plate no. 6198

The Children of Edward

oil, canvasRomanticismhistory paintingfiguresbedinteriordoghistoricalcurtains

what to study here

It shows how restrained values, soft edges, and a dark ground can concentrate all attention on two pale faces without visible brushwork.

This painting is a lesson in holding a picture almost entirely in the dark-to-midtone range and still making two faces read. The vision analysis places the brightest values in the children's faces, necks, and white bedding, with the background falling into near-total darkness. Study how little separates the lights from the middle values: the bedding is described as warm and not pure white, and the folds in curtains and linens carry more modeling than shows at first glance, all of it muted. Squint to find it. Edges are soft throughout. Faces fade into shadow, and the carved bed frame has slightly crisper edges but is never harsh. The brushwork is nearly invisible, so the effect comes from value relationships, not visible marks. Notice also that the heavy green-gray curtains frame both sides and press the space inward, and that the small white dog in the lower left sits lower in value than the children so it does not compete. Copy the value map before you copy any color.

key decision

The painter kept the whole picture in a dark, muted range and reserved the brightest values for the children's faces and the white bedding. The background drops into near-darkness so those lights carry the focus.

From the record

Dimensions: 181 cm high × 215 cm wide
Institution: Department of Paintings of the Louvre
Location: Room 700
Inception: 1830
Materials: oil paint, canvas
Movement: Troubadour style

Edward V of England
Richard of York, 3rd Duke of York
Tower of London

Wikipedia article Wikidata item Q17190332

from the sources

The painting is an oil on canvas work by Paul Delaroche and is held in the Louvre in Paris. en.wikipedia.org
“The Children of Edward is an oil on canvas painting by French painter Paul Delaroche, created in 1830.”
The canvas was first exhibited at the Salon of 1831. en.wikipedia.org
“The canvas was first shown at the Salon of 1831.”
Delaroche researched decorations and objects of the 15th century in detail for the painting. en.wikipedia.org
“He did a detailed research on the decorations and objects of the 15th century for the current painting.”
The painting depicts the Princes in the Tower, Edward V and Richard of Shrewsbury, imprisoned in the Tower of London. en.wikipedia.org
“The painting focuses on the theme of the Princes in the Tower, namely King Edward V and Richard of Shrewsbury, imprisoned in the Tower of London at the behest of the regency council, after the death of their father Edward IV.”
The scene's tension is heightened by the alert small dog, the light under the door and a child's anxious gaze. en.wikipedia.org
“The dramatic tension of the scene is highlighted by the small dog in alert, at the left, the light that enters under the door and the anxious gaze of one of the children;”
The French state bought the painting in 1831 for 6000 francs and placed it in the Musée du Luxembourg. en.wikipedia.org
“In 1831 it was bought by the French state for 6000 francs and placed in the Musée du Luxembourg.”
The painting entered the Louvre in 1878. en.wikipedia.org
“In 1878 it entered the Louvre, in Paris.”
At the time of its showing, the painting was regarded as very moving, a 'tearjerker'. en.wikipedia.org
“At the time, it was defined as a very moving painting, a "tearjerker", similarly to another later painting by the same painter, The Execution of Lady Jane Grey (1833).”

recreation guide

The Children of Edward (1831) by Paul Delaroche is a quintessential example of 19th-century Romantic history painting, characterized by its intense dramatic tension and narrative immediacy rather than strict historical fidelity (Source 1, Source 3). The work depicts the Princes in the Tower, Edward V and Richard of Shrewsbury, huddling in fear as they sense their impending murder, a scene inspired by Shakespeare’s Richard III (Source 1). Delaroche’s approach prioritizes emotional impact and theatrical lighting over archaeological precision, a hallmark of his style where 'dramatic effect' often superseded 'historical truth' (Source 3). The painting relies on specific visual cues to build suspense: the alert posture of a small dog, the sliver of light entering under a door, and the anxious gazes of the children (Source 1).

