plate no. 0781
Jeanne Pontillon Wearing a Hat
Berthe Morisot, 1893
what to study here
It shows soft, blended flesh and open, visible color strokes in one pastel, so a student can compare both handlings directly.
Study how the handling changes between the face and the hat. The face sits in the highest values, near cream-white with soft pink accents, and is blended with minimal visible stroke. The edge where it meets the warm cream background is soft and feathered. The hat is the opposite: yellow, blue and purple strokes sit side by side, layered without full blending, so the color vibrates. Paper tooth stays visible throughout, which keeps the texture from looking mechanical. Squint and the picture reduces to three groups: the pale face, the dark hat mass (navy band, dark feathers), and the medium warm coral shoulder. The darkest darks never approach black. Notice also the temperature contrast: cool blues and purples in the feathers against warm flesh undertones. Copy the way the background stays quiet so the figure advances. Practice keeping the lightest areas of the forehead and upper cheek nearly white while building warmth slowly, and leaving the hat strokes unsmoothed.
key decision
The painter blended the face almost seamlessly in the lightest values while leaving the hat's strokes of yellow, blue and purple visible and unblended. This keeps the face luminous and gives the hat vibration and depth.
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.
read from the painting
observed from the image, not the label6 dominant colors, measured
what the eye sees
Light rakes across the figure from the front-left, sculpting the face in pale creams and pinks while leaving the right shoulder in warm coral shadow. The monumental hat—striped yellow straw with navy band and dark feathers—dominates the composition, creating an asymmetrical mass that pulls the eye upward before settling on the serene profile of the face. The background is a soft, warm cream that recedes, allowing the figure to advance. Visible layering of cool blues and purples in the hat's feathers contrasts sharply with the warm, flesh-toned undertones of the face and neck.
value structure
The face operates in the highest values—nearly cream-white with soft pink accents—creating a luminous center. The hat's navy band and dark feathers drop into mid-to-dark values, anchoring the composition. The visible shoulder reads as medium-dark warm coral. When squinting, three distinct groups emerge: the pale glowing face, the volumetric dark hat, and the medium shoulder; the light background bridges these without competing. The overall effect is gentle, with the darkest darks never approaching black.
observed palette and mixes
#f1e4da
Soft pastel white + yellow ochre + touch of alizarin
Face, neck, and upper background—the luminous foundation of the portrait
#dfc8b8
Raw sienna + white + alizarin
Shadow side of cheek, jawline, and ear—warm mid-tone for modeling the face
#e9d8cc
Naples yellow + white + raw sienna
Temple and forehead highlights, lightest skin areas
#f5e9df
Pale yellow ochre + white
Straw color of hat brim, brightest highlights on hat
#927a7d
Ultramarine + alizarin + raw sienna
Dark band of hat and deepest shadow in feathers, nose shadow
#4a5a8a
Ultramarine blue + touch of alizarin
Blue feathers in hat, neck contour, cooler shadows
#d97a5a
Alizarin + yellow ochre
Warm coral-pink of shoulder and upper garment
#e8b88d
Yellow ochre + alizarin + white
Mid-tone yellows in hat, warm transitions in face
edges and brushwork
Edges are predominantly soft and feathered, especially where the face meets the background—this is where Morisot's mastery shows. The face is rendered with minimal visible stroke, creating an almost seamless blend. Contrast this with the hat, where individual pastel strokes are deliberately visible: yellows, blues, and purples sit alongside one another, layered without complete blending to create vibration and depth. The paper tooth remains visible throughout, providing texture without becoming mechanical.
a working sequence
- 01
Establish proportions and light structure
Lightly sketch the head profile and hat placement using a pale pastel pencil or light ochre. Block in where the face begins and ends relative to the hat mass. Note that the hat takes roughly equal visual weight to the face and neck combined. Establish the center line of the face for feature placement.
- 02
Underlay the face foundation
Using soft pastels, lay down a pale cream tone (#f1e4da) across the entire visible face and neck area. Work lightly—this is your luminous base. Soften the edges into the background immediately to establish atmospheric perspective. Don't worry about features yet; focus on establishing the gentle, glowing quality.
- 03
Block the hat's major color zones
Identify and block the four main color zones of the hat: the bright yellow straw on the crown and right brim, the navy band running across, the darker purples and reds in the feathers on the left, and the yellow-orange warm undertones. Use medium pressure and let colors sit adjacent to each other without blending initially. The hat should feel like separate color patches at this stage.
- 04
Model the face with warm and cool notes
Introduce pink (#d97a5a-toned but muted) into the cheek and ear, keeping it soft and diffused. Add cool shadow along the jaw and under the chin using a touch of blue and sienna. Place the eye—a small dark accent with a warm highlight—looking downward. Add the lips with a reddened coral tone. The nose is suggested with minimal dark line. Keep all features soft; understatement is key here.
- 05
Layer and blend the hat colors
Now layer the hat's complexity. Over the yellow straw, add yellower tones to brighten; add thin dark blue or navy lines to suggest the band's structure and shadow. In the feather area, layer deep purples, dark blues, and touches of burgundy. Begin light blending only where colors naturally meet—for instance, where yellow straw meets the navy band. Leave some areas unblended to maintain the impressionistic energy.
- 06
Define the shoulder and neck connection
Establish the visible shoulder in warm coral-pink (#d97a5a), allowing it to sit in mid-tone shadow relative to the luminous face. Add subtle modeling with warmer and cooler notes. Connect the neck to the shoulder and face with soft, warm undertones. This transitions the cool face tones into the warm clothing below.
- 07
Integrate background and refine edges
Soften and warm the background cream, allowing it to push back behind the figure. Where the pale face meets the background, the transition should be nearly imperceptible—this is the impressionistic heart of the piece. Add final subtle refinements to the hat's feathers and the face's contours. Use a light touch and a blending stump for the most delicate transitions, especially where pastel pencil lines define features like the nose and eye.
where studies of this painting go wrong
- The hat's many colors (yellow, blue, purple, red, orange) can easily muddy if over-blended—resist the urge to smooth everything; let adjacent colors vibrate slightly. Pastel is a layering medium; color mixing happens in the eye, not on the paper.
- The face's pale tones are its greatest asset but also its greatest risk. Too much pink or coral in the flesh and the face loses its luminous, cool quality. Build warmth gradually and keep the lightest values (forehead, upper cheek) nearly white.
- The background cream tone can disappear or become chalky if over-worked. Establish it early and protect it; only touch it again to soften edges of the face. Too much background work flattens the atmospheric depth.
- The hat band's navy line is small but crucial for anchoring the composition. If it's too light or lost in the surrounding colors, the hat loses structure and reads as an amorphous mass. Keep it distinct but not harsh.
measured difficulty
- beginner friendliness
- value contrast
- palette complexity
- compositional simplicity
- brushwork visibility
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