plate no. 0184
Mme Boursier and Her Daughter
Berthe Morisot, 1873
what to study here
It shows how a decisive dark-and-light value plan and loose, visible brushwork can give two figures presence without tight rendering.
Start with the value structure. The visionGuide describes a binary of very dark and very light: the mother's dark hair and navy dress against bright faces and a pale bonnet, with a mid-dark gray background between them. Squint and three zones read: the lit face area, the large dark dress silhouette, and the background wall. The child's figure sits at an intermediate value and links the mother to the wall. Notice that every value is declared; there are no muddy mid-tones, and that is where the luminosity comes from. Then look at the edges. The background is built from warm and cool grays scumbled together with little blending, so the strokes stay visible. Faces are softened through broken color, not outline. The bonnet feathers are quick white marks over darker paint, and they read as volume through silhouette and shadow, not careful rendering. Also note the gaze: the child sits lower right, yet is lit like the mother and looks out with the same directness, so the smaller figure holds equal weight. Compare how much is stated in the faces versus how much is left loose elsewhere.
key decision
Morisot set very dark masses (hair and dress) directly against bright faces and bonnet, over a mid-dark gray background, leaving no muddy mid-tones. This makes the faces glow despite a limited value range.
recreation guide
Mme Boursier and Her Daughter (1873) is a quintessential example of Berthe Morisot’s early Impressionist portraiture, characterized by a restrained palette and a focus on atmospheric light rather than rigid detail. During this period (1870–1874), Morisot was transitioning from watercolor to oil, often finding oil painting difficult and relying on the translucency and freshness she achieved in watercolors to inform her oil technique (Source 2). The work likely exhibits her characteristic 'feathery touch' and light brushstrokes, which critics described as 'effleurer' (to touch lightly) (Source 1). Unlike her later works where she used unprimed canvases and long sinuous strokes, this 1873 piece would reflect her earlier, more structured approach, possibly involving preparatory sketches to capture the subjects' familiarity (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 (limited palette) | Morisot used a somewhat limited color palette, relying on white and barely tinted whites to harmonize compositions (Source 1). | Titanium White, Lead White (historical), Cadmium Yellow, Ultramarine Blue, Vermilion, Burnt Umber |
| Canvas | Standard support for oil painting. Note: Morisot did not begin using unprimed canvases until around 1880, so this 1873 work likely used a primed surface (Source 1). | Linen or cotton canvas with traditional oil ground |
| Linseed or Poppy Oil | Binder for pigments. Morisot’s technique involved layering and transparency, requiring a fluid medium (Source 4). | Stand oil or refined linseed oil |
| Turpentine | Thinner for initial layers and glazes (Source 4). | Odorless mineral spirits or pure gum turpentine |
| Watercolor and Pastel (optional) | Morisot often worked in oil, watercolor, and pastel simultaneously, using watercolors for preparatory studies or to create a translucent atmosphere (Source 1, Source 2, Source 3). | Professional grade watercolors and soft pastels |
preparation
surface prep
Prepare a standard primed canvas. Unlike her post-1880 practice where she painted on unprimed canvases to increase spontaneity (Source 1), this 1873 work predates that shift. The surface should be smooth enough to allow for the 'delicate repetition of hues' and 'translucent atmosphere' characteristic of her watercolor-influenced oil technique (Source 2).
underdrawing
Morisot made 'countless studies' and did much sketching as preparation, becoming familiar with her subjects to paint features like a mouth or nose with a single brushstroke (Source 3). While she did not rely heavily on drawing until after 1885 (Source 1, Source 3), for this 1873 portrait, a light, loose underdrawing based on preliminary sketches is recommended to establish the composition without rigid outlines, consistent with her Impressionist approach to capturing fleeting sensory perceptions (Source 3).
underpainting
Consider a monochromatic underpainting (grisaille) to establish values before applying color. While not explicitly stated for this specific painting, Morisot’s use of 'barely tinted whites' to harmonize paintings (Source 1) and her background in watercolor suggest a layered approach. A neutral underlayer allows for the 'translucent atmosphere' she sought (Source 2).
color palette
White
Pure white or mixed with other colors
Morisot made expansive use of white to create transparency and harmony, often using barely tinted whites (Source 1).
Restrained Hues
Low saturation colors, avoiding high chroma
Her choice of colors was restrained, with delicate repetition of hues rendering a balanced effect (Source 2).
Neutral Grays
Black, white, and complementary colors
To neutralize colors without shifting hue, consistent with color theory practices of the time (Source 5).
composition
Morisot created a sense of space and depth through the use of color rather than linear perspective (Source 1). The composition likely balances the density of the figures with the atmospheric traits of light, a trait she shared with Renoir in her later works but began exploring earlier (Source 1). The outer edges may be left somewhat unfinished to increase the sense of spontaneity, a technique she employed in her mature style (Source 1).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the composition lightly based on preliminary studies. Morisot made countless studies of her subjects to become familiar with them (Source 3).
