plate no. 8383

Ottilia and Christy Marstrand, the Artist’s daughters

oil, canvasRomanticismportraitchildrenportraitfigureslandscapetreesdoll

what to study here

It shows clearly how a tight, luminous face against a loose, nearly black background can carry a whole composition with very little value range.

The useful lesson here is how the painter controls attention with value. The vision analysis describes two young children, a boy in a slate-blue tunic and a girl in a white chemise, standing in a woodland clearing against dense foliage that runs from deep green and brown to near black. Squint and the figures read as one light mass on a dark surround. The brightest lights sit on the faces and the girl's chemise, and there is little value drama inside the clothing, so the separation happens at the figure/background boundary. Study the change in handling too. The faces are softly modeled, with firm but never harsh edges, and anatomy comes from small value shifts rather than line. The clothing is broader and directional, and the blue tunic keeps its brushmarks restrained. The foliage is looser, with dark atmospheric washes, gestural marks for leaves and branches, and edges soft or lost in neighboring darks. Notice the light from the upper left and the earth patch at the bottom that anchors the figures. Copy the contrast between precise faces and loose background, and keep the background dark and recessive.

key decision

The painter kept the background foliage nearly uniformly dark, loose and soft-edged, while confining the brightest lights to the faces and white chemise. This pushes the figures forward and focuses attention on the faces.

From the record

Institution: Nationalmuseum
Location: Nationalmuseum
Inception: 1865
Materials: oil paint, canvas

Wikidata item Q106368232

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

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

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Two young children—a boy in slate-blue tunic and a girl in white chemise—stand in a woodland clearing, facing forward with calm, gentle gazes. A soft light from the upper left illuminates their faces and pale skin against a dramatically dark, recessive background of dense foliage rendered in deep greens, browns, and almost-black shadows. The girl holds a small doll in reddish-brown dressing. A patch of earthen ground anchors them at the canvas bottom, while the atmospheric background creates strong spatial depth and pulls focus entirely to the children's faces.

value structure

The painting employs a restrained value range dominated by mid- and dark tones; the brightest lights are confined to the children's faces and the white/cream fabric of the girl's chemise. The background foliage is nearly uniformly dark, creating a recessive halo that throws the figures forward. Squint and you see the children as a light-valued mass against a dark surround, with minimal value drama within the clothing itself—the real value separation happens at the boundary between figures and background.

observed palette and mixes

#bfb9ab
titanium white + raw sienna + touch of ultramarine
skin tones, highlights on chemise, neck collar
#675f4c
burnt umber + ultramarine + white
mid-tone foliage, fabric shadows, subtle modeling
#464029
burnt umber + viridian + ultramarine
tree masses, deep foliage mid-tones
#35301e
burnt umber + ultramarine + alizarin + touch black
deepest background shadows, hair definition
#1f1c13
burnt umber + ultramarine + alizarin (dark earth pigment mix)
darkest foliage recesses, edges of composition
#2f2317
raw umber + burnt sienna
ground plane, boot shadows

edges and brushwork

The children's faces are painted with soft, controlled modeling—edges are firm but never harsh, skin surfaces suggest anatomy through subtle value shifts rather than line. Clothing is rendered with broader, directional strokes that suggest fabric fold without describing every wrinkle; the blue tunic shows restraint in brushmark visibility. The background foliage is distinctly looser—dark, atmospheric washes punctuated by gestural marks implying leaf shapes and branch tangles, with edges intentionally soft or lost against neighboring dark values. This contrast between precise face-work and loose background is essential to the painting's atmospheric effect.

a working sequence

01
Establish composition and background value
Lightly sketch the two children's proportions and positions—boy on left, girl on right, both roughly the same height with heads at similar height. Block in the entire background with a dark, atmospheric mid-brown wash (burnt umber + ultramarine + touch alizarin). Keep this wash loose and directional; this is your unifying dark ground. Let it suggest tree forms with slight value variations but do not detail foliage yet.
02
Model the ground plane
Block in the earth at the children's feet with a warmer, slightly lighter brown (raw umber + burnt sienna), keeping edges soft where it meets the background foliage. This grounds the figures and provides a neutral platform. Keep it broad; you're establishing spatial separation between figures and receding space.
03
Establish skin tones and face shapes
Begin with pale, cool-leaning skin tone (titanium white + raw sienna + touch ultramarine). Block in both faces with this base, keeping forms simple and accurate in proportion. Pay attention to the subtle cool shadows under chins and along the left edges (shadow side). The faces should feel luminous against the dark background—this is your key light relationship. Do not add features yet.
04
Paint the clothing and value block-in
Block in the boy's slate-blue tunic (ultramarine blue + touch burnt umber + white—muted, not vivid). Paint the girl's white chemise with warm white (titanium white + touch raw sienna). Block both children's dark reddish-brown skirts with alizarin + burnt umber + ultramarine. At this stage, treat clothing as simple geometric shapes; you're establishing the value pattern and color structure. The skirts are substantially darker than the upper garments.
05
Refine faces and add subtle modeling
Develop the children's faces with careful attention to anatomy. Soften transitions in skin tones where cheeks warm subtly. Add the brown-red hair using burnt sienna + ultramarine, modeling form with gentle shadow work. Paint eyes as a quick, accurate statement—they are the focal point and should feel direct and present, but not overdone. Add warm pink-red accents to lips and the inner cheeks, very subtle. The faces should feel alive but soft, with no harsh edges.
06
Suggest clothing folds and refine garment edges
Use the same blue and white you've established but darken selected areas to suggest fabric folds—especially in the boy's tunic where it drapes at the arm. The girl's white chemise needs subtle grey shadows (white + touch ultramarine + raw sienna) to indicate form without flattening it. Paint the white socks on the boy and the dark shoes on both children. Keep edges soft where clothing transitions into the dark background.
07
Paint the doll and final accessory details
The doll in the girl's arms should be a reddish-brown (alizarin + burnt umber) with a simple form. Block this clearly—it's a distinct dark-red accent against the white chemise. Add red ribbon or tie details if visible. Keep the doll form simple and subordinate to the girls' faces, but make it clearly readable as a small doll.
08
Enliven background foliage and final atmospheric adjustments
Return to the background and add subtle variation—break up flat areas with cooler greens (viridian + white + raw sienna) and warmer browns (burnt sienna) suggesting different tree masses. Use loose horizontal strokes in the upper background and more vertical strokes on the sides to suggest tree trunks and branches. Do not overwork; the goal is atmospheric depth, not botanical detail. Soften all background edges that meet the children. Make final checks on skin tone luminosity and ensure faces read clearly against foliage.

where studies of this painting go wrong

Painting the background too green or too bright—it must remain dark and recessive, a warm-dark brown-green, or the children lose their luminous quality and atmospheric depth collapses.
Overmodeling the white chemise with too much grey or shadow—it should feel almost luminous against the blue tunic and dark background, with only subtle shadow work where necessary.
Making the faces too polished or doll-like—these children need gentle character; the cheeks should have warmth, the expression should feel alive, not painted-on.
Rendering foliage as detailed leaf work instead of loose, atmospheric suggestion—this is a romantic landscape effect, not botanical study; loose gestural marks are essential.
Overcorrecting the blue tunic toward pure ultramarine—it must be muted with earth tones and appear cooler than warm, but not vibrant or jarring against the soft palette.
Failing to maintain atmospheric perspective—the background should feel distant and slightly hazy, not crisp; resist the urge to clarify edges or add detail back there.

measured difficulty