plate no. 3241

Mrs. Gyllembourg Reads from her "Everyday Stories" to J.L. Heiberg and Madam

oilRomanticismgenre paintingfiguresinteriordogtableportraitsreading

recreation guide

Wilhelm Marstrand’s 'Mrs. Gyllembourg Reads from her "Everyday Stories" to J.L. Heiberg and Madam' (1870) is a quintessential example of the Golden Age of Danish Painting, specifically within the genre of narrative genre painting. Marstrand was renowned for his ability to depict the daily life of Copenhagen’s middle-class society with humor and storytelling depth, a practice he maintained throughout his career despite his academic training in history painting (Source 3). The work likely reflects his inclination toward portraying the 'diversions of the city' and the 'humor and story behind the hustle and bustle,' even in intimate domestic settings (Source 3). As a genre painting, it depicts ordinary people engaged in common activities, aiming for a realistic yet potentially romanticized representation that appeals to the bourgeoisie (Source 4).

estimated time

40-60 hours over 8-12 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, Black, White, Red, Yellow)	Primary pigments for underpainting and glazing	High-quality artist-grade oil paints
Oil of Copavia (or modern stand oil/linseed oil)	Medium for the first and second paintings, as cited in Reynolds' method referenced in the sources	Stand oil or refined linseed oil
Varnish	Mixed with oil for later glazing stages to gain mastery over transparent coats	Dammar varnish or synthetic resin varnish
Canvas or Panel	Support for the oil painting	Linen canvas primed with gesso

preparation

surface prep

Prepare a ground suitable for oil painting. While Marstrand’s specific ground preparation is not detailed in the sources, the referenced technique by Sir Joshua Reynolds implies a method where the first and second paintings are done with oil of copavia, suggesting a traditional oil ground that allows for subsequent glazing (Source 1). Ensure the surface is smooth to facilitate the 'transparent coat of colour' known as glazing (Source 1).

underdrawing

Marstrand’s early training under Eckersberg emphasized careful observation and composition, but specific underdrawing techniques for this late work are not described. However, given his skill in 'complicated composition' and 'group scenes with many figures,' a precise initial drawing is likely necessary to manage the narrative elements (Source 3). Use a charcoal or graphite sketch to establish the positions of Mrs. Gyllembourg, J.L. Heiberg, and Madam, ensuring the narrative focus is clear.

underpainting

Employ a grisaille (monochrome underpainting) technique. The sources explicitly describe a method where the artist mentally extracts red and yellow colors, painting the remaining tones in black, ultramarine, and white (Source 1). This grisaille should be allowed to dry completely before proceeding. This approach aligns with the 'old masters' practice mentioned, which Marstrand, as an academic painter, would likely respect or emulate in his foundational layers (Source 1).

color palette

Black

Ivory Black or Lamp Black

Underpainting and shadows, as part of the grisaille base (Source 1)

Ultramarine

Natural Ultramarine

Underpainting and cool shadows, as part of the grisaille base (Source 1)

White

Lead White or Titanium White

Underpainting and highlights, as part of the grisaille base (Source 1)

Red

Vermilion or Red Lake

Glazing and scumbling to add warmth and flesh tones, applied over the dry grisaille (Source 1)

Yellow

Yellow Ochre or Cadmium Yellow

Glazing and scumbling to add warmth and light, applied over the dry grisaille (Source 1)

composition

The composition likely centers on the interaction between the three figures, with Mrs. Gyllembourg as the focal point reading the book. Marstrand’s genre paintings often feature 'group scenes with many figures' and 'complicated composition,' suggesting a careful arrangement of figures to convey narrative and humor (Source 3). The use of chiaroscuro (light and dark contrast) may be employed to guide the viewer’s eye, as the sources note that juxtaposition of tones produces a 'true gradation of light' (Source 6). The background should support the narrative without distracting from the figures, consistent with genre painting conventions where the focus is on the activity and characters (Source 4).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the composition lightly, focusing on the poses and interactions of Mrs. Gyllembourg, J.L. Heiberg, and Madam. Ensure the narrative of reading is clear.
Tip — Pay attention to the 'complicated composition' typical of Marstrand’s group scenes (Source 3).
Preparatory Drawing

underpainting

step 02
Create a grisaille using only black, ultramarine, and white mixed with oil of copavia (or stand oil). Mentally extract red and yellow tones, painting only the values and cool tones.
Tip — Ensure the grisaille is quite dry before proceeding. This step establishes the form and light without color interference (Source 1).
Grisaille

first pass

step 03
Begin glazing and scumbling with red and yellow tones. Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) to introduce warmth and local color.
Tip — Treat this like tinting an engraving with watercolors. Use oil first, then mix varnish and oil for greater transparency and mastery (Source 1).
Glazing and Scumbling

refining

step 04
Refine the flesh tones and clothing details. Use scumbling over darker grounds to create coldness or grey blooms if needed, as noted in the sources.
Tip — Be cautious of 'coldness' when scumbling over dark areas. Adjust the opacity to maintain the vitality of the medium (Source 1).
Scumbling

finishing

step 05
Finalize the details, ensuring the narrative humor and character expressions are clear. Check the contrast between light and dark areas to enhance visual impact.
Tip — Use the law of simultaneous contrast to enhance the gradation of light and color intensity (Source 6).
Chiaroscuro

critical techniques

Glazing

Applying a transparent coat of color over a dry underpainting to build up luminosity and depth. This was a common practice among old masters and is recommended for achieving mastery in oil painting (Source 1).

Scumbling

Applying a semi-opaque layer of paint over a dry underpainting, allowing the underlying layer to show through. This can create coldness or grey blooms when used over darker grounds (Source 1).

Grisaille

Painting a monochrome underpainting using only black, ultramarine, and white to establish form and value before adding color. This method helps in mentally extracting red and yellow tones (Source 1).

common pitfalls

→Applying color before the grisaille is completely dry, which can lead to muddiness and loss of clarity (Source 1).
→Over-modeling or being too tied down to the outline, which can result in a 'smallness' that detracts from the broad masses and narrative impact (Source 2).
→Ignoring the law of simultaneous contrast, which can lead to flat or unharmonious color relationships (Source 6).
→Attempting to deceive the eye with excessive naturalism, losing the 'vital expression of nature' and the emotional idea of the work (Source 5).

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 details of the room layout, clothing patterns, and facial expressions in this particular painting are not described in the sources, so they must be inferred from general genre painting conventions or external visual analysis.
·Marstrand’s exact palette for this specific work is not documented in the sources, so the suggested palette is based on general 19th-century practices and the referenced Reynolds method.
·The specific underdrawing materials and techniques used by Marstrand for this late work are not detailed, so a standard charcoal/graphite approach is suggested.

grounded in

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

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting, glazing, and scumbling techniques
- ON COPYING — applied to General advice on avoiding over-modeling and smallness
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of medium and avoiding excessive naturalism
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Chiaroscuro and color contrast principles

cross-referenced from

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

Wikipedia bio — Wilhelm Marstrand↗
- part 1 — applied to Artist’s style, genre focus, and compositional habits
Wikipedia: Genre painting↗
- part 1 — applied to Definition and characteristics of genre painting

Read more about the corpus on the sources page and how the guides are built on the methods page.

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