Tip — Keep lines loose; avoid rigid contours.
Preparatory Sketching
underpainting
step 02
Apply a thin, neutral underlayer to establish values. This supports the translucent effects Morisot achieved (Source 2).
Tip — Ensure the layer is dry before proceeding.
Grisaille or Imprimatura
first pass
step 03
Apply paint with light, rapid brushstrokes. Morisot’s early brushwork was characterized by 'effleurer' (touching lightly) (Source 1).
Tip — Avoid overworking the paint; maintain freshness.
Light Brushwork
refining
step 04
Use white and barely tinted whites to harmonize the painting and create transparency (Source 1).
Tip — Layer thin transparent coats to build depth without muddying colors.
Glazing/Scumbling
finishing
step 05
Leave outer edges unfinished if appropriate to the style, allowing the canvas to show through for spontaneity (Source 1).
Tip — Check for balance between figure density and atmospheric light.
Unfinished Edges
critical techniques
Effleurer (Light Brushstrokes)
Morisot’s light brushstrokes were described as 'effleurer,' touching the surface lightly to create elegance and lightness (Source 1).
Translucent Atmosphere
Influenced by her watercolor practice, Morisot created a translucent atmosphere and feathery touch in her oils (Source 2).
Harmonizing with White
She used barely tinted whites to harmonize paintings, responding to experiments by Manet and Degas (Source 1).
common pitfalls
- →Overworking the paint: Morisot painted quickly to capture fleeting perceptions; over-blending destroys the 'feathery touch' (Source 2, Source 3).
- →Using a high-chroma palette: Morisot’s palette was restrained; bright, saturated colors would contradict her 'balanced effect' (Source 2).
- →Rigid outlines: Impressionism sought to blur forms; hard contours would undermine the atmospheric quality (Source 3).
- →Ignoring preparatory studies: Morisot relied on extensive sketching to paint features with single brushstrokes; skipping this leads to hesitant execution (Source 3).
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 clothing details and facial expressions of Mme Boursier and her daughter are not described in the sources, so they must be inferred from the actual artwork or general period conventions.
- ·The exact ratio of oil to thinner used by Morisot is not specified, though general oil painting practices suggest linseed or poppy oil (Source 4).
- ·The specific pigments used in 1873 are not listed, though a limited palette is noted (Source 1).
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Glazing and scumbling techniques for transparency.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Berthe Morisot — part 5↗
- Style and technique — applied to Brushwork, use of white, unfinished edges, and palette restraint.
Wikipedia bio — Berthe Morisot — part 3↗
- Watercolourist, 1870–1874 — applied to Transition from watercolor to oil, translucent atmosphere, and preparatory studies.
Wikipedia bio — Berthe Morisot — part 4↗
- Impressionism, 1875–1885 — applied to Context of her early career and painting speed.
Wikipedia: Oil painting↗
- Oil painting — applied to General materials and binder properties.
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
The composition presents a mother and child seated together in an interior, with the mother dominating the left half and the child positioned lower-right. Light falls from the front-left, striking the mother's face directly to reveal a warm, luminous complexion that contrasts sharply against her dark braided hair and navy dress; the child sits below her shoulder line, similarly lit, with an equally direct gaze. The eye moves first to the mother's face, drawn by its brightness against the dark mass of her hair, then to the striking white bonnet with feathers framing her head; the background of warm and cool grays recedes with hints of furniture and drapery, anchoring the figures without competing for attention.
value structure
The painting rests on a strong value binary: very dark (the mother's hair and dress mass) and very light (faces and bonnet), with a mid-dark neutral gray dominating the background. When you squint, three distinct zones emerge—the glowing face area, the large dark dress silhouette, and the stable background wall—with the child's figure reading as a smaller intermediary value that bridges the mother and the wall. There are no muddy mid-tones; every value is declared, which accounts for the painting's luminosity despite its limited range.
