plate no. 3967
Julie Daydreaming
Berthe Morisot, 1894
recreation guide
Julie Daydreaming (1894) is a portrait by Berthe Morisot, executed in oil on canvas during the height of her Impressionist career. The work is distinctive for its rapid, confident application of paint, a hallmark of Morisot’s mature style where she aimed to capture fleeting sensory perceptions and brilliant color effects (Source 4). Unlike academic portraiture which often relied on heavy modeling and detailed finish, Morisot’s approach involved extensive preparatory sketching to achieve a familiarity with the subject, allowing her to render features such as the face with minimal, decisive brushstrokes (Source 4). The painting likely employs the principles of simultaneous contrast and chiaroscuro to create depth and luminosity without relying on rigid outlines or over-modeling (Source 2, Source 3).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Titanium White, Ultramarine Blue, Cadmium Yellow, Vermilion, Burnt Umber) | Primary palette for Impressionist color mixing and glazing | — |
| Linseed oil or Oil of Copavia | Medium for glazing and scumbling, as referenced in traditional oil painting practices | Stand oil or walnut oil for slower drying |
| Canvas (linen or cotton) | Support for oil paint | — |
| Charcoal or Graphite | Underdrawing and preparatory sketches | — |
| Soft bristle brushes (flat and filbert) | Applying broad masses and single-stroke details | — |
preparation
surface prep
Prepare a standard oil-primed canvas. While specific ground preparation for this exact painting is not detailed in the sources, Morisot worked in oil with confidence during this period (Source 4). A neutral or warm-toned ground may be beneficial to facilitate the glazing and scumbling techniques associated with oil painting traditions, which allow for the modulation of tone and color intensity (Source 6).
underdrawing
Morisot did much sketching as preparation to become familiar with her subjects, allowing her to paint features with single brushstrokes (Source 4). For this recreation, begin with a loose charcoal or thin oil sketch to establish the general form and likeness. Do not rely on rigid outlines; instead, use the drawing to map the major masses of light and shadow, consistent with the advice to avoid being 'too tied down to your outline' (Source 1).
underpainting
Consider a monochrome underpainting (grisaille) to establish the chiaroscuro and tonal values before applying color. This technique, involving black, ultramarine, and white, helps in mentally extracting local colors to focus on form and light, a method practiced by old masters and useful for achieving depth without over-modeling (Source 6). This aligns with the principle that chiaroscuro is produced by the juxtaposition of tones, creating a true gradation of light (Source 2).
color palette
Flesh Tones
White, Vermilion, Yellow Ochre, and touches of Ultramarine for shadows
General use in this artist's palette; flesh colors are fixed by the model but modulated by surrounding contrasts (Source 2, Source 3)
Ultramarine Blue
Pure pigment
Shadows and complementary contrast to warm flesh tones; used in monochrome underpainting (Source 6, Source 3)
White
Pure pigment
Highlights and mixing; essential for the 'brilliant colour' associated with Impressionism (Source 4, Source 6)
Warm Earths (Burnt Umber/Sienna)
Pure pigment
Hair and clothing details; providing contrast to cooler tones (Source 2)
composition
The composition likely focuses on the sitter’s face and upper body, typical of Morisot’s intimate portraits. While specific compositional details of this painting are not described in the sources, Morisot’s work is characterized by a focus on the sitter’s presence and expression rather than elaborate symbolic backgrounds (Source 4). The background should be kept simple to allow the flesh tones to stand out, utilizing the law of simultaneous contrast where the background color influences the perceived tone of the face (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the general form and likeness loosely using charcoal or thin oil. Focus on the major planes of the face and the position of the head.
Tip — Avoid rigid outlines; Morisot painted quickly and with confidence, relying on preparatory familiarity (Source 4).
Loose sketching
underpainting
step 02
Apply a monochrome underpainting using black, ultramarine, and white to establish the chiaroscuro and tonal values. Let this dry completely.
Tip — This helps in managing the gradation of light and prevents over-modeling in the final color layers (Source 6, Source 2).
Grisaille
first pass
step 03
Begin applying color with broad masses. Use glazing (transparent coats) and scumbling (semi-opaque layers) to build up the flesh tones and clothing.
Tip — Glazing adds depth and warmth, while scumbling can cool down areas or add texture. This method was common among old masters and useful for achieving subtle tonal shifts (Source 6).
Glazing and Scumbling
refining
step 04
Refine the face and hands with single, decisive brushstrokes. Use complementary colors to enhance the intensity of flesh tones; for example, place cool blue-green tones in shadows to make the warm reds of the cheeks appear more vibrant.
Tip — Red beside blue verges on orange; blue beside red verges on green. Use this to intensify colors without changing the pigment itself (Source 3).
Simultaneous Contrast
finishing
step 05
Step back and assess the overall harmony. Adjust any areas that appear too pronounced by surrounding them with tones of the same color but higher intensity, or soften them with complementary hues.
Tip — If a color is too red, surround it with green tones to soften it; if too pale, use a green background to make it pinker (Source 3).
Color Harmony
critical techniques
Simultaneous Contrast
Used to intensify or soften colors by placing complementary hues adjacent to each other. For example, placing blue next to red makes the red appear more orange and the blue more green (Source 3).
Glazing and Scumbling
Glazing involves applying transparent coats of color over a dry underpainting to build depth and luminosity. Scumbling involves semi-opaque layers that allow the underlying painting to show through, useful for creating cool tones or textures (Source 6).
Rapid Brushwork
Morisot painted very quickly, often rendering features like the mouth, eyes, and nose with a single brushstroke, relying on preparatory sketches for accuracy (Source 4).
common pitfalls
- →Over-modeling: Being too tied down to outlines or over-working the paint can lead to a muddy, lifeless appearance. Morisot’s style favored broad masses and decisive strokes (Source 1, Source 4).
- →Ignoring Color Contrast: Failing to use complementary colors to enhance the vibrancy of flesh tones can result in flat, dull skin. Use the law of simultaneous contrast to boost color intensity (Source 3).
- →Smallness: Trying to render every detail with small brushstrokes can detract from the overall effect. Focus on great effects, allowing small details to result spontaneously from the contrast of tones (Source 2).
- →Premature Color Application: Applying color before the underpainting is dry can lead to muddiness. Ensure the grisaille is fully dry before glazing (Source 6).
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 details of Julie’s clothing, jewelry, or background elements are not described in the sources, so these must be inferred from general Impressionist conventions or left to the artist’s discretion.
- ·The exact dimensions of the canvas are not provided, which may affect the scale of brushstrokes and detail.
- ·Morisot’s specific palette for this exact painting is not listed, so the suggested palette is based on general Impressionist practices and the sources provided.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- ON COPYING — applied to Advice on avoiding over-modeling and rigid outlines; selecting works as correctives for weaknesses.
- COLOURING A MONOCHROME — applied to Techniques of glazing and scumbling over a grisaille underpainting.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Principles of chiaroscuro and simultaneous contrast for creating gradation of light and color intensity.
The Science of Painting↗
- 4. When two colours separated by more than two others... — applied to Techniques for using complementary colors to enhance or soften hues in the portrait.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Berthe Morisot↗
- Impressionism, 1875–1885 — applied to Morisot’s rapid painting style, use of preparatory sketches, and single-brushstroke technique.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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