Woman at Her Toilette

In this work, Berthe Morisot explores the theme of the "toilette," a favorite subject of the Impressionists, but she does so with a specifically feminine sensitivity that avoids all voyeurism. Unlike her male colleagues like Degas, Morisot paints introspection here. The young woman, seen from behind, does not offer herself to the viewer's gaze but concentrates on her own reflection, creating an inviolable bubble of intimacy. This approach redefines the genre scene by introducing a profound psychological dimension. The palette is a lesson in colorism. Morisot uses an infinite variety of shades of white, pearl gray, and pale blues to structure the space. These "non-colors" capture natural light that seems to emanate from the canvas itself. The model's blonde hair, pinned up with natural elegance, becomes the warm focal point that balances the apparent coolness of the surrounding hues. Each brushstroke is an affirmation of stylistic independence. The artist plays with the ambiguity of textures. The satin of the dress, the powder box on the table, and the young woman's skin are treated with the same speed of execution, creating a visual unity where everything seems in motion. This technique, often criticized at the time as "unfinished," is actually a daring attempt to seize the immediacy of sensation. Morisot does not paint objects; she paints the air circulating between them. Finally, the work is part of a tradition dating back to the French 18th century, recalling the boudoir scenes of Fragonard, but stripped of their erotic frivolity. Morisot anchors her character in late 19th-century bourgeois modernity, where the bedroom becomes the sanctuary of the modern woman. It is a celebration of domestic life not as a constraint, but as a space for poetic freedom.