plate no. 8166

Eggert Christopher Tryde, provost of Copenhagen 1838-1857

oilRomanticismportraitportraitfigureclothingruffcrossmedal

what to study here

It shows how a white ruff, dark clothing and a mid-tone face can be balanced so the ruff and face both read at once.

The useful lesson here is how value is organized around the head. Strong light comes from the upper left and models the right side of the face, and the vision analysis describes three clear layers: the white ruff as the lightest mass, the face and warm wood at top as mid-tone, and the background and jacket as deep dark. Squint and the ruff cannot be missed while the face is not lost. Note the difference in edge handling. The face is smoothly blended with soft edges against the background, while the ruff has visible, crisp strokes that follow the radiating plaits, with cool grays in the shadows between folds. The two medals at chest level get sharper edges so they read as metal. The background is cool blue-gray, fairly flat and even, so detail sits forward against it. Study how the face holds luminosity without a dramatic highlight, and how a bright, heavily patterned collar is kept from overpowering it. Copy the ruff's rhythm of edges, not each fold in isolation.

key decision

Marstrand kept the face as a mid-tone with soft, blended edges and gave the crisp brushwork and lightest value to the ruff. The ruff frames the face without competing with it.

recreation guide

This recreation guide addresses Wilhelm Marstrand’s 1858 oil portrait of Eggert Christopher Tryde. Marstrand, a central figure of the Golden Age of Danish Painting, was trained under Christoffer Wilhelm Eckersberg at the Royal Danish Academy of Art, where he developed a strong foundation in academic history painting and genre scenes (Source 2). While Marstrand is perhaps best known for his romanticized, joyous depictions of Italian daily life and festivities during his travels (Source 1), his portrait work adhered to the rigorous standards of the Danish Academy. The portrait genre in this period aimed for a recognizable likeness that served as a record of the sitter’s appearance, often commissioned by the middle class or state officials (Source 3). Marstrand’s approach likely combined the structural discipline of his academic training with the rich, layered oil techniques prevalent in Northern European tradition, utilizing the flexibility and depth of color that oil painting offers (Source 8).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

7 in sequence

materials

item	purpose	modern equivalent
Linseed oil or poppy seed oil	Primary binder for pigments, providing flexibility and rich color density.	Stand oil or refined linseed oil
Turpentine	Thinner for initial layers and cleaning brushes.	Odorless mineral spirits
Oil paints (Ultramarine, White, Black, Earth tones, Reds, Yellows)	Primary pigments for underpainting and glazing.	Standard tube oil paints
Varnish (e.g., copal or damar)	For glazing and final protection, potentially mixed with oil for transparency.	Art resin varnish
Canvas or wood panel	Support surface.	Primed linen canvas or MDF panel

preparation

surface prep

Prepare a white or light-grey ground. Marstrand’s academic training under Eckersberg would have emphasized a solid, uniform ground to allow for the layering techniques typical of the period. A white ground is particularly useful for the Flemish-influenced translucent methods where the ground shines through semi-opaque light passages (Source 5). Ensure the surface is smooth to facilitate the fine detail work characteristic of academic portraiture.

underdrawing

Marstrand was an outstanding draftsman, a skill honed during his academy years (Source 2). Begin with a precise charcoal or thinned oil sketch to establish the likeness and composition. Given the academic context, the drawing should be rigorous, focusing on accurate proportions and the sitter’s recognizable features, as the goal of portrait painting is to achieve a likeness recognizable to those who have seen the subject (Source 3).

underpainting

Employ a grisaille (monochrome underpainting) technique. This involves painting the forms in neutral tones, effectively extracting red and yellow colors to establish value and structure first (Source 4). This method allows the artist to focus on light and shadow without the distraction of color, a practice common among old masters and consistent with the academic rigor Marstrand received (Source 4).

color palette

Ultramarine

Pure ultramarine pigment

Used in the initial underpainting stages alongside black and white to establish shadows and structure (Source 4).

White

Lead white or modern titanium/zinc white

Active agent in highlights and mixing; reserved to secure transparency in shadows if using Rubens-style techniques, or used in the ground (Source 5).

Black

Ivory black or lamp black

Establishing deep shadows in the grisaille underpainting (Source 4).

