Herman Wilhelm Bissen, Danish Sculptor

surface prep

The surface should be prepared to accept oil paint, likely with a traditional ground. While specific priming details for this exact canvas are not in the sources, traditional oil painting techniques of the period involved preparing the support to allow for the 'fat over lean' rule, ensuring each layer has more oil than the previous one to prevent cracking (Source 7).

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint. This aligns with traditional oil painting techniques where the artist establishes the composition before applying opaque layers (Source 7). Marstrand’s academic background suggests a careful, structured approach to the initial drawing, consistent with the emphasis on draftsmanship in the Danish Golden Age (Source 8).

underpainting

Create a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia. This step involves mentally extracting red and yellow tones to establish the value structure and form. This technique is supported by Sir Joshua Reynolds’ method, cited as a standard for old masters, where the first and second paintings are done with these specific colors and medium (Source 1).

Glazing and Scumbling

Used to build color and depth over a dry grisaille underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture, allowing the underlying painting to show through.

Fat Over Lean

A fundamental rule in oil painting where each layer contains more oil than the one below it, ensuring proper drying and preventing cracking.

Chiaroscuro and Contrast

Used to create gradations of light and shadow, enhancing the three-dimensionality of the portrait. The juxtaposition of tones and colors creates visual harmony and depth.