Jeune Femme au Chapeau bleu is a fine example of Bonnard's post-Nabis portraits from the early 1900s. There are still touches of 'intimisme' in his approach but in terms of technique - the short brushstrokes, the light tonal values and the subtle colour combinations - it is possible to see the artist's gradual rapprochement with Impressionism. His concern for composition drew him to Renoir and Degas and the style of both is in evidence here.

From 1905 onwards Bonnard produced a series of paintings of attractive young women painted either in close-up as portraits, modestly occupied in genteel tasks such as sewing or reading, or as full-length nudes in a variety of poses. The contrast between the two genres might seem distant but they are linked by the artist's delicate brushwork and light, atmospheric palette.

Although Bonnard did receive several official commissions at this time, most of the portraits painted were of un-named sitters. Portraiture did present him with some problems. Even in close-up studies his decorative style would always involve the subjugation of individual character in the interests of an overall mood. The artist preferred to use close friends, like Misia Godebska and his wife, Marthe, as models. He could paint them in any guise he wanted and they could, quite literally, play roles for him.