plate no. 3160

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

oil, canvasRomanticismportraitportraitfiguresinteriorfurnituredogbooks

recreation guide

This recreation guide addresses Wilhelm Marstrand’s 1852 double portrait of the merchant Christopher Friedenreich Hage and his wife Arnette. Marstrand, a central figure of the Golden Age of Danish Painting, is known for his ability to blend academic rigor with genre-like vitality, often depicting middle-class society with humor and narrative depth (Source 6). While specific visual details of this particular canvas—such as the exact arrangement of the figures or the specific background elements—are not described in the provided sources, the artist’s general practice suggests a work that balances formal portraiture with the lively observation of daily life (Source 6, Source 7). The painting likely reflects the Romantic style prevalent in Denmark during this period, characterized by a focus on individual character and emotional resonance within a structured composition.

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red Ochre, Yellow Ochre, Vermilion)	Primary palette for underpainting and glazing	Standard artist-grade oil paints
Oil of Copavia (or modern linseed oil/walnut oil blend)	Medium for the first and second paintings, as cited in Reynolds' method which Marstrand would have known through academic training	Stand oil or refined linseed oil
Canvas	Support for the oil painting	Linen or cotton canvas, primed
Varnish	For final glazing and protection, mixed with oil for mastery stages	Dammar varnish or synthetic resin varnish
Charcoal or Graphite	Underdrawing	Vine charcoal or graphite pencil

preparation

surface prep

Prepare a standard oil-primed canvas. Marstrand’s academic training under Eckersberg at the Royal Danish Academy (Source 6) implies adherence to traditional preparation methods. The surface should be smooth to allow for the fine detail expected in portraiture (Source 7).

underdrawing

Use charcoal or graphite to sketch the figures. Marstrand was noted for tackling difficult subjects and complicated compositions early in his career (Source 6). The drawing should establish the likeness and posture of the merchant and his wife, ensuring the composition balances the two figures as a double portrait (Source 8).

underpainting

Create a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia (Source 1). This method, attributed to Sir Joshua Reynolds and consistent with the 'old masters' practice Marstrand would have studied, involves mentally extracting red and yellow tones to establish form and value first (Source 1). Allow this layer to dry completely before proceeding.

color palette

Ultramarine

Pure ultramarine pigment

Underpainting and cool shadows; creates depth when juxtaposed with warm tones (Source 1, Source 3)

White

Lead white or titanium white

Highlights and mixing with ultramarine/black for the grisaille (Source 1)

Black

Ivory black or lamp black

Underpainting and deep shadows (Source 1)

Red/Yellow Tones

Vermilion, red ochre, yellow ochre

Glazing and scumbling over the dry grisaille to introduce warmth and flesh tones (Source 1)

Complementary Contrasts

Blue/Orange, Red/Green

Enhancing brilliance of colors by placing them next to their complements, e.g., making orange drapery appear more vibrant against blue tones (Source 3, Source 5)

composition

As a double portrait, the composition likely places the merchant and his wife in close proximity to emphasize their relationship and social status (Source 7, Source 8). Marstrand’s inclination toward depicting middle-class society suggests the setting may include elements of domestic life or trade, though specific details are not in the sources. The arrangement should balance the figures, possibly using complementary color contrasts to unify the composition (Source 3).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the figures of Christopher Friedenreich Hage and his wife Arnette on the canvas. Focus on accurate likeness and posture, as portraiture aims for a recognizable record of appearance (Source 7).
Tip — Ensure the proportions are correct, as Marstrand was skilled in complex compositions (Source 6).
Academic drawing

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia. Paint the entire composition in monochrome (grisaille), establishing light, shadow, and form. Mentally extract red and yellow colors, focusing on what remains in nature without them (Source 1).
Tip — Do not rush this step; it is the foundation for the color layers. Ensure it is completely dry before glazing (Source 1).
Grisaille

first pass

step 03
Begin glazing and scumbling with oil. Apply transparent coats of red and yellow tones over the dry grisaille, similar to tinting an engraving with watercolors (Source 1). Use glazing for transparent depth and scumbling for semi-opaque texture.
Tip — Glazing adds depth; scumbling over darker grounds can create a grey bloom or coldness, which may be desirable for certain textures (Source 1).
Glazing and Scumbling

refining

step 04
Apply complementary color contrasts to enhance vibrancy. For example, if the merchant wears orange tones, place blue tones nearby to make the orange appear more intense (Source 3). Use simultaneous contrast to adjust the perceived tone of adjacent colors (Source 2).
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast; take breaks to reset your vision (Source 2).
Simultaneous Contrast

finishing

step 05
Refine details and adjust tones. If a color is too pronounced, soften it by surrounding it with objects of the same color but more intense, or use complementary backgrounds to normalize the aspect (Source 3).
Tip — Exaggerate color phenomena to imitate nature’s luminous intensities, as our palette is limited (Source 3).
Color Harmonization

varnishing

step 06
Once the painting is fully dry, apply a final varnish. If using the Reynolds method, mix varnish with oil for the final glazes to gain sufficient mastery (Source 1).
Tip — Ensure the painting is completely dry to avoid cracking or yellowing.
Varnishing

critical techniques

Grisaille Underpainting

Using black, ultramarine, and white to establish form before adding color. This method allows for precise control of light and shadow, separating value from hue (Source 1).

Glazing and Scumbling

Applying transparent (glazing) and semi-opaque (scumbling) layers of color over the dry underpainting. This builds depth and richness, a technique used by old masters and referenced by Reynolds (Source 1).

Simultaneous Contrast

Using complementary colors next to each other to enhance their brilliance. For instance, placing blue next to orange makes both appear more vibrant (Source 3, Source 5).

common pitfalls

→Applying color before the grisaille is completely dry, which can muddy the underpainting and ruin the glazing effect (Source 1).
→Ignoring simultaneous contrast, leading to colors that appear dull or inaccurate because they are not adjusted for their neighbors (Source 2).
→Overworking the paint, losing the freshness of the glazes. Marstrand’s academic training suggests a disciplined approach, but modern painters often struggle with the patience required for layered glazing (Source 1).
→Failing to account for mixed contrast, where the eye’s tendency to see complementary colors after staring at one hue can distort color perception (Source 2).

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 visual details of the painting (clothing, background, expressions) are not described in the sources, so the recreation must rely on general portrait conventions and Marstrand’s style.
·The exact dimensions of the canvas are not provided, which affects the scale of the brushwork and detail.
·Marstrand’s specific pigment choices for this 1852 work are not detailed; the guide assumes a standard academic palette of the period.
·The specific narrative or symbolic elements of the title 'May I borrow the two brown horses?' are not explained in the sources, leaving the contextual meaning open to interpretation.

grounded in

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

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting, glazing, and scumbling techniques
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color interaction and perception adjustments
The Science of Painting↗
- Complementary Colors — applied to Enhancing color brilliance through juxtaposition

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — Wilhelm Marstrand↗
- Early development and academy training — applied to Artist’s background, style, and compositional habits
Wikipedia: Portrait painting↗
- Portrait painting — applied to Genre conventions and purpose of portraiture
Wikipedia: Complementary colors↗
- Complementary colors — applied to Historical context of color theory in art