plate no. 7718

Portrait of Two Children

oil, canvasImpressionismportraitportraitchildrenfiguresclothinghair

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.