Reds and Yellows

Vermilion, ochre, cadmium variants

Applied later via glazing and scumbling to introduce warmth and flesh tones, mimicking the tinting of an engraving (Source 4).

composition

While specific compositional details of Tryde’s portrait are not described in the sources, Marstrand’s general practice involved tackling difficult subjects with complicated compositions (Source 2). In portraiture, the composition likely centers the sitter to emphasize their status and likeness. The background and dress colors should be chosen to contrast with the sitter’s complexion, enhancing the visual impact through the law of contrast (Source 6). Avoid monotony by ensuring the background does not compete with the face but rather supports the predominating color of the complexion (Source 6).

step by step

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

underdrawing

step 01
Sketch the sitter’s likeness with precision, focusing on recognizable features.
Tip — Ensure proportions are accurate, as the portrait serves as a record of appearance.
Academic drawing

underpainting

step 02
Apply a grisaille layer using black, ultramarine, and white to establish values and forms.
Tip — Mentally extract red and yellow colors; focus on light and shadow structure.
Grisaille

first pass

step 03
Allow the grisaille to dry completely before proceeding.
Tip — Patience is key; wet-on-wet application of glazes will muddy the underpainting.
Layering

refining

step 04
Glaze and scumble with oil to introduce red and yellow tones, particularly in flesh areas.
Tip — Glazing adds transparent color; scumbling adds semi-opaque texture. Use these to tint the monochrome base like an engraving.
Glazing and Scumbling
step 05
Apply flesh colors thinly, allowing the ground or underpainting to show through for subtlety.
Tip — Aim for the 'liquid eye' and subtle flesh coloring seen in Flemish masters, with little between the ground and the color.
Translucent process

finishing

step 06
Adjust contrasts between the sitter’s complexion and their dress/background to enhance visual harmony.
Tip — Use complementary or broken tones to make the complexion stand out without crudity.
Color Contrast

varnishing

step 07
Apply a final varnish, potentially mixed with oil, to unify the layers and protect the surface.
Tip — Ensure the painting is fully dry to prevent cracking or yellowing issues.
Varnishing

critical techniques

Glazing and Scumbling

Used to add color over a dry monochrome underpainting. Glazing provides transparent color, while scumbling adds semi-opaque texture, allowing the underlying structure to influence the final appearance (Source 4).

Translucent Flesh Painting

Painting flesh tones thinly so that the white ground or underpainting shines through, creating a subtle, lifelike quality similar to Flemish masters like Van Eyck (Source 5).

Color Contrast for Complexion

Selecting dress and background colors that contrast with the sitter’s skin tone to enhance the portrait’s effect, avoiding the error of assuming complexions are only red and white (Source 6).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to muddiness and cracking (Source 4).
→Ignoring the law of contrast, resulting in a portrait where the complexion does not stand out against the background or clothing (Source 6).
→Overworking the flesh tones with opaque paint, losing the subtle translucency that gives life to the portrait (Source 5).
→Assuming a one-size-fits-all approach to skin tones, rather than identifying the predominating color in the specific sitter’s complexion (Source 6).

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 Eggert Christopher Tryde’s appearance, clothing, and pose are not described in the provided sources.
·The exact dimensions and aspect ratio of the original painting are not provided.
·Marstrand’s specific pigment choices for this particular 1858 work are not detailed, though general period practices are inferred.
·The specific lighting conditions and background elements of the portrait are not described.

grounded in

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

The Practice of Oil Painting — COLOURING A MONOCHROME↗
- Grisaille Technique — applied to Underpainting and glazing instructions.
The Practice of Oil Painting — THE FLEMISH SCHOOL↗
- Translucent Process — applied to Flesh painting and ground preparation.
Laws of Contrast of Colour↗
- Contrast in Portraiture — applied to Color selection for complexion and background.

cross-referenced from

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

Wikipedia bio — Wilhelm Marstrand — part 2↗
- Travel and Style — applied to Contextualizing Marstrand’s romantic style and portrait practice.
Wikipedia bio — Wilhelm Marstrand — part 1↗
- Academy Training — applied to Establishing the academic rigor and drawing skills required.
Wikipedia: Portrait painting — Portrait painting — part 1↗
- Genre Definition — applied to Defining the goal of likeness and record-keeping.
Wikipedia: Oil painting — Oil painting — part 1↗
- Materials — applied to General oil painting properties and materials.

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 frontal portrait with strong light from the upper left, creating clear shadow modeling on the right side of the face. The eye goes immediately to the face and particularly the eyes, but the brilliant white ruff—with its radiating plaited folds—commands the lower half of the composition and acts as an architectural frame. The cool blue-gray background provides atmospheric depth while the ornate wooden furniture element at top grounds the figure. Two decorative medals hang at chest level on dark fabric below the ruff, creating a secondary focal point of warm metallic detail.

value structure

The painting operates on three clear value layers: bright (the white ruff with gray-shadowed fold lines), mid-tone (the peachy-pink face and warm wood at top), and deep dark (the background, jacket, and void beneath the collar). When squinted, the white ruff reads as the lightest mass anchoring the composition; the face maintains mid-tone luminosity without dramatic highlight; the background and clothing nearly merge in darkness. This hierarchy makes the ruff impossible to miss and the face impossible to lose.