observed palette and mixes
#d0c4af
Titanium white + raw sienna + touch of ultramarine
bonnet feathers, face highlights, neck, light fabric accents
Inferred warm tan (~#c89a6a)
Titanium white + yellow ochre + alizarin crimson + ultramarine
mother's face and neck, primary flesh tone
Inferred rosy tan (~#d4896a)
Titanium white + yellow ochre + alizarin crimson (increased) + ultramarine
child's face, slightly more saturated than mother
#332f31
Ultramarine + alizarin crimson + ivory black (minimal—avoids muddiness)
mother's dark navy dress, braided hair
#776e65
Raw sienna + ultramarine + titanium white
warm gray background walls, mid-tone passages
#a29787
Titanium white + ultramarine + raw sienna (less sienna)
lighter background areas, upper wall zones
#4c423f
Burnt umber + ultramarine + alizarin
deep shadows in dress and background
Inferred blue (~#5a6fa3)
Ultramarine + titanium white + touch of raw sienna
child's blue dress fabric
edges and brushwork
Morisot's brushwork is loose and intentionally visible throughout, especially in the background where warm and cool grays are scumbled together with minimal blending, allowing the weave of paint strokes to remain active. The faces show refined but still painterly handling—edges are softened through broken color rather than outline, and form is suggested through value placement and warm-cool contrast rather than tight detail. Clothing folds are rendered with broken, gestural strokes; the bonnet's feathers are quick white marks over darker underpainting, reading as volume through silhouette and shadow play rather than careful rendering.
a working sequence
- 01
Value Underpaint and Composition
Sketch the main proportions using charcoal or dilute burnt umber: place the mother's head and shoulders, position the child's face lower and to the right, and block in background shapes. Work lightly—this is a roadmap. Note that the mother's head is notably larger and will anchor the composition; the child's smaller form reads as equal presence through aligned gaze and lighting.
- 02
Background Lay-in
Block in the background with broad strokes of warm and cool grays (mix raw sienna + ultramarine + white in varying ratios). Apply warmer grays toward the left and cooler accents toward the right, allowing brushstrokes to remain visible and directional rather than blended smooth. This establishes the visual stage and determines how luminous the figures will read against it.
- 03
Mother's Face and Neck
Mix a warm mid-tone flesh color (yellow ochre + alizarin + ultramarine + white) and block in the face and neck with assured strokes. Add warmer notes (more alizarin) to the cheeks and cooler accents (more ultramarine) around the eye sockets and jawline. Suggest the eyes and mouth with minimal, confident strokes—form comes from color placement and value, not detail. Keep edges soft; the face's luminosity depends on assured, loose color rather than rendering.
- 04
Child's Face
Mix a slightly warmer, more saturated flesh tone (increase the alizarin proportion) for the child's face. Lay it in with the same loose approach, smaller in scale but equally direct. Preserve the child's clear gaze through precise eye placement and a warm note on the cheeks; resist making this figure secondary—it is a complete portrait subject.
- 05
Mother's Dark Dress and Hair
Block in the large dark mass of the dress with ultramarine + alizarin + minimal black (excess black kills luminosity). Apply with confident, directional strokes, letting the background show through slightly at the edges to avoid a flat silhouette. Render the braided hair by following its form with loose strokes, varying value to suggest the weave's structure; do not outline each braid but instead let light-and-dark passages convey the volume and dimension.
- 06
Bonnet and White Accents
Paint the bonnet with warm off-white (white + touch of raw sienna + ultramarine). Apply feather strokes quickly and loosely over the darker underpainting, allowing background to peek through to suggest separation and volume. Add white accents on the neck and shoulders where light strikes; these should read as luminous form, not decorative detail. The bonnet's sculptural quality comes from edge placement and shadow color, not tight rendering.
- 07
Child's Dress and Integration
Block in the child's blue dress with ultramarine + white + touch of sienna, showing the collar detail with a lighter, more saturated stroke. Step back and assess the full value range—faces should glow against the dark dress mass and stable background. Add final accents: a refined stroke on the mother's collar, a touch of warm tone on the child's collar edge. Soften some facial edges with a nearly dry brush while keeping others crisp; the painting's power lies in loose, assured execution rather than overwork.
- 08
Final Check and Accents
Review the overall composition: verify that both figures read clearly and with equal presence, that the background supports rather than competes, and that value contrast is decisive. Add any final touches to the bonnet's feathers or a refined accent to catch reflected light. Resist the urge to tighten or detail; Morisot's technique succeeds through confidence and breadth, not precision.
where studies of this painting go wrong
- Overworking the faces: tight rendering and excessive blending will destroy the impressionistic luminosity. Keep strokes confident and loose; form emerges from color and value placement, not line.
- Flattening the bonnet: feathers gain volume through edge placement and shadow color, not detailed rendering. Use quick, directional strokes and let the background show through.
- Making the background too dark: the warm, active grays are crucial to making skin tones advance and glow. A flat, dark background will kill the painting's light.
- Rendering the child as secondary: the smaller figure must be painted with equal care and presence. Careless handling makes them disappear despite occupying real pictorial weight.
measured difficulty
- beginner friendliness
- value contrast
- palette complexity
- compositional simplicity
- brushwork visibility
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