plate no. 9744

Albert Kollmann

Edvard Munch, 1902

oil, canvasExpressionismportraitportraitmanfigureclothingformal wearbackground

what to study here

It shows a clear three-value structure and a contrast of soft face edges against loose background strokes, all within a close-cropped head-and-shoulders format.

The useful lesson here is how much a portrait can carry with a restricted value plan. Squint and the head reads as three groups: a light face, a very dark coat and hair mass, and a quieter mid-tone sage-green ground. The light comes from the upper left front and rakes across the forehead, nose and cheekbones, which are the brightest forms. Study the edges. Transitions on the face are blended and feathered, while the coat has firmer, rounded edges and the background is loose, with visible gestural strokes that change direction and opacity. Nothing is tightly rendered; suggestion does the work. Notice the background is darker on the left and lighter toward the right, which sets the head against a quiet field without competing with it. The small white shirt front under the neck is the other light accent, and it anchors the dark mass. Copy the value hierarchy first, then see how little detail the eyes need to hold a direct gaze.

key decision

Munch kept the face as the lightest, softest-edged area against a very dark coat and a quiet green ground. Detail is left out so the head and gaze carry the picture.

From the record

Dimensions: 81.5 cm high × 66 cm wide
Institution: Kunsthaus Zürich
Location: Kunsthaus Zürich
Inception: 1901
Materials: oil paint, canvas

Albert Kollmann

Wikidata item Q18889297

from the sources

The sitter, Albert Kollmann, was a Hamburg merchant who supported artists including Liebermann, Munch and Barlach. collection.kunsthaus.ch
“Albert Kollmann (1837-1915), a merchant in Hamburg, was a devoted and unconventional patron of artists, first of Liebermann, later of Munch and Barlach, cf. inv. 1945/19.”
Curt Glaser sold the painting to the Kunsthaus Zürich in 1943. collection.kunsthaus.ch
“The art historian Curt Glaser sold this work to the Kunsthaus Zürich in 1943.”
The painting was held in storage at the Kunsthaus Zürich from 1935, together with other works from Glaser's collection. collection.kunsthaus.ch
“It had already been in storage there since 1935, along with other works from his collection.”
The purchase price of 7,000 francs was transferred to Professor Glaser on 3 September 1943. collection.kunsthaus.ch
“Der Kaufpreis von Fr. 7000.- ist am 3. September 1943 an Professor Glaser überwiesen worden.”
In a 1913 letter to Munch, Glaser said he could lend the Kollmann portrait for an exhibition. collection.kunsthaus.ch
“Wenn Sie nicht genügend Bilder selbst haben, könnte ich Herrn Consul Kolker veranlassen, daß die Schneearbeiter schickt, und ich selbst könnte das Porträt Kollmann leihen.”
The Kunsthaus is investigating the 1943 sale because it may be linked to the Glasers' Nazi persecution and flight. collection.kunsthaus.ch
“The circumstances surrounding the sale of both works are under investigation, as the transactions may be linked to the couple’s Nazi persecution and flight.”

recreation guide

Edvard Munch’s *Albert Kollmann* (1902) is a portrait that exemplifies his mature Expressionist style, characterized by the subordination of realistic detail to emotional intensity. Munch’s approach, as noted in contemporary accounts, was to paint only the 'essential' qualities of a subject, creating works that are 'complete' in their emotional resonance rather than their photographic accuracy (Source 8). This piece likely reflects his interest in using color to convey psychological states, a technique he developed after being influenced by Post-Impressionists like Gauguin and Van Gogh, who used color symbolically rather than naturalistically (Source 4). The painting avoids the 'numbing' academic realism Munch rejected in Paris, instead favoring a method that captures the 'state of mind' rather than external reality (Source 8).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red Ochre/Yellow Ochre)	For the initial grisaille underpainting and subsequent glazing/scumbling layers.	Standard tube oils; Ultramarine Blue, Titanium White, Ivory Black, Red Ochre, Yellow Ochre.
Oil of Copavia or Linseed Oil	Medium for the first and second paintings to ensure proper flow and drying characteristics.	Stand oil or refined linseed oil.
Varnish	Mixed with oil for later glazing stages to increase transparency and depth.	Dammar varnish or modern painting medium.
Canvas	Support for the oil painting.	Linen or cotton canvas, primed.

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While Munch’s specific ground preparation for this portrait is not detailed in the sources, the general practice of the period and the techniques described in the sources suggest a stable, absorbent surface. The sources emphasize the importance of the 'alphabet of our art' and sound craftsmanship, implying a properly primed surface is essential (Source 1).

underdrawing

Munch’s preparatory drawing methods for this specific portrait are not explicitly described in the provided sources. However, general advice for artists suggests that drawing should be 'highly finished' in study to acquire the habit of minute visual expression, allowing the artist to focus on 'bigger qualities' during the emotional stimulus of painting (Source 6). Munch likely used a loose, expressive underdrawing consistent with his rejection of academic 'numbing' precision (Source 4).

underpainting

The sources describe a technique of creating a monochrome preparation (grisaille) using black, ultramarine, and white, with oil of copavia as a medium (Source 3). This underpainting serves to establish the tonal values and forms before color is applied. The artist should mentally extract red and yellow colors during this stage, translating what would be left in nature if these colors were not present (Source 3).

color palette

Ultramarine

Pure Ultramarine Blue

Part of the initial grisaille underpainting and potentially for cool shadows or background tones.

