plate no. 7718

Portrait of Two Children

oil, canvasImpressionismportraitportraitchildrenfiguresclothinghair

what to study here

It shows how a tight value plan and a clear edge hierarchy let loose brushwork still read as two close, clearly modeled faces.

Study how Morisot holds two figures together with a handful of warm, close values. The two heads sit almost touching and read as one cream-and-pale light mass against a darker, warmer ground. Squint and the separation is immediate. The single deep accent is the navy-black lower garment on the left child, and it anchors everything else. Look at the edges. Faces are modeled softly and atmospherically, not sculpturally, while the background is loose and gestural, with strokes that move independently of the figures' contours. Hair is built from directional strokes that suggest form without describing individual curls; the blonde hair shows golden strokes over a pale underlayer. Clothing gets slightly firmer edges than the background but stays soft, and the blue garment's strokes follow the fabric. The palette is restrained: warm tans, earth browns, muted gray-browns, with no saturated color. Copy the value structure first, then the edge hierarchy: soft faces, firmer clothing, loose ground.

key decision

Morisot keeps the two children as one pale light mass against a darker warm ground, with a single deep navy-black accent in the left child's garment. Edges are softest on the faces and loosest in the background.

recreation guide

This recreation guide focuses on Berthe Morisot’s *Portrait of Two Children* (1893), an oil on canvas work executed in the Impressionist style. Morisot’s practice during this period was characterized by a rapid, confident application of paint, often relying on extensive preparatory sketching to allow for decisive, single-brushstroke execution of facial features (Source 3). Unlike earlier phases where she struggled with oil, her mature work demonstrates a mastery of the medium’s flexibility and layering capabilities, utilizing the richer color density and textural possibilities that oil offers over watercolor (Source 2, Source 4). The portrait genre here serves as a record of specific subjects, likely drawn from her immediate family circle, reflecting the intimate nature of her later works.

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 the final painting	—
Linseed oil or poppy seed oil	Binder for pigments; provides flexibility and drying time control	Cold-pressed linseed oil or safflower oil for whites
Turpentine	Thinner for initial layers and brush cleaning	Odorless mineral spirits or turpentine substitute
Canvas	Support for the oil painting	Linen or cotton canvas, primed
Charcoal or colored pencils	Preparatory sketching and studies	Vine charcoal or graphite
Brushes (various sizes)	Application of paint, from broad masses to fine details	Hog bristle for impasto, sable for glazing/details

preparation

surface prep

Prepare a standard oil-primed canvas. Morisot worked on canvas and wood panels; for a 1893 oil painting, a traditional oil ground or acrylic gesso is appropriate to ensure the paint adheres properly and allows for the layering techniques described in oil painting traditions (Source 2).

underdrawing

Morisot did much sketching as preparation, making countless studies of her subjects drawn from life to become familiar with them (Source 3). She actively experimented with charcoals and colored pencils in her later years (Source 3). Begin with a loose but accurate charcoal sketch on the canvas, focusing on the emotional significance and form rather than rigid scientific accuracy, as artistic accuracy conveys the sensation produced by the subject (Source 7).

underpainting

While specific underpainting methods for this exact work are not detailed, Morisot’s transition from watercolor to oil involved mastering the medium’s capacities (Source 1). A thin, transparent initial layer (imprimatura) using thinned oil paint can help establish tonal values. This aligns with the general oil painting practice of using layers to build depth (Source 2).

color palette

White

White lead or Titanium White

Highlights and lightening colors; Morisot used white to adjust brightness, though care must be taken to avoid hue shifts (Source 6)

Earth tones (Ochres, Umbers)

Yellow Ochre, Raw Umber

General use in this artist's palette; earths provide fixed, covering tones that dry easily (Source 5)

Reds and Yellows

Vermilion, Cadmium Yellow, or historical equivalents like Cinnabar and Orpiment

Flesh tones and clothing; note that darkening these with black can shift hue toward green/blue, so use complements instead (Source 6)

Blues

Ultramarine or Cobalt Blue

Shadows and clothing; Morisot’s restrained color choice in earlier watercolors suggests a balanced, non-jarring palette (Source 4)

composition

Morisot’s portraits often served as family records, capturing specific likenesses (Source 8). Her composition likely emphasizes the subjects' presence through direct engagement, consistent with her practice of painting from life to capture fleeting sensory perceptions (Source 3). Avoid over-modeling; her style favored broad masses and decisive strokes rather than timid adherence to outline (Source 1).