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

7 in sequence

materials

item	purpose	modern equivalent
Oil paints (linseed or poppy seed oil binder)	Primary medium for layering and blending, allowing for the 'richer and denser color' and flexibility required for Romantic realism (Source 6).	Standard tube oil paints
Canvas	Support for the oil painting, consistent with the medium specified for this work (Source 1).	Linen or cotton canvas, primed
Turpentine	Thinner for initial layers and cleaning brushes, standard for oil painting practice (Source 6).	Odorless mineral spirits or turpentine
White pigment (Lead White or Titanium White)	For creating tints and highlights, particularly for the light entering the room and the children's skin tones (Source 8).	Titanium White
Black pigment	For deep shadows and defining the ominous atmosphere, though care must be taken to avoid hue shifts (Source 8).	Ivory Black or Mars Black
Warm earth tones (Ochres, Umbers)	For the medieval interior, clothing, and skin tones, consistent with the 'late medieval atmosphere' described (Source 1).	Yellow Ochre, Burnt Umber

preparation

surface prep

Prepare a standard oil-primed canvas. While Delaroche later used encaustic for monumental works like The Hemicycle (Source 3, Source 4), The Children of Edward is an oil on canvas work (Source 1). The surface should be smooth enough to allow for the detailed rendering of textures like the 'goldsmith's work' and 'decoration of the bed' mentioned in the description (Source 1).

underdrawing

Delaroche was known for meticulous preparation and detailed research into 15th-century decorations and objects (Source 1). A precise underdrawing is likely necessary to map the specific narrative elements: the two children huddling, the small dog, the book with the Annunciation miniature, the medallion, and the royal emblems (Source 1). The drawing should establish the 'dramatic tension' through the positioning of the figures and the direction of their gazes (Source 1).

underpainting

Begin with a grisaille or tonal underpainting to establish the lighting structure. The scene is defined by high contrast: the darkness of the prison cell versus the 'light that enters under the door' (Source 1). This underpainting should map the 'imminent entrance' suggested by the light and the alert dog (Source 1).

color palette

Dark Browns/Blacks

Burnt Umber, Ivory Black

The shadows of the Tower cell and the ominous atmosphere, creating the 'tearjerker' mood (Source 1).

Pale Flesh Tones

Lead White, Yellow Ochre, touch of Red

The children's faces, highlighting their 'anxious gaze' and vulnerability (Source 1).

Gold/Yellow

Yellow Ochre, Cadmium Yellow

The 'goldsmith's work' medallion and the light entering under the door (Source 1).

Deep Reds

Alizarin Crimson, Vermilion

The royal emblems and the ribbon of the Order of the Garter (Source 1).

Cool Grays/Blues

Ultramarine, White, Black

The stone walls and shadows, contrasting with the warm light (Source 8).

composition

The composition focuses on the two children huddling together, with the dramatic tension highlighted by the small dog on the left and the light under the door (Source 1). The arrangement includes specific symbolic objects: a book with an Annunciation miniature, a gold medallion, and royal emblems at the foot of the bed (Source 1). The layout is designed to suggest an 'imminent entrance' and accentuate the drama of the scene (Source 1).

step by step

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

underdrawing

step 01
Sketch the positions of the two princes, the dog, the bed, and the door. Ensure the children are huddling and one has an 'anxious gaze' (Source 1).
Tip — Focus on the narrative tension; the placement of the dog and light is crucial for the 'imminent entrance' effect (Source 1).
Preparatory Drawing

underpainting

step 02
Apply a thin wash of oil paint to establish the light source from under the door and the deep shadows of the cell.
Tip — Use the 'wider range from light to dark' advantage of oil paint to set the mood (Source 6).
Grisaille/Tonal Underpainting