White

Pure White

Part of the initial grisaille underpainting and for highlights.

Black

Pure Black

Part of the initial grisaille underpainting and for deep shadows.

Red/Yellow Tones

Red Ochre, Yellow Ochre, or other red/yellow pigments

Applied via glazing and scumbling over the dry grisaille to introduce warmth and flesh tones, consistent with Munch’s use of color to convey emotion.

composition

Specific compositional details of *Albert Kollmann* are not described in the sources. However, Munch characteristically calculated his compositions to create tension and emotion, often simplifying forms and using heavy outlines or sharp contrasts (Source 8). The portrait likely focuses on the essential psychological state of the sitter, avoiding superfluous detail (Source 8).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the essential forms of the portrait on the prepared canvas. Focus on capturing the emotional significance rather than scientific accuracy.
Tip — Avoid getting tied down to outlines; remember that artistic accuracy depends on conveying emotional significance (Source 6).
Expressive Drawing

underpainting

step 02
Create a grisaille underpainting using black, ultramarine, and white with oil of copavia as a medium. Establish the tonal values and forms.
Tip — Mentally extract red and yellow colors, painting only what would remain if those colors were absent (Source 3).
Grisaille

first pass

step 03
Allow the grisaille to dry completely. Begin applying red and yellow tones using glazing and scumbling techniques.
Tip — Glazing involves a transparent coat of color, while scumbling is semi-opaque, allowing the underlying painting to show through (Source 3).
Glazing and Scumbling

refining

step 04
Refine the color application, using varnish and oil mixed for greater transparency if needed. Adjust colors based on complementary relationships to enhance intensity or soften tones.
Tip — Use complementary colors to increase brilliancy or soften pronounced colors (Source 2).
Color Harmony

finishing

step 05
Complete the painting by ensuring the emotional essence is conveyed. Avoid over-modeling or smallness, which can detract from the expressive impact.
Tip — Check for tendencies to smallness or over-modeling; select works as correctives if needed (Source 1).
Expressive Finish

critical techniques

Glazing and Scumbling

Used to apply color over a dry grisaille underpainting. Glazing adds transparent layers, while scumbling adds semi-opaque layers, allowing the underpainting to influence the final color.

Complementary Color Juxtaposition

Used to enhance the intensity of colors. Placing a color next to its complement can make it appear more vibrant, while surrounding it with similar colors can soften it.

Emotional Accuracy over Scientific Accuracy

Munch prioritized conveying the emotional significance of the subject over realistic detail, a hallmark of his Expressionist style.

common pitfalls

→Over-modeling or becoming too tied down to outlines, which can lead to a timid or small-scale appearance (Source 1).
→Failing to allow the grisaille underpainting to dry completely before applying glazes, which can muddy the colors (Source 3).
→Ignoring the emotional significance of the subject in favor of scientific accuracy, which contradicts Munch’s artistic intent (Source 6, 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 *Albert Kollmann* (e.g., clothing, background, facial expression) are not described in the sources.
·Munch’s exact palette for this specific painting is not detailed; the guide infers it from general practices and the grisaille technique described in Source 3.
·The specific brushstroke techniques used in this portrait are not described, though Munch’s general use of varied brushstrokes is noted (Source 8).

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 the importance of craftsmanship.
- COLOURING A MONOCHROME — applied to Technique of grisaille underpainting and subsequent glazing/scumbling.
The Science of Painting↗
- When two colours separated by more than two others — applied to Color theory principles, specifically the use of complementary colors to enhance or soften tones.
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Distinction between scientific and artistic accuracy.

cross-referenced from

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

Wikipedia bio — Edvard Munch↗
- part 6 — applied to Context on Munch’s influences and rejection of academic realism.
- part 5 — applied to Munch’s focus on emotional essence and simplified forms.

