plate no. 9922
On a Bench
Berthe Morisot, 1889
recreation guide
Berthe Morisot’s 'On a Bench' (1889) exemplifies the mature Impressionist style characterized by a transition from short, rapid strokes to long, sinuous brushwork that defines form while maintaining spontaneity (Source 7). The work likely reflects her practice of painting on unprimed canvases, a technique she adopted around 1880 to achieve a looser, more immediate effect (Source 7). Morisot is noted for her 'virtuoso' use of color, particularly her expansive use of white—either pure or mixed—to create transparency and harmony, often keeping the palette limited to avoid visual clutter (Source 7). The painting likely exhibits her characteristic 'effleurer' technique, where the brush lightly touches the surface, and may feature unfinished outer edges that allow the canvas to show through, enhancing the sense of immediacy (Source 7).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Unprimed canvas | To replicate Morisot's late-career technique of painting directly on raw fabric for a looser, more spontaneous effect. | Raw linen or cotton canvas, unprimed or lightly sized with rabbit skin glue if desired for stability, though Morisot often used it raw. |
| Oil paints (limited palette) | Morisot used a somewhat limited palette, relying heavily on white and barely tinted whites to harmonize the composition. | Titanium White, Lead White (historical), Cadmium Yellow, Vermilion, Ultramarine Blue, and earth tones. |
| Drawing materials (pencil/charcoal) | Morisot worked mostly from preliminary drawings before beginning oil paintings after 1885. | Graphite pencil or charcoal. |
| Watercolors and Pastels | Morisot often worked in oil, watercolor, and pastel simultaneously, using them to refine tones and harmonize the painting. | Standard watercolor set and soft pastels. |
| Linseed oil or varnish medium | For glazing and scumbling techniques if employed, though Morisot's later style favored direct application. | Stand oil or damar varnish mixed with oil. |
preparation
surface prep
Likely unprimed canvas. Morisot began painting on unprimed canvases around 1880, a technique shared with Manet and Eva Gonzalès, which allowed for a looser brushwork and greater spontaneity (Source 7). If using modern canvas, one might leave it raw or apply a very thin, absorbent ground to mimic this texture.
underdrawing
Morisot worked mostly from preliminary drawings before beginning her oil paintings after 1885 (Source 7). The underdrawing would likely be light and structural, serving as a guide for the subsequent sinuous brushstrokes rather than a detailed contour. She was trained in drawing basics early in her career (Source 5).
underpainting
While traditional oil painting manuals describe grisaille underpainting followed by glazing (Source 1), Morisot's later Impressionist style suggests a more direct approach. However, she may have used a monochrome or limited-tone base to establish values before applying color, consistent with her training and the general practice of the time. There is no specific source confirming a grisaille for this specific work, so it is inferred from general practice and her early training.
color palette
White
Pure white or barely tinted white
Morisot made expansive use of white to create transparency and harmony, often using it as a pure white or mixed with other colors to unify the composition (Source 7).
Limited hues
Yellow, red, blue primaries and their complements
Morisot's palette was somewhat limited, and she kept the use of color to a minimum when constructing a motif, inspired by Manet (Source 7). She was regarded as a virtuoso colorist despite this restraint.
Complementary tones
Pairs such as red-green or blue-orange
To create contrast and harmony, consistent with the laws of simultaneous contrast where juxtaposed colors influence each other's appearance (Source 3, Source 4).
composition
Morisot created a sense of space and depth through the use of color rather than strict linear perspective (Source 7). The composition likely balances the density of figures with the atmospheric traits of light, a trait she shared with Renoir in her later works (Source 7). The outer edges of the painting are likely left unfinished, allowing the canvas to show through, which increases the sense of spontaneity (Source 7).
step by step
underdrawing→first pass→refining→finishing
underdrawing
step 01
Create a preliminary drawing on the unprimed canvas. Morisot worked mostly from preliminary drawings before beginning oil paintings after 1885 (Source 7).
Tip — Keep the lines light and structural, as they will be covered by loose brushwork.
Preliminary sketching
first pass
step 02
Apply paint with long, sinuous brushstrokes. In 1888–89, Morisot's brushstrokes transitioned from short, rapid strokes to long, sinuous ones that define form (Source 7).
Tip — Focus on defining form through the direction and flow of the stroke rather than detailed modeling.
Sinuous brushwork
refining
step 03
Use white and barely tinted whites to harmonize the painting. Morisot used barely tinted whites to harmonize her works, responding to experiments by Manet and Degas (Source 7).
Tip — Avoid overworking the paint; maintain the freshness of the initial strokes.
Harmonization with white
finishing
step 04
Leave the outer edges unfinished. Morisot often left the outer edges of her paintings unfinished, allowing the canvas to show through (Source 7).
Tip — This enhances the sense of spontaneity and immediacy characteristic of her style.
Unfinished edges
step 05
Consider integrating watercolor or pastel touches. Morisot often worked in oil, watercolor, and pastel simultaneously, playing with three media in one painting (Source 7).
Tip — Use these media to refine tones or add delicate highlights without disturbing the oil layers.
Mixed media integration
critical techniques
Sinuous Brushwork
In 1888–89, Morisot's brushstrokes transitioned to long, sinuous ones that define form, moving away from the short, rapid strokes of her earlier Impressionist period (Source 7).
Use of White for Harmony
Morisot made expansive use of white, either pure or mixed, to create transparency and harmonize the painting, keeping the color palette limited (Source 7).
Unprimed Canvas
Painting on unprimed canvases allowed for a looser brushwork and greater spontaneity, a technique Morisot adopted around 1880 (Source 7).
Simultaneous Contrast
Morisot's use of color likely leveraged the law of simultaneous contrast, where juxtaposed colors influence each other's appearance, creating harmony and depth (Source 3, Source 4).
common pitfalls
- →Over-modeling details: Morisot's style emphasizes spontaneity and loose brushwork; overworking the paint will destroy the freshness and 'effleurer' quality (Source 7).
- →Ignoring the canvas texture: Painting on a heavily primed surface will not replicate the absorbency and texture of Morisot's unprimed canvases, affecting the brushstroke behavior (Source 7).
- →Using a too-broad palette: Morisot kept her palette limited and used white extensively to harmonize; using too many vivid colors may clash with her subtle approach (Source 7).
- →Failing to leave edges unfinished: Finishing the edges completely will remove the sense of immediacy and spontaneity that Morisot intentionally cultivated (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 'On a Bench': The sources do not describe the exact colors used in this specific painting, only Morisot's general palette and techniques.
- ·Subject matter details: The sources do not describe the specific figure, pose, or setting in 'On a Bench', so the recreation must rely on general compositional habits rather than specific visual details.
- ·Exact medium mix: While Morisot used oil, watercolor, and pastel, the specific ratio or order of application for this painting is not detailed in the sources.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour — 315↗
- Advantages of simultaneous contrast — applied to Color harmony and perception of light modifications.
The Practice of Oil Painting — ON COPYING↗
- Advice on copying — applied to General approach to studying technique and avoiding over-modeling.
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 transition, unprimed canvas, use of white, mixed media, and unfinished edges.
Wikipedia: Complementary colors↗
- Complementary colors — applied to Understanding color contrast and harmony in Morisot's limited palette.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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