first pass

step 03
Block in the large masses of color for the clothing, the bed, and the stone walls. Include the 'late medieval atmosphere' elements like the bed decoration (Source 1).
Tip — Delaroche did 'detailed research on the decorations and objects of the 15th century' (Source 1), so ensure these elements are historically plausible in style.
Blocking In

refining

step 04
Refine the faces of the children, focusing on the 'anxious gaze' of one and the fear in their expressions. Paint the small dog in an alert posture (Source 1).
Tip — Avoid 'over-modeling' or being 'too much tied down to your outline' (Source 2). Use oil's flexibility to blend skin tones smoothly.
Glazing/Scumbling
step 05
Add the specific symbolic details: the book with the Annunciation miniature, the gold medallion, and the Order of the Garter ribbon (Source 1).
Tip — These elements provide the 'late medieval atmosphere' and English references (Source 1).
Detailing

finishing

step 06
Enhance the contrast between the light under the door and the surrounding darkness to heighten the 'dramatic tension' (Source 1).
Tip — Ensure the light accentuates the drama and suggests the 'imminent entrance' (Source 1).
Chiaroscuro

varnishing

step 07
Apply a varnish to protect the surface and unify the sheen, as oil paints develop consistency depending on the medium (Source 6).
Tip — Use a resin-based varnish if desired for texture and protection (Source 6).
Varnishing

critical techniques

Dramatic Lighting

Delaroche uses light to create emotional impact, such as the light under the door suggesting danger (Source 1). This aligns with his tendency to care more about 'dramatic effect than historical truth' (Source 3).

Narrative Detail

Inclusion of specific objects like the Annunciation book and Order of the Garter ribbon to ground the scene in a specific historical and symbolic context (Source 1).

Oil Layering

Utilizing the 'greater flexibility, richer and denser color, and use of layers' inherent to oil painting to achieve the realistic yet dramatic finish (Source 6).

common pitfalls

→Over-modeling or being too timid with outlines, which can make the painting look stiff (Source 2).
→Shifting hues when darkening colors by adding black; use complementary colors to neutralize instead (Source 8).
→Focusing too much on historical accuracy at the expense of dramatic effect, which contradicts Delaroche's style (Source 3).
→Ignoring the 'vital qualities' of the oil medium, leading to a 'meretricious attempt to deceive the eye' rather than an expression of feeling (Source 7).

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 pigment recipes used by Delaroche for this painting are not provided in the sources.
·The exact dimensions of the canvas are not specified in the provided text.
·Detailed brushwork techniques (e.g., impasto vs. glazing ratios) for specific areas like the dog or the book are not described.

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 Technique advice on avoiding over-modeling and outline rigidity
The Practice and Science of Drawing↗
- Materials — applied to Philosophy of using medium's vital qualities

cross-referenced from

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

Wikipedia: The Children of Edward↗
- Description — applied to Visual details, narrative elements, and dramatic composition
Wikipedia bio — Paul Delaroche↗
- Style and Themes — applied to Artist's approach to drama vs. history, and general practice
Wikipedia: Oil painting↗
- Technique — applied to Material properties and advantages of oil paint
Wikipedia: Color theory↗
- Mixing Pigments — applied to Color mixing advice and hue shift warnings

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

Light streams from the upper left, spotlighting the two children in a tower chamber while heavy green-gray curtains frame both sides of the composition. The older child sits dejectedly on an ornate bed with white linens, while the younger stands beside him in a moment of quiet despair. A small white dog rests in the lower left foreground. The background recedes into nearly complete darkness, creating an almost claustrophobic atmosphere that directs all focus to the pale faces and white bedding—the painting's brightest elements.

value structure

The painting sits almost entirely in the dark-to-midtone range, with the brightest lights reserved for the children's faces, necks, and the white bedding. The darkest darks anchor the background and upper portion, while warm mid-brown tones hold the ornate wooden bed frame. The subtle value shifts across the fabric folds of both the curtains and bedding require careful squinting—there's more modeling there than first appears, but all of it stays muted.