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

A three-quarter portrait of a bearded man facing slightly left, centered and close-cropped to shoulders and head. Soft, diffused light rakes across the face from the upper left-front, making the forehead, cheekbones, and nose the brightest forms in the painting. The muted sage-green background is darker on the left side, lighter toward the right, enveloping the figure without distraction. The eye moves immediately to the face, locked by the direct, penetrating gaze and the strong value contrast between the illuminated head and the very dark navy-black coat below it.

value structure

Lightest lights concentrate on the face—forehead, bridge of nose, cheekbones—and the white shirt front beneath the neck. Mid-values occupy the flesh tones and the muted green background. Darkest darks are the hair, goatee, and heavy coat. There are three distinct value groups: the light face, the very dark clothing mass, and the quieter mid-tone background. Squint and you see the portrait as simple shapes: a bright center (face) flanked by dark (clothing) against a neutral field.

observed palette and mixes

#667463
viridian + raw umber + titanium white, biased cool
dominant background throughout, especially upper half and right side
#93957c
viridian + yellow ochre + titanium white
lighter background passages, particularly right side and upper edges
#D4A574
yellow ochre + cadmium red light + titanium white
warm flesh tone base on forehead, cheekbones, and temple
#A0714D
raw umber + cadmium red light + yellow ochre
mid-tone modeling on face, shadow under chin and jaw
#8B4513
raw umber + cadmium red light, warm brown
goatee, mustache, and warm shadows on face
#252930
ivory black + raw umber, very dark navy-black
hair, coat, deep facial shadows around eyes and chin
#FFFFF0
titanium white with tiny touch of yellow ochre
shirt front, brightest highlights on face
#534345
raw umber + cadmium red light + ivory black
warm mid-tone shadows in clothing folds and lower face

edges and brushwork

The face is painted with soft, nearly imperceptible edges—nearly all transitions are blended and feathered, giving the skin a luminous, breathing quality. The clothing has firmer but still rounded edges; the dark folds read as solid shapes rather than linear details. The background is loosely handled with visible, gestural brushstrokes that shift in direction and opacity, creating visual interest without competing with the figure. There's no detail work or tight rendering anywhere; the entire painting trusts suggestion over description.

a working sequence

01
Draw and block the composition
Lightly sketch the head proportions and placement, positioning the face slightly left of center. Mark the basic head shape, the shoulder line, and the vertical axis of the gaze. Note that the figure is close-cropped—shoulders occupy most of the lower composition. Get the likeness established now through accurate drawing; the paint will honor good proportions.
02
Lay in the background
Use a large brush to block in the sage-green background with loose, directional strokes. Keep it slightly lighter on the right and upper areas, darker and more muted on the left. Don't overwork it—aim for soft, varied green-gray tones that suggest depth without competing with the head. This layer establishes the quiet stage for the portrait.
03
Establish the darkest darks
Paint the hair and coat with dark navy-black and warm dark brown. These dark masses define the silhouette and frame the face. The coat shoulders can be loosely shaped; let the edge merge softly into the background. The hair should feel solid and substantial, but not tight in its edges.
04
Block in the face with warm mid-tones
Use a warm ochre-brown flesh mixture to establish the overall face tone. Block the entire head surface—forehead, cheeks, nose, chin—treating it as one warm form. This is your middle value layer. Don't blend yet; let the strokes show. Pay attention to the subtle turn of the head and how the cheekbones catch light on the right side of his face.
05
Model the face with light and shadow
Using a lighter warm tone (ochre + white), paint the illuminated planes: forehead, the bridge and tip of the nose, cheekbones, and chin. Keep these light touches soft and blended. Then use a darker warm brown to suggest shadow under the chin, along the left side of the face, and in the eye sockets. The eyes are small—just small darks with a single tiny highlight; resist the urge to enlarge them.
06
Paint the goatee and mustache
Using a warm brown mixed from raw umber and cadmium red, carefully paint the goatee and mustache shape. These features are critical for likeness. The mustache curls slightly upward; the goatee tapers to a point. Keep the edges soft; don't outline them with dark lines.
07
Define the white shirt and collar
Paint the white shirt front and collar shape beneath the dark coat. Use a warm white (white with a whisper of yellow ochre to prevent it looking sterile). This bright accent anchors the composition and draws the eye. Keep the edges soft where the white meets the dark coat, but let the white read clearly against both the coat and the skin.
08
Refine and integrate
Step back and assess values and edges. Soften any hard edges on the face using a blending brush or feathering technique. Ensure the background and face values have clear separation—the face should feel luminous against the quieter ground. Add any final warm accents to the cheeks or nose if the face feels too flat. The painting should feel complete with economical brushwork, not overworked.

where studies of this painting go wrong

Overblending the face—Munch's touch is light and intentional; blending too much will make it muddy and lose the expressiveness. Stop short of perfect smoothness.
Making the background too uniform or too present. It needs subtle color and value shifts to feel atmospheric, but it must remain clearly recessive. Avoid dragging dark background color onto the face edges.
Getting the white shirt too bright or too soft. It needs to read as a clear light shape, but if it's pure white or too large, it will look pasted-on rather than integrated.
Missing the personality in the eyes. They are small but direct and penetrating. A single highlight and careful pupil placement matter far more than overpainting.
Letting the face value get too dark. The entire head is one of the lightest zones in the painting; if you muddy the flesh tone or make shadows too aggressive, the portrait loses its presence.

measured difficulty