plate no. 3967

Julie Daydreaming

oil, canvasImpressionismportraitportraitfigurewomandresshairhands

what to study here

It shows how a clear three-value structure and soft edges can make a figure read and set a contemplative mood with little detail.

The useful lesson here is how three value groups carry a quiet portrait without hard edges. Squint and the picture separates into a dark, muted green background, a mid-toned group of face and reddish-brown hair, and a light, nearly white dress with blue-green shadows. That separation, not line or detail, holds the figure and pulls the eye to the downcast face and the hand supporting it. Study the edges. The face melts into the background across the cheek and the back of the head, and the eyes and mouth are suggested rather than rendered. The dress is handled in broad, sweeping strokes that follow its curves without a precise contour. The background brushwork is loose and directional, so the green moves while the pose stays still. Note the palette as well: the face is a warm cream, the dress a cooler pale cream, and the hair is the warmest mass. Soft light from the upper left ties these together. Copy the value grouping and the edge control before worrying about likeness.

key decision

The painter kept the background as the darkest value against a near-white dress, with face and hair in the middle. This three-group value separation creates the quiet focus.

From the record

Dimensions: 65.2 cm high × 54.5 cm wide
Inception: 1893
Materials: oil paint, canvas

Julie Manet

Wikidata item Q139864601

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.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A three-quarter portrait of a young woman in an introspective downward gaze, her head tilted left with her supporting hand cradling her face. She wears a luminous white dress beneath a pale blue-green bodice, set against a dominant muted green background that fills nearly half the composition. Soft, diffuse light from the upper left creates a gentle glow across her face and the pale dress, while her reddish-brown hair reads as the warmest mass in the composition. The eye travels first to her face—specifically her closed or downcast eyes and contemplative expression—then to the supporting hand and the dress, which anchors the figure.

value structure

The background establishes a medium-dark green that serves as the darkest overall value, creating strong contrast against the bright white dress and face. The face sits in a mid-light zone with warm cream and peachy tones, while the hair reads as a rich mid-to-dark value in reddish-browns. The dress is nearly the lightest element, almost white with subtle blue-green shadows. When squinting, three clear value groups emerge: dark background, mid-toned hair and face, and light dress; this separation is what creates the painting's quiet focus.

observed palette and mixes

#2c2e11
Raw Umber + Viridian (dark, almost black-green)
Deepest shadows in the background and dark accents in hair
#9e9e67
Yellow Ochre + Viridian + touch of Alizarin (muted olive-green)
Mid-tone green background areas and shadows on dress
#595325
Burnt Sienna + Ultramarine Blue (warm brown, used for depth)
Hair shadows and mid-tone hair strokes
#d7d6ac
Titanium White + Yellow Ochre + tiny touch of Alizarin (warm cream)
Main flesh tone for face and neck
#ebebc8
Titanium White + touch of Yellow Ochre (pale, cool cream)
Dress highlights and the luminous dress fabric

edges and brushwork

Edges throughout are characteristically soft and atmospheric—the transition from face to background is blended rather than defined, especially across the cheek and the back of the head. The background shows loose, directional brushwork with visible movement in the greens, creating visual restlessness that contrasts with the stillness of the pose. The dress is handled with broad, sweeping strokes that follow the form's curves without precise contour; the face receives slightly more definition but remains painterly, with eyes and mouth suggested rather than rendered photographically.

a working sequence

01
Composition and Value Underpainting
Thinly block in the major shapes using a limited burnt sienna and ultramarine—establish where the head and shoulders sit, the position of the supporting arm, and the overall pose. Lightly indicate the background mass and the dress. Pay special attention to the downward tilt of the head and the angle of the supporting arm; these define the daydreaming mood.
02
Background Lay-In
Block in the muted green background loosely, avoiding uniformity. Work warmer (slightly more yellow) in some areas, cooler and darker in others, especially around the head and shoulders where it reads most clearly. Leave some variety—the background is not a flat wall but a living atmospheric space.
03
Dress and Bodice
Establish the white dress with broad, simple strokes, keeping it luminous and light. The bodice is a cool pale blue-green; use soft edges where it meets the dress. Add a warm yellow-gold accent at the waist. The dress should feel expansive and soft, not overworked—suggest its form through value and subtle shadows rather than heavy outlines.
04
Hair Foundation
Block in the hair mass with reddish-brown and warm ochre tones, following the direction of growth. The hair is not uniform—vary between warm reds (especially the highlights at the crown) and cooler browns in the shadows. Use directional, loose strokes that follow the form, not tight parallel lines.
05
Face and Neck Establishment
Lay in the face with your warm cream flesh tone as the base, observing how the light falls across the cheek and forehead from the upper left. The face is not uniformly warm—introduce subtle green undertones in the shadows (especially around the eyes and cheekbone), and keep the neck a touch cooler than the face. Establish the eyes, but keep them soft; the downward gaze is essential to the mood.
06
Hands and Supporting Arm
Develop the left hand cradling the face and the right hand resting on her lap. The supporting hand should feel graceful and gentle, not tense. Use warm flesh tones with subtle modeling; the right hand holding the small red object (handkerchief or fan) adds a human narrative detail. Keep brushwork loose and suggestive.
07
Color Harmony and Atmospheric Refinement
Step back and assess color relationships. Soften transitions between the background and figure with subtle middle tones. The green background should feel like air around her, not a hostile contrast. Add warmer and cooler touches throughout to enhance the luminosity of the dress and the gentle modeling of the face.
08
Final Details and Expression
Refine the eyes and mouth to emphasize the contemplative expression—the slightly closed or downcast eyes and the quiet mouth are what convey daydreaming. Add subtle highlights and warm accents to the hair. Ensure the pensive mood is palpable through the facial expression and body language. Step back frequently to maintain the soft, atmospheric quality.

where studies of this painting go wrong

Overworking the dress into flatness—keep broad strokes and resist the urge to blend everything. The luminosity comes from leaving some paint texture visible and allowing values to suggest form.
Making the background green too yellow or too bright, which destroys the atmospheric quality. The green must remain muted and slightly cool to recede properly; it should feel like contemplative space, not cheerful wallpaper.
Losing the contemplative expression by altering the eye placement or gaze direction even slightly. The downward tilt, the soft eye, and the gentle mouth together create the entire psychological content.
Overpainting the supporting hand and arm connection—this gesture must feel natural and graceful. Awkward proportions or stiffness here undermine the intimacy and thoughtfulness of the pose.
Using pure, bright colors anywhere when Morisot's palette is consistently muted. Every color has a touch of its complement or earth tone; resist the urge to brighten or saturate.

measured difficulty