Sleep on it!

I confess that when I saw 'After Morisot' on the first painting, I did mutter 'and a long way after, too'.  You haven't asked for a critique on the before or after, so I won't offer one.  I would gently suggest however that if you're going to say a work is 'after' another painter, it does need to look a bit more like the original; apart from anything else, Berthe Morisot has been dead and gone for a good many years - your young woman is a lot more of today than of yesterday.   You are of course quite right about acrylics - you can totally change a painting with a minimum of difficulty (especially if you're using thinner paint: some crenellations of thick paint are harder to conceal) - the only snag I've found is that, especially with portraits, I KEEP changing them, and bang goes any resemblance to the subject I might have had in the first place.  Oil does indeed take longer to dry, but that makes it easier to manipulate (I say 'easy' - nothing in portraiture is easy) - it does depend a lot on what you're actually used to: when an oil portrait is going to 'come off', you can usually tell fairly quickly - ditto when it's not going to, but you can always scrape it off and start again.  

Don't worry about it - few people here are as irritable as I am!