step by step

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

underdrawing

step 01
Sketch the figures using charcoal or colored pencil, focusing on the overall form and emotional significance rather than minute details.
Tip — Ensure the sketch is accurate enough to guide the paint but loose enough to allow for expressive brushwork.
Preparatory Sketching

underpainting

step 02
Apply a thin layer of thinned oil paint to establish basic tones and values. Use earth tones for shadows and lighter mixes for highlights.
Tip — Keep this layer transparent to allow subsequent layers to build richness.
Imprimatura

first pass

step 03
Block in the main masses of color, working from general to specific. Use broad brushstrokes to define the forms of the children and their clothing.
Tip — Avoid getting tied down to the outline; depart from it if necessary to capture the essence of the subject (Source 1).
Broad Masses

refining

step 04
Refine the facial features, aiming to paint a mouth, eyes, and nose with single, confident brushstrokes if possible.
Tip — Morisot painted quickly after extensive preparation; trust your initial studies to guide these decisive marks (Source 3).
Single Brushstroke Execution

finishing

step 05
Adjust colors and values, using complementary colors to darken shades without shifting hue undesirably.
Tip — If darkening reds or yellows, add their complement rather than black to avoid greenish or bluish shifts (Source 6).
Color Mixing

varnishing

step 06
Once the painting is fully dry, apply a varnish to protect the surface and enhance the sheen.
Tip — Use a resin-based varnish, such as one made with pine resin or frankincense, to provide protection and texture (Source 2).
Varnishing

critical techniques

Rapid Execution

Morisot painted very quickly, relying on preparatory sketches to enable decisive, single-brushstroke application of paint, particularly for facial features.

Layering

Oil painting allows for the use of layers, which Morisot utilized to build richness and depth in her work, moving beyond the translucent effects of her earlier watercolors.

Color Mixing with Complements

To darken colors without shifting hue, use complementary colors rather than black, a technique relevant to maintaining the integrity of Morisot’s restrained palette.

common pitfalls

→Over-modeling: Morisot’s style avoided being too tied down to outlines or over-modeling forms; aim for broad masses and decisive strokes (Source 1).
→Hue Shifts: Adding black to reds or yellows can cause undesirable hue shifts toward green or blue; use complementary colors for darkening instead (Source 6).
→Smallness: Avoid a tendency to smallness in brushwork; Morisot’s confidence allowed for larger, more expressive strokes (Source 1).

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 pigments used in *Portrait of Two Children* are not detailed in the sources; modern equivalents are suggested based on general Impressionist practice.
·The exact composition and visual details of the children’s clothing and expressions are not described in the sources, so the guide focuses on general technique rather than specific visual replication.
·Morisot’s specific varnishing routine for this 1893 work is not documented; general oil painting varnishing practices are applied.

grounded in

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

The Practice of Oil Painting↗
- ON COPYING — applied to Advice on avoiding over-modeling and smallness, and using broad masses.
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earth tones and historical pigment context.
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Concept of artistic accuracy and emotional significance in drawing.

cross-referenced from

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

Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Materials, layering, and varnishing techniques.
Wikipedia bio — Berthe Morisot↗
- Impressionism, 1875–1885 — applied to Morisot’s rapid execution, preparatory sketching, and single-brushstroke technique.
- Turning, 1885–1887 — applied to Use of charcoal and colored pencils for preparatory work.
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Color mixing techniques, specifically using complements to avoid hue shifts.
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Context of portrait painting as a record of specific subjects.

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 girls sit shoulder-close, their heads nearly touching. The older child (left) has reddish-brown hair and wears a pale blue garment with a dark navy lower body; the younger (right) has golden-blonde hair and pale cream dress with green-tinted edges. Soft diffused light falls from the left-front, creating gentle modeling on their faces while the loosely painted background recedes in warm browns, muted greens, and gray-browns. The eye moves first to the left child's face, then to the right child's gaze; their intimate positioning creates immediate emotional connection.

value structure

The darkest values anchor the composition: deep navy-black in the left child's lower garment and scattered through the background. The lightest lights are the pale faces and cream clothing of the right child. The middle ground consists of warm tans and earth tones that unify both figures and background. Squinting reveals the children as a cohesive light mass—cream and pale tones—set against the darker, warmer surround; this value separation reads instantly.

