plate no. 4869

Othilia, Julie, and Christy Marstrand (left to right), the Artist's Daughters

oilRomanticismportraitportraitfigureschildrenclothinghairfaces

recreation guide

Wilhelm Marstrand’s 1871 portrait of his daughters, Othilia, Julie, and Christy, represents a mature work from the Golden Age of Danish Painting. As a student of Christoffer Wilhelm Eckersberg, Marstrand was trained in rigorous academic traditions that valued both genre scenes and history painting, though he retained a lifelong inclination toward depicting daily life and family subjects (Source 2). This portrait likely reflects the Romantic style’s emphasis on emotional expression and individual character, grounded in the artist’s documented skill in handling group compositions and complex figures (Source 2). The work serves as a testament to Marstrand’s ability to balance academic precision with the intimate, narrative quality characteristic of his genre paintings.

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (traditional palette)	Primary medium for the portrait	High-quality artist-grade oils
Linseed oil or oil of copavia	Medium for glazing and binding pigments, consistent with 19th-century practice	Stand oil or refined linseed oil
Canvas or panel	Support for the painting	Linen canvas primed with gesso
Charcoal or graphite	Underdrawing and compositional sketching	Vine charcoal or graphite sticks
Varnish	Final protective layer and tonal adjustment	Dammar or synthetic resin varnish

preparation

surface prep

The surface should be prepared with a traditional ground suitable for oil painting, likely a white or light-toned gesso to allow for the full range of tonal values. Marstrand’s academic training under Eckersberg would have emphasized a solid, well-prepared surface to support detailed work (Source 2). The ground should be smooth enough to allow for fine brushwork but textured enough to hold the paint.

underdrawing

Begin with a careful underdrawing using charcoal or graphite to establish the composition and proportions of the three figures. Marstrand’s training emphasized the importance of drawing as the foundation of painting, and his ability to handle complex group scenes suggests a meticulous approach to initial layout (Source 2). Ensure the positions of the figures are accurate and the relationships between them are clear.

underpainting

Apply a monochrome underpainting (grisaille) to establish the tonal values and forms of the figures. This technique, common in academic training, allows the artist to focus on light and shadow before introducing color (Source 4). Use a limited palette of black, white, and possibly ultramarine to create a range of grays. This step is crucial for achieving the correct chiaroscuro effects and ensuring that the final colors are applied with confidence.

color palette

Flesh tones

Lead white, vermilion, yellow ochre, and raw umber

General use in this artist's palette for skin tones

Dark values

Ivory black, burnt umber, and ultramarine

Shadows and dark clothing

Light values

Lead white and titanium white

Highlights and light areas

Accent colors

Vermilion, yellow ochre, and ultramarine

Clothing details and background elements

composition

Marstrand’s composition likely emphasizes the rhythmic arrangement of the three figures, using lines and forms to guide the viewer’s eye through the painting. His training in handling group scenes suggests a careful balance of vertical and horizontal elements to create a harmonious whole (Source 2). The positioning of the daughters may reflect a deliberate arrangement to highlight their individual personalities while maintaining a cohesive group dynamic.

step by step

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

underdrawing

step 01
Sketch the basic forms and positions of the three figures using charcoal. Focus on accurate proportions and the relationships between the figures.
Tip — Ensure the composition is balanced and the figures are well-proportioned.
Academic drawing

underpainting

step 02
Apply a grisaille underpainting to establish the tonal values. Use a limited palette of black, white, and ultramarine to create a range of grays.
Tip — Focus on the light and shadow to define the forms of the figures.
Grisaille

first pass

step 03
Begin applying color in broad strokes, focusing on the main areas of light and shadow. Use a limited palette to maintain harmony.
Tip — Avoid overworking the paint at this stage; keep the brushstrokes loose.
Block-in

refining

step 04
Refine the details of the faces and hands, paying close attention to the subtle variations in tone and color. Use glazing techniques to build up the flesh tones.
Tip — Be patient and build up the layers gradually to achieve the desired depth.
Glazing

finishing

step 05
Add final details and adjustments to the clothing and background. Use scumbling to soften edges and create a sense of atmosphere.
Tip — Step back frequently to assess the overall effect and make adjustments as needed.
Scumbling

varnishing

step 06
Apply a final varnish to protect the painting and enhance the colors. Use a traditional varnish such as dammar.
Tip — Ensure the painting is completely dry before applying the varnish.
Varnishing

critical techniques

Grisaille underpainting

Used to establish tonal values and forms before applying color, a common practice in academic training.

Glazing

Applied to build up flesh tones and create depth, allowing for subtle variations in color and light.

Scumbling

Used to soften edges and create a sense of atmosphere, particularly in the background and clothing.

common pitfalls

→Overworking the paint, which can lead to a muddy appearance and loss of detail.
→Ignoring the importance of the underpainting, which can result in weak tonal values and a lack of depth.
→Using too many colors in the initial stages, which can disrupt the harmony of the painting.

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 details about the clothing and background elements in the painting are not provided in the sources.
·The exact pigments used by Marstrand for this particular painting are not documented.
·The specific compositional choices made by Marstrand for this portrait are not detailed in the sources.

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 Techniques for grisaille underpainting, glazing, and scumbling
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of understanding materials and medium

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 Context for Marstrand’s academic training and compositional skills

Read more about the corpus on the sources page and how the guides are built on the methods page.

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