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home·artworks·Double Portrait of the Merchant Christopher Friedenreich Hage and his Wife Arnette: “May I borrow the two brown horses?”
Double Portrait of the Merchant Christopher Friedenreich Hage and his Wife Arnette: “May I borrow the two brown horses?” by Wilhelm Marstrand

plate no. 3160

Double Portrait of the Merchant Christopher Friedenreich Hage and his Wife Arnette: “May I borrow the two brown horses?”

Wilhelm Marstrand, 1852

oil, canvasRomanticismportraitportraitfiguresinteriorfurnituredogbooks
experienced study

Recreating this painting will help students develop skills in portraiture, rendering realistic skin tones, and creating depth through atmospheric perspective. It also provides practice in depicting complex textures like fabric and wood.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
4
compositional simplicity
2

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Create a rough sketch of the composition, paying attention to proportions and placement of figures and objects.

  2. step 02

    Establish the overall value structure by blocking in the main areas of light and shadow with thin washes of color.

  3. step 03

    Begin refining the background, focusing on the subtle color variations and textures of the wall and furniture.

  4. step 04

    Start building up the forms of the figures, gradually adding layers of paint to define the shapes and contours.

  5. step 05

    Pay close attention to the details of the faces, capturing the likeness and expression of the subjects.

  6. step 06

    Work on the drapery and clothing, carefully rendering the folds and textures of the fabric.

  7. step 07

    Add the details of the objects in the room, such as the books, papers, and dog, to create a sense of realism.

  8. step 08

    Make final adjustments to the values and colors to create a cohesive and harmonious painting.

color palette

primary · ivory black · ultramarine blue · raw umber · titanium white

secondary · yellow ochre · alizarin crimson · burnt sienna

Achieve the muted tones by mixing complementary colors and using glazes to build up depth and luminosity. The skin tones are achieved by mixing white, yellow ochre, alizarin crimson, and a touch of raw umber.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture
  • ·rendering textures

common pitfalls

  • →Getting the proportions of the figures wrong.
  • →Overworking the details and losing the overall sense of harmony.
  • →Failing to capture the likeness and expression of the subjects.
  • →Not paying enough attention to the subtle color variations in the background.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·ivory black oil paint
  • ·ultramarine blue oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·alizarin crimson oil paint
  • ·round brushes (#2, #4, #6)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use high-quality oil paints for best results. Consider using a toned canvas to help establish the overall value structure.

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oil painting for beginners →how to learn by studying the masters →
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