observed palette and mixes

#f1e1b0
Lead white + touch of raw sienna + cadmium yellow light
Pale faces, highlights on blonde hair, cream dress fabric
#e6d19e
Lead white + yellow ochre + raw sienna
Mid-tone skin, shadow side of faces, warm underpainting visible throughout
#ceaa74
Yellow ochre + raw sienna + alizarin
Golden-blonde hair (right child), warm mid-tones in clothing and background
#9d6e44
Raw sienna + alizarin + ultramarine blue (small amount)
Mid-warm background, reddish-brown hair (left child), fabric shadows
#635c4f
Ultramarine blue + raw sienna + lead white
Muted gray-brown background areas, softening darks
#422e2c
Ultramarine blue + alizarin + raw sienna (heavy)
Dark navy-black garment (left child), deepest background shadows

edges and brushwork

Morisot uses soft, blended edges on the faces—the modeling is atmospheric rather than sculptural. Hair is rendered with loose, directional strokes that suggest form without describing every curl; the blonde hair (right) shows golden strokes over pale underpainting. The background is decidedly loose and gestural, with visible brushstrokes moving independently of the figures' edges. Clothing receives more edge definition than the background but remains softly handled; the blue garment shows directional brushwork that follows fabric movement rather than anatomical precision.

a working sequence

01
Underpainting and Value Block-In
Using thinned ochre and sienna, establish the composition at small scale. Block the light shape (two heads and upper bodies) as one cohesive light mass against the darker background. Indicate the darkest accent—the navy garment—so you know where your deepest value goes. Keep shapes broad; this is architecture, not detail.
02
Background Foundation
Loosely fill the background with warm browns (#9d6e44), muted grays (#635c4f), and hint of green-gray. Don't worry about precision—let brushstrokes remain visible and gestural. The background should feel atmospheric and unfinished; it exists to support the children, not compete with them.
03
Establish the Two Figures
Paint the pale cream-yellow local color over both children's upper bodies and faces. For the left child's garment, apply the light blue (#e6d19e mixed toward blue) over the shoulders and upper chest. Brush loosely; you're establishing position and basic color, not modeling yet. The right child's cream dress can receive touches of pale green at the edges.
04
Model the Faces
Using soft, warm mid-tones (#e6d19e, #ceaa74), gently model the form of each face. Leave the lightest lights—pale foreheads, cheekbones, chin tips—untouched from the underpainting. Work shadows under the chin, along the jaw, in the eye sockets with restrained warmth, not harshness. Blend softly; the children should appear luminous, not sculptural. Pay attention to how the left child's head tilts and the right child looks down—gesture matters.
05
Paint the Hair
For the left child's reddish-brown hair, apply warm ochre-reds (#9d6e44 mixed toward iron oxide red) with loose, flowing strokes that follow the direction of growth. For the blonde child, layer pale yellows and golden tones (#ceaa74, #e6d19e) in the same directional manner. Don't outline or separate each lock; let overlapping strokes suggest volume and flow. Leave some underpainting showing through for luminosity.
06
Define the Clothing
Deepen the blue garment (left child) with a muted ultramarine-gray, keeping edges soft. Add the dark navy-black (#422e2c) in the lower body of the left child—this is your strongest value contrast, so use it sparingly but decisively. For the cream dress (right child), add subtle shadows and greenish-tinted edges to define volume without flattening the figure. Brushwork should follow fabric, not anatomy.
07
Refine Faces and Features
Gently place eyes and mouth with minimal marks—a small dark line for each iris, a soft ochre-warm line for the mouth. Don't overstate; suggestion is more powerful than detail here. Refine the value transitions on the cheeks and foreheads, ensuring the light reading remains soft and diffused. Check proportions: older child's head slightly larger, younger child's face rounder.
08
Final Harmonization
Step back and squint. The children should read as a light mass; the background should recede; the dark blue and black accents should anchor without overwhelming. Add final touches of warmth or coolness to unify the palette. A subtle glaze of thinned ochre or sienna over cool areas can warm the whole; a touch of ultramarine-gray in the background can add atmospheric depth. Stop when the softness and intimacy feel captured, not when every detail is defined.

where studies of this painting go wrong

Overworking the faces into sculptural hardness—Morisot's beauty lies in soft, painterly modeling; resist the urge to sharpen edges or blend to a porcelain finish.
Making the background too detailed or contrived—it should remain loose, atmospheric, and subordinate; visible brushstrokes and soft edges are features, not flaws.
Losing the value separation early—if background and figures merge in value, you've lost the composition; ensure children read as light against darker ground from the start.
Rendering hair too literally with individual strokes instead of suggesting volume through directional color layers—hair should flow as a unified form, not a collection of locks.
Using pure, bright colors instead of the warm, muted, slightly grayed palette Morisot favors—her harmony comes from restraint and warmth, not saturation.

measured difficulty