plate no. 8385

Mother and Daughter

oil, canvasExpressionismgenre paintingfigureslandscapemoontreesclothingbuilding

recreation guide

Edvard Munch’s 'Mother and Daughter' (1897) is a genre painting that reflects the artist’s transition toward Expressionism, characterized by the depiction of everyday life infused with psychological depth. Consistent with Munch’s practice influenced by the Kristiania Bohème and figures like Hans Jæger, the work likely aims to paint the 'emotional and psychological state' rather than a strict realist depiction (Source 5). As a genre painting, it portrays ordinary people in common activities, potentially using familiar subjects to evoke sentiment or moral themes, a tradition dominant in Dutch and Flemish art but adapted here by Munch’s modern sensibilities (Source 2, Source 4). The artwork’s distinctive quality lies in its use of color to convey atmosphere and inner feeling, a technique Munch refined after studying Paul Gauguin and Vincent van Gogh in Paris (Source 5).

estimated time

20-30 hours over 5-7 sessions, allowing for drying times between glaze layers

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, Black, White, Red, Yellow)	Primary pigments for grisaille underpainting and subsequent glazing	—
Oil of Copavia (or modern stand oil/linseed oil)	Medium for the first and second paintings to ensure transparency and flow	Stand oil or refined linseed oil
Varnish	Mixed with oil for later glazing stages to increase transparency and depth	Dammar varnish or modern painting medium
Canvas	Support for the oil painting	Linen or cotton canvas, primed
Brushes (various sizes)	For applying grisaille, glazing, and scumbling	—

preparation

surface prep

Prepare a standard oil-primed canvas. Munch’s practice does not specify unique ground preparations in the provided sources, but the technique described relies on a dry underlayer for glazing. Ensure the surface is smooth enough to allow for transparent glazes to reveal the underlying monochrome structure (Source 1).

underdrawing

Munch’s specific underdrawing methods for this work are not detailed in the sources. However, as a 'sound craftsman' who values the 'alphabet of our art,' a precise initial drawing is implied to establish the composition before applying the monochrome underpainting (Source 3). Use charcoal or thinned oil to sketch the figures, focusing on the broad masses rather than fine details, as the final effect relies on color layers.

underpainting

Create a grisaille (monochrome) underpainting using black, ultramarine, and white mixed with oil of copavia. This step involves mentally extracting red and yellow colors to establish the tonal structure of the painting. The grisaille should be allowed to dry completely before proceeding. This method is supported by Sir Joshua Reynolds’ technique cited in the sources, which Munch’s era would have recognized as a foundational practice for old masters (Source 1).

color palette

Ultramarine

Pure ultramarine pigment

Grisaille underpainting to establish cool tones and shadows

Black

Ivory black or lamp black

Grisaille underpainting for deep shadows and contrast

White

Titanium or lead white

Grisaille underpainting for highlights and mid-tones

Red

Vermilion or cadmium red

Glazing and scumbling to add warmth and flesh tones, extracted mentally from the grisaille

Yellow

Yellow ochre or cadmium yellow

Glazing and scumbling to add light and warmth, extracted mentally from the grisaille

composition

As a genre painting, the composition likely features figures engaged in common activities without specific individual identity, focusing on the 'reality effect' of everyday life (Source 2, Source 4). Munch’s approach, influenced by his 'soul painting' philosophy, would prioritize the emotional atmosphere over strict realism. The arrangement of figures should facilitate the interplay of colors, particularly the complementary contrasts that enhance the psychological impact (Source 5, Source 6).

step by step

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

underdrawing

step 01
Sketch the composition of the mother and daughter on the canvas, focusing on broad masses and avoiding overly detailed outlines.
Tip — Ensure the figures are positioned to allow for effective color contrast later.
Broad mass drawing

underpainting

step 02
Apply a grisaille underpainting using black, ultramarine, and white mixed with oil of copavia. Mentally extract red and yellow tones to establish the tonal structure.
Tip — Allow the grisaille to dry completely before proceeding to glazing.
Grisaille

first pass

step 03
Begin glazing and scumbling with oil, applying red and yellow tones as they occur in the composition. Treat this like tinting an engraving with watercolors.
Tip — Use transparent coats of color (glazing) and semi-opaque layers (scumbling) to build up depth.
Glazing and Scumbling

refining

step 04
As mastery increases, mix varnish with oil for subsequent glazing layers. This enhances the transparency and richness of the colors.
Tip — Be cautious of overworking; the underlying grisaille should still be felt through the layers.
Varnish Glazing

finishing

step 05
Adjust the color harmony by considering simultaneous contrast. Ensure that adjacent colors enhance each other’s intensity, particularly using complementary pairs if applicable.
Tip — Observe how the eye perceives colors in relation to their neighbors, adjusting tones to avoid fatigue and maintain clarity.
Simultaneous Contrast

varnishing

step 06
Apply a final varnish layer to protect the painting and unify the surface sheen.
Tip — Ensure the painting is completely dry before varnishing to prevent cracking or cloudiness.
Final Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity. This method was practiced by old masters and is essential for achieving the rich color effects in Munch’s work.

Scumbling

Using semi-opaque paint over a darker ground to create a grey bloom or coldness, allowing the underlying painting to show through. This adds texture and complexity to the surface.

Simultaneous Contrast

Understanding that adjacent colors affect each other’s perception. This principle helps in harmonizing the composition and enhancing the emotional impact of the colors.

common pitfalls

→Overworking the glazes: Applying too many layers can muddy the colors and obscure the underlying grisaille structure.
→Ignoring drying times: Glazing requires the underlayer to be completely dry; otherwise, the colors may mix unintentionally.
→Neglecting color contrast: Failing to consider simultaneous contrast can result in a flat or visually fatiguing composition.
→Over-modeling: Being too tied to outlines or details can detract from the expressive, atmospheric quality characteristic of Munch’s style.

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 'Mother and Daughter' (e.g., exact clothing patterns, facial expressions) are not described in the sources, so the recreation must rely on general genre painting conventions and Munch’s stylistic tendencies.
·Munch’s exact pigment choices for this specific work are not detailed, so the palette is inferred from general practices and the described glazing technique.
·The precise composition and layout of the figures are not provided, requiring the artist to interpret the genre painting tradition and Munch’s emotional focus.

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
- ON COPYING — applied to Approach to craftsmanship and underdrawing
Laws of Contrast of Colour↗
- 315. As to the advantages the painter will find in it when it is — applied to Color harmony and simultaneous contrast

cross-referenced from

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

Wikipedia: Genre painting↗
- Genre painting — part 1 — applied to Understanding the genre and subject matter
Wikipedia: Dutch Golden Age painting↗
- Dutch Golden Age painting — part 11 — applied to Context for genre painting conventions
Wikipedia bio — Edvard Munch↗
- Edvard Munch — part 1 — applied to Artist’s style, influences, and emotional focus