plate no. 0184
Mme Boursier and Her Daughter
Berthe Morisot, 1873
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.
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