observed palette and mixes

#201f21
Ivory black with a touch of raw umber
The background, deep shadows, and the children's dark clothing
#564b40
Raw umber with burnt umber and titanium white
The carved wooden bed frame and architectural details
#3b3531
Burnt umber, ivory black, and yellow ochre
Mid-tone shadows in the drapery and fabric folds
#9a8c7c
Yellow ochre and titanium white with a trace of raw umber
The children's skin tones and lighter areas of the bedding
#2c2929
Ivory black with yellow ochre, mixed cool
The muted greenish-gray tones in the heavy drapery

edges and brushwork

Edges throughout are soft and blended—the faces fade gently into shadow, and the fabric folds are modeled with broad, painterly strokes that suggest form without calling attention to technique. The carved details of the bed frame retain slightly crisper edges but are never harsh. Overall, the brushwork is nearly invisible; the painting prioritizes optical unity and emotional restraint over the visibility of the artist's hand.

a working sequence

01
Tonal Underpainting
Block in the entire composition in monochrome using burnt umber and ivory black, establishing the value architecture. Map the darkest darks (the background and upper area), the mid-tones (drapery and wood), and the lightest areas (skin and bedding). This foundation determines everything that follows—accuracy here prevents value confusion later.
02
Background and Atmospheric Darkness
Work the upper background and the space between/behind the curtains with very dark values. These darkest elements frame the composition and make the figures read. Use ivory black with small touches of raw umber, keeping edges soft. Don't blend aggressively; let the darkness sit with quiet confidence.
03
Drapery and Spatial Depth
Paint the heavy green-gray curtains, using the muted palette as your base. Model the folds with subtle shifts—darker in the depths, slightly lighter on surfaces catching ambient light. The carved curtain rods and finials should read as golden-brown, providing visual relief in the composition.
04
Establish the Bed and Wooden Framework
Block in the ornate wooden bed frame using warm mid-browns. The carved details don't need delicate rendering—suggest their presence through value shifts and restraint. Keep the wood subordinate to the figures; it's a stage, not the story.
05
The White Bedding
Lay in the white linens carefully—they're the brightest element but not pure white. Mix titanium white with touches of yellow ochre and burnt umber to keep them warm and grounded. Model the folds with soft shadows using warm mid-tones, preserving the sense of heavy fabric pooling on the bed.
06
The Children's Faces and Skin
Paint the faces last and with care. The skin tone is a warm ochre-white that sits in a delicate range—too yellow and they look sickly, too pale and they flatten. Apply shadow shapes under the eyes and cheeks using burnt umber thinly; use the underpainting to guide value placement. The eyes should be dark and look directly outward, carrying the emotional weight of the work.
07
Dark Clothing and Hair
Develop the children's dark garments using the darkest palette, allowing their faces to advance. The older child's hair merges subtly into shadow—no harsh outlines. The younger child's pale face contrasts against dark fabric. Work soft edges here; precision reads as stiffness in this kind of painting.
08
The Small Dog and Final Refinement
Address the small white dog in the lower left—it's a note of loyalty amid despair. Keep it loosely rendered, lighter than the dark floor but not competing with the children. Make final passes over the faces, softening transitions and ensuring light direction is consistent across all forms. Step back frequently to check value relationships across the whole composition.

where studies of this painting go wrong

Lightening the background too much—the claustrophobic darkness is essential to the emotional impact. Resist the urge to show more of the room; mystery and restraint define the mood.
Overworking the children's faces into flatness—they need to sit in soft shadow with luminous accents. Keep edges blended and values subtle; the power comes from understatement, not detail.
Making the carved wood too prominent—ornate details can seduce you into overpainting. Suggest the carvings through value and edge work alone; let them stay subordinate to the figures.
Mixing skin tones too cool or too pale—the warmth of the ochre is critical. A skin tone that's too pink or chalky will look modern and break the historical mood Delaroche establishes.

measured difficulty