plate no. 9777

Portrait of Fanny Maria Ophelia Schiern, née Beutner

oil, canvasRomanticismportraitportraitfigureclothinghairbackgroundlace

recreation guide

This recreation guide addresses the painting of 'Portrait of Fanny Maria Ophelia Schiern, née Beutner' (1861) by Wilhelm Marstrand, a key figure of the Golden Age of Danish Painting (Source 6). Marstrand was trained under Christoffer Wilhelm Eckersberg at the Royal Danish Academy, grounding his practice in rigorous academic standards while maintaining an inclination toward genre themes and daily life observation (Source 6). As a Romantic-era portrait, the work likely aims to capture the 'inner essence' or 'character and moral quality' of the sitter rather than merely a literal likeness, consistent with the period's emphasis on expression over photographic realism (Source 3). The medium is oil on canvas, a technique favored for its flexibility, rich color density, and capacity for layered application, which allows for a wide range from light to dark (Source 4).

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Canvas	Support for oil painting	Linen or cotton canvas, primed
Oil paints (Black, Ultramarine, White)	For the initial grisaille/monochrome underpainting	Ivory Black, Ultramarine Blue, Titanium White
Oil of Copavia (or modern substitute)	Medium for the first and second paintings in the grisaille stage	Stand oil or linseed oil mixed with damar resin
Transparent Red and Yellow pigments	For glazing and scumbling to introduce color tones	Alizarin Crimson, Cadmium Yellow Light (transparent variants)
Varnish	Mixed with oil for later glazing stages to gain mastery and depth	Damar varnish
Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While specific priming details for this exact portrait are not in the sources, Marstrand’s academic training implies a standard white or neutral ground to facilitate the 'grisaille' technique described in the sources. The surface must be dry and stable to support multiple layers of glazing and scumbling (Source 1).

underdrawing

Marstrand’s academic background suggests a careful preparatory drawing, though specific underdrawing methods for this portrait are not detailed in the sources. The artist likely used a charcoal or graphite sketch to establish proportions and the 'inner significance' of the subject before applying paint (Source 3).

underpainting

The process begins with a monochrome underpainting, or grisaille. Following the method attributed to Sir Joshua Reynolds and relevant to old master techniques, the first and second paintings are executed with oil of copavia using black, ultramarine, and white (Source 1). This stage involves mentally extracting red and yellow colors to establish the tonal structure of the portrait (Source 1).

color palette

Black

Ivory Black or Lamp Black

Grisaille underpainting for shadows and structure

Ultramarine

Ultramarine Blue

Grisaille underpainting for cool mid-tones and shadows

White

Lead White (historical) or Titanium White (modern)

Grisaille underpainting for highlights and structure

Red Tones

Transparent red pigments (e.g., Vermilion, Lake Red)

Glazing and scumbling to introduce warmth and flesh tones

Yellow Tones

Transparent yellow pigments (e.g., Yellow Ochre, Chrome Yellow)

Glazing and scumbling to introduce warmth and highlights

composition

The portrait likely adheres to the conventions of the genre, aiming to reveal the subject's character through subtle expressions, particularly in the eyes and eyebrows, as the mouth is often kept neutral in serious portraiture (Source 3). Marstrand’s general practice involved depicting daily life and middle-class society with humor and story, but as a formal portrait, it would prioritize the 'inner essence' of the sitter (Source 6, Source 3). The composition may be a 'head and shoulders' or 'half-length' view, common for such portraits (Source 3).

step by step

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

underdrawing

step 01
Sketch the composition on the prepared canvas, focusing on the proportions and the expression of character, particularly the eyes and eyebrows.
Tip — Ensure the likeness captures the 'inner significance' rather than just outward appearance.
Academic drawing

underpainting

step 02
Create a grisaille using black, ultramarine, and white mixed with oil of copavia. This establishes the tonal values without red or yellow.
Tip — Mentally extract red and yellow colors to translate what would be left in nature if these colors were not present.
Grisaille

first pass

step 03
Allow the grisaille to dry completely. Begin glazing and scumbling with oil, introducing yellow and red tones as they occur in the subject.
Tip — Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) to tint the engraving-like underpainting.
Glazing and Scumbling

refining

step 04
As mastery is gained, mix varnish with oil for subsequent glazing layers to deepen the color and richness.
Tip — Be aware of simultaneous contrast; colors may appear different due to adjacent hues, so adjust tones carefully.
Varnish Glazing

finishing

step 05
Refine the facial expression, ensuring the eyes convey the necessary character and moral quality, avoiding temporary or fleeting expressions.
Tip — Focus on the eyebrows and eyes to register subtle emotions like wonder, pity, or concentration.
Portrait Refinement

varnishing

step 06
Apply a final varnish to protect the painting and unify the sheen of the different oil layers.
Tip — Use a varnish made from oil boiled with resin, such as pine resin or frankincense, for protection and texture.
Varnishing

critical techniques

Grisaille Underpainting

Using black, ultramarine, and white with oil of copavia to establish tonal structure before adding color. This method was established by artists like Sir Joshua Reynolds and practiced by old masters.

Glazing and Scumbling

Applying transparent (glazing) and semi-opaque (scumbling) layers of red and yellow tones over the dry grisaille to build up color and depth, similar to tinting an engraving.

Simultaneous Contrast Awareness

Adjusting colors based on the law of simultaneous contrast, where adjacent colors influence each other's appearance, ensuring accurate color perception and imitation.

common pitfalls

→Applying color before the grisaille is completely dry, which can muddy the tones and prevent proper glazing (Source 1).
→Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and imitation of the model (Source 2).
→Focusing too much on literal likeness rather than the 'inner essence' or character of the subject, which is the aim of great portraiture (Source 3).
→Attempting to deceive the eye into thinking it is looking at real nature rather than expressing feeling through painted symbols, which can result in a lack of vital expression (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 details of Fanny Maria Ophelia Schiern’s clothing, jewelry, or background are not described in the sources, so these must be inferred from historical context or the original artwork if available.
·Marstrand’s specific palette choices for this particular portrait are not detailed, so the guide relies on general old master techniques and the artist’s academic training.
·The exact dimensions and canvas preparation methods for this specific work are not provided.

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 Grisaille underpainting and glazing/scumbling techniques
Laws of Contrast of Colour↗
- 315-318 — applied to Color theory and simultaneous contrast in refining stages
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium and avoiding mere deception

cross-referenced from

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

Wikipedia: Portrait painting↗
- Portrait painting — part 2 — applied to Composition notes and expression refinement
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Materials list and varnishing process
Wikipedia bio — Wilhelm Marstrand↗
- part 1 — applied to Artist background and general practice context