticks. Use barely tinted whites to establish harmony across the composition (Source 2). Apply color with a light touch, 'effleurer' (to touch lightly), to maintain elegance and lightness (Source 2).
Tip — Avoid pressing too hard initially. The pastel should sit on the tooth of the paper, not fill it completely yet (Source 7).
Light Touch (Effleurer)
refining
step 03
Build up layers to create depth and transparency. Morisot created a sense of space and depth through the use of color, acting as a 'virtuoso colourist' despite a limited palette (Source 2). Use complementary colors to darken shadows without shifting hue (Source 5).
Tip — Watch for hue shifts when darkening colors. Use complements instead of black to neutralize and darken (Source 5).
Color Harmony and Depth
finishing
step 04
Refine the facial features and details. Morisot could paint 'a mouth, eyes, and a nose with a single brushstroke' (or pastel mark) due to her familiarity with the subject (Source 3). Leave the outer edges unfinished to enhance spontaneity (Source 2).
Tip — Do not overwork the face. The likeness should be recognizable but retain the freshness of the initial observation (Source 1, Source 6).
Single-Stroke Definition
step 05
Review the balance of density and light. Ensure the figure does not overpower the atmospheric light, maintaining the balance Morisot sought in her later works (Source 2). Check that the white areas provide transparency and harmony (Source 2).
Tip — Step back frequently to assess the overall harmony. Morisot’s works are small in scale, so details should not dominate the whole (Source 2).
Atmospheric Balance
critical techniques
Effleurer (Light Touch)
Morisot’s light brush-strokes (or pastel touches) were described by critics as 'effleurer,' meaning to touch lightly or brush against. This technique contributes to the elegance and lightness of her work (Source 2).
Use of White for Transparency
Morisot made expansive use of white, both pure and mixed, to create a sense of transparency and harmony. She used barely tinted whites to harmonize the painting, a technique influenced by Manet and Degas (Source 2).
Mechanical Adhesion of Pastel
Pastels contain little medium and remain in a state of powder. They are kept on the support by mechanical means, requiring a rough surface (Source 7). This necessitates a toothed paper and careful layering to avoid smudging.
Complementary Darkening
To darken colors without shifting hue, Morisot (and painters generally) should use complementary colors rather than black. This prevents colors like yellows and reds from shifting toward green or blue (Source 5).
common pitfalls
- →Overworking the edges: Morisot often left outer edges unfinished to increase the sense of spontaneity. Over-defining the edges will destroy this effect (Source 2).
- →Using black to darken colors: Adding black can cause hue shifts, particularly in warm colors. Use complementary colors to neutralize and darken instead (Source 5).
- →Ignoring the tooth of the paper: Pastels rely on mechanical adhesion. Using a smooth surface without preparation will cause the pigment to slide off or not adhere properly (Source 7).
- →Losing the likeness: While the style is loose, the intent of portrait painting is to achieve a recognizable likeness. Ensure the facial features are accurate despite the loose technique (Source 6).
- →Over-fixing: Frequent use of fixative can dull the pastel and reduce its vibrancy. Use sparingly, if at all, especially between layers (Source 7).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific color choices for Jeanne Pontillon’s hat and clothing are not described in the sources. The guide relies on Morisot’s general palette of restrained hues and expansive white use.
- ·The exact dimensions of the 1893 pastel are not provided in the sources, though Morisot’s works are noted as 'almost always small in scale' (Source 2).
- ·Specific details of Jeanne Pontillon’s facial expression or pose are not described in the sources. The guide assumes a standard portrait pose based on the genre (Source 6).
- ·The specific brand or type of pastel Morisot used in 1893 is not detailed, though the general properties of crayons/pastels are described (Source 7).
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Berthe Morisot — part 2↗
- Style and technique — applied to Technique description (effleurer, unfinished edges, use of white, sinuous strokes).
Wikipedia bio — Berthe Morisot — part 3↗
- Impressionism, 1875–1885 — applied to Working method (preliminary drawings, single-stroke features, familiarity with subject).
Wikipedia bio — Berthe Morisot — part 1↗
- Watercolourist, 1870–1874 — applied to Palette description (restrained colors, balanced effect).
Wikipedia bio — Berthe Morisot — part 4↗
- Later career, 1886–1895 — applied to Balance of density and light, virtuoso colorist.
Wikipedia bio — Berthe Morisot — part 5↗
- Legacy — applied to Critical reception of her light touch and elegance.
Wikipedia bio — Portrait painting↗
- Introduction — applied to Definition of portrait painting and intent for likeness.
Wikipedia bio — Pastel↗
- Properties — applied to Material properties of pastel (powder, mechanical adhesion, toothed surface).
Wikipedia bio — Color theory↗
- Color mixing — applied to Technique for darkening colors using complements to avoid hue shift.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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