observed palette and mixes

#ae9894
Titanium white + cadmium red + touch of ultramarine and burnt umber
Flesh tones throughout the face, particularly the cheeks and forehead; also the warm wood tones of the furniture element behind the head
#ffffff (implied)
Titanium white with touches of yellow ochre and ultramarine for shadow folds
The white ruff—use pure or near-pure white for the raised plaits; mix in cool gray for fold shadows
#40484f
Ultramarine blue + ivory black + touch of yellow ochre
The cool blue-gray background, which shifts slightly warmer near the wood furniture
#2c2320
Ivory black + burnt umber + touch of ultramarine
The dark jacket and void areas below the ruff
#623e2f
Burnt umber + cadmium red + touch of ultramarine
The warm brown of the wood furniture at top; also shadow warmth in the face
#b8860b (inferred)
Yellow ochre + cadmium red + touch of ultramarine
The gold ornamental detail on the medals and cross

edges and brushwork

The face receives smooth, carefully blended modeling—edges between flesh and background are soft and atmospheric. The ruff shows deliberate, visible brushwork: individual fold lines are articulated with crisp, controlled strokes that follow the radiating geometry; shadows between plaits are built with cool grays. Medals and ribbon accents are rendered with sharper, more defined edges to read as metallic. The background is relatively flat and even, allowing all detail to rest forward against it.

a working sequence

01
Underpainting and value map
Mix a mid-tone warm brown (burnt umber + ultramarine + touch of cadmium red) and block in the major value divisions: place the white ruff as your lightest shape, the background and jacket as your darkest, and the face as your mid-tone anchor. Rough in the silhouette of the head, the ruff perimeter, and the furniture edge at top. This is blueprint work—no detail yet.
02
Background and atmospheric depth
Paint the blue-gray background with ultramarine + ivory black + yellow ochre, keeping it even and atmospheric. Soften where it meets the head and neck. Paint the warm wooden element behind the head using burnt umber + cadmium red, allowing it to feel solid but recessed. These two elements establish your color temperature foundation.
03
Face modeling and flesh structure
Begin layering flesh tones on the face using titanium white + cadmium red + yellow ochre + touches of ultramarine for shadow. Start with a base mid-tone, then add lighter passages on the forehead, cheeks, and nose, and warmer, darker passages in the eye sockets, along the jawline, and under the chin. Keep edges soft. Observe how the light sources emphasizes the rounded form of the head; avoid harsh shadows—this face is subtle.
04
Eyes and facial features
Carefully place and model the eyes, which gaze directly forward. Use a cool gray-blue for the iris with a small highlight; keep the pupils small and dark. Establish the eyebrows, the bridge and tip of the nose, and the mouth line. Refine the cheeks and temple areas. The eyes should read clearly from a distance but without excessive detail—they are the emotional anchor of the portrait.
05
The ruff: structure and rhythm
Paint the ruff as a series of radiating plaited folds. Mix titanium white with touches of yellow ochre for the raised surfaces catching light; mix cool gray (ultramarine + ivory black + white) for the shadowed folds between plaits. Work from the base (where it meets the neckline) outward, following the natural geometry of the folds. Each fold should read clearly but not be rendered as an isolated detail—see the ruff as a unified textile form with rhythmic shadow-and-light passages.
06
Dark jacket and medals
Paint the dark jacket using ivory black + burnt umber + touch of ultramarine, keeping it very dark but not lifeless—add slight warmth where the light glances off. Position the two medals on the red ribbon: use gold tone (yellow ochre + cadmium red + touch of ultramarine) for the metal ornaments, white with red for one cross and a warm gold cross for the other. These details are small but visually important—render them clearly but without overworking.
07
Unification and refinement
Step back and assess the overall harmony. Soften any hard edges that feel out of place. Ensure the background doesn't fight the figure—adjust if needed. Refine the transition from ruff to jacket so they read as separate textures. Fine-tune the face—add final touches to the eyes and subtle warmth or shadow corrections. Check that the medals read as hanging weight on the chest and that the wooden furniture feels spatially behind the figure.

where studies of this painting go wrong

Overworking the ruff's individual folds until they look like choppy lines instead of fabric with soft light and shadow passing across rhythmic texture. Step back frequently and squint to preserve the unified form.
Making the face too high-contrast or too flat—this portrait lives in subtle modeling with soft value shifts. Resist the urge to push shadows too dark or highlights too bright; the power comes from careful mid-tone transitions.
Treating the medals as decorative afterthoughts. They anchor the lower composition and deserve careful color and form; render them with enough detail to read as specific objects (cross, medallion) without making them compete with the face.
Allowing the background to feel isolated and cold. It should feel like air around the figure, not a wall behind him. Use warm undertones to keep it integrated and shift slightly warmer near the wood element at top.

measured difficulty