plate no. 5404

Portrait of Paule Gobillard

oil, canvasImpressionismportraitportraitwomanhatgardenfigurefoliage

recreation guide

Portrait of Paule Gobillard (1884) is a quintessential example of Berthe Morisot’s mature Impressionist style, characterized by a rapid, confident application of oil paint that captures fleeting sensory perceptions rather than rigid detail. Morisot, who exhibited with the Impressionists from 1874 onwards, was noted for her ability to paint 'a mouth, eyes, and a nose with a single brushstroke' after extensive preparatory sketching (Source 5). The work likely reflects her practice of working quickly in oil, often supported by highly finished watercolor studies made during the preparatory stages to allow for indoor completion when outdoor painting was inconvenient (Source 5). As an Impressionist, Morisot’s approach prioritized the harmonic arrangement of form and color, competing with photography by creating effects the camera could not capture, such as the vibration of light and the immediacy of the brushwork (Source 3).

estimated time

20-30 hours over 5-7 sessions (including preparatory sketching and drying time between layers)

materials

6 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (various pigments)	Primary medium for the final painting	High-quality tube oils
Linseed oil or poppy seed oil	Binder and medium to adjust consistency and drying time	Refined linseed oil or walnut oil
Turpentine	Thinner for initial washes or glazes	Odorless mineral spirits or turpentine substitute
Canvas	Support for the oil painting	Linen or cotton canvas, primed
Watercolors and pastels	Preparatory studies, as Morisot worked in multiple media simultaneously	Professional grade watercolors and soft pastels
Charcoal or colored pencils	Sketching and underdrawing, as drawing dominated her later works	Vine charcoal or graphite

preparation

surface prep

The canvas should be primed with a traditional oil ground to allow for the 'richer and denser color' and layering capabilities inherent to oil painting (Source 6). Morisot’s practice involved significant sketching before painting, so the surface should be prepared to accept both dry media (for underdrawing) and wet oil paint. While specific ground colors for this portrait are not detailed in the sources, Impressionists often used neutral or warm grounds to facilitate the mixing of tones.

underdrawing

Morisot did much sketching as preparation, making countless studies drawn from life to become familiar with her subjects (Source 5). For this recreation, begin with a loose but accurate charcoal or pencil sketch to establish the pose and proportions. This aligns with her method of preparing extensively before applying paint, allowing her to execute features like the face with single, confident brushstrokes (Source 5).

underpainting

While Morisot is known for direct painting, the sources suggest a general Impressionist and oil painting tradition that may involve a monochrome underpainting (grisaille) to establish values before adding color (Source 8). However, given her speed and 'single brushstroke' technique, she likely worked wet-into-wet or with minimal underpainting. If using an underpainting, keep it thin and neutral to avoid muddying the subsequent vibrant Impressionist colors.

color palette

Bright, brilliant colors

Pure pigments mixed with minimal black

General use in this artist's palette, reflecting Impressionism's attachment to brilliant color (Source 5)

Complementary colors

Pairs such as red/green, blue/orange

Creating contrast and harmony, as per the law of simultaneous contrast (Source 2)

Neutral tones

Earth tones, ochres, or mixed complements

Shadows and mid-tones, avoiding pure black which can shift hues (Source 4)

composition

Morisot’s portraits often focus on the harmonic arrangement of form and color, similar to Whistler’s approach, where the subject matter is secondary to the visual harmony (Source 3). The composition likely emphasizes the interplay of light and shadow on the figure, with a focus on the face and hands as key areas of detail. The background is likely simplified to avoid distracting from the portrait, consistent with the Impressionist goal of capturing fleeting sensory perceptions (Source 5).

step by step

underdrawing→first pass→refining→finishing

underdrawing

step 01
Create a detailed sketch of the subject using charcoal or pencil, focusing on the pose and facial features.
Tip — Morisot made countless studies to become familiar with her subjects, so take time to get the proportions right before painting.
Preparatory sketching

first pass

step 02
Apply broad masses of color to establish the overall composition and value structure.
Tip — Work quickly to capture the initial impression of light and color, as Morisot painted very quickly (Source 5).
Blocking in

refining

step 03
Refine the facial features and hands using single, confident brushstrokes.
Tip — Aim to paint 'a mouth, eyes, and a nose with a single brushstroke' to capture the immediacy of the subject (Source 5).
Single brushstroke technique
step 04
Adjust colors using complementary contrasts to enhance vibrancy and harmony.
Tip — Be aware that colors appear different when placed next to their complements; use this to enhance the visual impact (Source 2).
Simultaneous contrast

finishing

step 05
Review the painting for overall harmony and make final adjustments to balance the composition.
Tip — Focus on the balance of form and color, ensuring that the painting competes with photography by offering unique visual effects (Source 3).
Harmonic arrangement

critical techniques

Single brushstroke execution

Morisot’s ability to paint facial features with a single brushstroke, achieved through extensive preparatory sketching (Source 5).

Simultaneous contrast of colors

Using complementary colors to enhance the vibrancy and harmony of the painting, as described in color theory (Source 2).

Rapid painting

Working quickly to capture fleeting sensory perceptions, a hallmark of Impressionism (Source 5).

common pitfalls

→Over-modeling or being too tied down to outlines, which can result in a stiff, lifeless appearance (Source 1).
→Using black to darken colors, which can cause hue shifts and muddy the palette (Source 4).
→Ignoring the effects of simultaneous contrast, leading to colors that appear dull or unbalanced (Source 2).
→Failing to prepare with sufficient sketching, resulting in hesitant or inaccurate brushwork (Source 5).

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 pigments used by Morisot for this particular portrait are not detailed in the sources.
·The exact composition and background details of Portrait of Paule Gobillard are not described in the provided passages.
·Morisot’s specific use of glazing or scumbling in this work is not explicitly stated, though these techniques are mentioned in general oil painting practice (Source 8).

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

Laws of Contrast of Colour↗
- 315-318 — applied to Color theory and simultaneous contrast
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to General oil painting techniques and underpainting

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 painting speed, preparatory sketching, and single brushstroke technique
Wikipedia: Portrait painting↗
- Portrait painting — part 16 — applied to Impressionist portraiture and competition with photography
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Color mixing and avoiding hue shifts