plate no. 8383

Ottilia and Christy Marstrand, the Artist’s daughters

oil, canvasRomanticismportraitchildrenportraitfigureslandscapetreesdoll

recreation guide

Wilhelm Marstrand’s 'Ottilia and Christy Marstrand, the Artist’s daughters' (1865) is a portrait rooted in the Golden Age of Danish Painting, a period in which Marstrand was a renowned figure (Source 7). While the specific visual details of the daughters' poses or attire are not described in the provided sources, the work belongs to the genre of portrait painting, which often involves depicting individuals or families in various settings (Source 4). The recreation should focus on the medium of oil on canvas, leveraging the flexibility and rich color density that oil paints offer (Source 3). Marstrand’s practice, influenced by his training under Eckersberg, involved a strong foundation in academic techniques, though he maintained an inclination toward depicting daily life and character (Source 7).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (various pigments)	Primary medium for creating rich, dense color and allowing for layering	—
Linseed oil or poppy seed oil	Binder for pigments; linseed for general use, poppy for lighter tones to avoid yellowing	—
Turpentine	Thinner for initial layers and cleaning brushes	—
Canvas	Support surface, consistent with 19th-century European practice	—
Charcoal or graphite	Underdrawing to establish composition before painting	—
Resin (pine or frankincense)	Optional: boiled with oil to create varnish for protection and texture	—

preparation

surface prep

Prepare a canvas support, which was the common technique for artistic painting in this period (Source 3). Ensure the ground is suitable for oil application, allowing for the 'greater flexibility' and 'use of layers' characteristic of the medium (Source 3).

underdrawing

Marstrand studied at the Royal Danish Academy under Eckersberg, suggesting a rigorous academic approach to draftsmanship (Source 7). While specific preparatory methods for this painting are not detailed, a sound craftsman would likely begin with a clear underdrawing to manage the 'complicated composition' often found in his work (Source 7). Use charcoal or a thin wash to establish the figures' placement.

underpainting

Apply a thin underpainting (imprimatura) to establish tonal values. Oil painting allows for a 'wider range from light to dark' (Source 3). This layer helps in judging the harmony of colors later. If the complexion requires specific tonal balance, consider the 'predominating colour in the complexion' early on (Source 1).

color palette

Complexion tones (flesh)

Varying mixtures of red, white, and potentially brown/bronze notes depending on lighting

Faces and hands. Note: Avoid the error of assuming complexions are only red and white; consider 'brown, bronzed, or even copper complexions' if appropriate to the subject's lighting and heritage, though Danish subjects likely lean toward temperate tones (Source 1).

Complementary contrasts

Pairs such as red-green, blue-orange, or yellow-purple

Creating harmony and distinctness in dress and background. Use 'light tones of their respective scales' if intensity is feared (Source 1).

Grey-modified tones

Colors mixed with grey

Breaking tones to avoid monotony and ensuring parts are 'as distinct as possible' without crudity (Source 1).

Background and Dress

Colors chosen to contrast with the complexion

Accessories that 'give value' to the predominant complexion color (Source 1).

composition

The painting is a portrait of two individuals, likely seated or standing in a domestic or studio setting, consistent with Marstrand's interest in 'genre themes' and 'daily life' (Source 7). While the exact layout is not described, portrait painters must consider the 'predominating colour in the complexion' and choose dress/background colors to enhance it (Source 1). The composition should avoid monotony by using contrast principles (Source 1).

step by step

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

underdrawing

step 01
Sketch the figures of Ottilia and Christy Marstrand on the canvas using charcoal or a thin oil wash. Establish the basic proportions and placement.
Tip — Ensure the composition allows for the 'distinctness' of parts as per contrast principles (Source 1).
Academic underdrawing

underpainting

step 02
Apply a thin layer of paint to establish the major light and dark values. Use thinned oil paint with turpentine.
Tip — Oil paint offers 'greater flexibility' and 'richer and denser color' when layered (Source 3).
Imprimatura

first pass

step 03
Block in the colors of the dress and background. Choose colors that contrast with the complexion to enhance its value (Source 1). Use complementary colors if needed for harmony (Source 2).
Tip — Avoid 'crudity or too great intensity' by using light tones or mixing with grey (Source 1).
Color blocking

refining

step 04
Paint the complexions. Identify the 'predominating colour' in the skin tone and reproduce it faithfully (Source 1). Use broken tones or grey-mixed colors to avoid monotony and ensure distinctness (Source 1).
Tip — Do not assume complexions are only red and white; observe the specific tones (Source 1).
Glazing and scumbling

finishing

step 05
Refine details and adjust contrasts. Ensure that the dress and background colors have been 'well chosen' to support the portrait's effect (Source 1).
Tip — Check for 'harmony of contrast' between remote planes (Source 1).
Detailing

varnishing

step 06
Once dry, apply a varnish made from oil boiled with resin (e.g., pine resin) for protection and texture, if desired (Source 3).
Tip — This provides 'protection and texture' (Source 3).
Varnishing

critical techniques

Harmony of Contrast

Mixing colors with grey or using complementary light tones to avoid monotony and ensure distinctness in portrait painting (Source 1).

Complexion Analysis

Identifying the predominant color in the skin tone and selecting dress/background colors to enhance it, avoiding the stereotype of only red and white (Source 1).

Layering

Utilizing the oil medium's capacity for layers to achieve rich, dense color and flexibility (Source 3).

common pitfalls

→Assuming female complexions are only red and white, ignoring potential brown, bronzed, or copper tones (Source 1).
→Using crude or overly intense colors without breaking them with grey or light tones, leading to a lack of harmony (Source 1).
→Choosing dress or background colors that do not complement the complexion, resulting in a 'poor effect' (Source 1).
→Over-modeling or being too tied to the outline, which can make the painting appear small or timid (Source 6).
→Attempting to deceive the eye into thinking it is looking at real nature rather than expressing feeling through painted symbols (Source 8).

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 (e.g., exact clothing patterns, jewelry, facial expressions, room layout) are not described in the sources.
·Marstrand's specific palette preferences for this particular painting are not detailed; general 19th-century oil painting practices are inferred.
·The exact underdrawing technique used by Marstrand for this work is not specified, though his academic training suggests a structured approach.

grounded in

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

Laws of Contrast of Colour↗
- 328-331 — applied to Color harmony, complexion painting, and contrast principles
The Practice of Oil Painting↗
- ON COPYING — applied to Advice on avoiding over-modeling and smallness
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium and avoiding mere deception

cross-referenced from

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

Wikipedia: Complementary colors↗
- part 1 — applied to Understanding complementary color pairs for contrast
Wikipedia: Oil painting↗
- part 1 — applied to Medium properties, layering, and varnishing
Wikipedia: Portrait painting↗
- part 3 — applied to Genre context and subject matter
Wikipedia bio — Wilhelm Marstrand↗
- part 1 — applied to Artist's background, training, and stylistic inclinations