plate no. 3142

Portrait of N.F.S. Grundtvig

oil, canvasRomanticismportraitportraitfigurebookstablebeardchair

recreation guide

Wilhelm Marstrand’s 'Portrait of N.F.S. Grundtvig' (1862) is a work from the Golden Age of Danish Painting, a period in which Marstrand was a renowned figure. As a portrait, the work aims to capture not just the outward appearance of the sitter, but their 'inner essence' and 'character and moral quality,' consistent with the Romantic era's emphasis on psychological depth over mere photographic realism (Source 7). Marstrand, trained under Christoffer Wilhelm Eckersberg at the Royal Danish Academy, was known for his skill in depicting daily life and genre scenes, but also achieved high academic standards in history painting and portraiture (Source 8). The painting likely employs the oil painting techniques prevalent in 19th-century Europe, which had largely replaced egg tempera by the height of the Renaissance and offered greater flexibility, richer color, and the ability to build layers (Source 4, Source 5).

estimated time

40-60 hours over 8-12 sessions

materials

7 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil-primed canvas	Support for the painting, consistent with 19th-century practice.	Pre-primed linen or cotton canvas
Linseed oil or poppy seed oil	Binder for pigments; provides flexibility and rich color.	Refined linseed oil or walnut oil
Turpentine	Thinner for initial layers and cleaning brushes.	Odorless mineral spirits or pure gum turpentine
Earth pigments (Umbers, Ochres, Siennas)	For creating the monochrome underpainting (grisaille) to establish values.	Burnt Umber, Raw Umber, Yellow Ochre
Transparent red and yellow pigments	For glazing and scumbling to add color tones over the dry underpainting.	Alizarin Crimson, Cadmium Yellow Light, or transparent organic reds/yellows
White pigment (Lead White or Titanium White)	For highlights and mixing tints.	Titanium White (note: historically Lead White was used)
Varnish (optional, for final protection)	To protect the painting and unify the sheen.	Dammar varnish or synthetic resin varnish

preparation

surface prep

The canvas should be primed with an oil-based ground, consistent with the widespread use of oil painting on canvas in the 19th century (Source 4, Source 5). Marstrand’s academic training suggests a preference for a smooth, even surface suitable for detailed portraiture.

underdrawing

While specific preparatory drawings for this portrait are not described in the sources, Marstrand’s academic background under Eckersberg implies a rigorous approach to composition. A light charcoal or thinned oil sketch would likely be used to establish the likeness and proportions, focusing on the 'inner essence' of the subject (Source 7).

underpainting

A monochrome underpainting (grisaille) is recommended, following the traditional method described in Source 2. This involves painting the entire composition in neutral tones (likely using black, white, and earth tones) to establish the values and forms before applying color. This technique allows the artist to focus on light and shadow without the distraction of color, aligning with the 'law of simultaneous contrast' where colors are perceived in relation to their surroundings (Source 1).

color palette

Neutral Grays/Browns

Burnt Umber, White, Black

Underpainting (grisaille) to establish values.

Warm Flesh Tones

Transparent reds and yellows glazed over the grisaille

Adding color to the face and hands, following the glazing technique.

Deep Background Tones

Ultramarine, Burnt Umber, Black

Creating depth and contrast, consistent with the 'wider range from light to dark' offered by oil paint (Source 4).

composition

As a portrait, the composition likely focuses on the head and shoulders or half-length view, aiming to capture the 'character and moral quality' of N.F.S. Grundtvig (Source 7). Marstrand’s skill in depicting 'group scenes with many figures' (Source 8) suggests a strong grasp of spatial relationships, but in a portrait, the focus is on the sitter’s expression, particularly the eyes and eyebrows, which convey 'wonder, pity, fright, pain, cynicism, concentration, wistfulness, displeasure, and expectation' (Source 7).

step by step

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

underdrawing

step 01
Lightly sketch the composition on the primed canvas, focusing on the likeness and proportions of the sitter.
Tip — Ensure the eyes and eyebrows are accurately placed, as they are crucial for conveying expression (Source 7).
Academic drawing

underpainting

step 02
Create a grisaille underpainting using neutral tones (e.g., burnt umber and white) to establish the values and forms of the portrait.
Tip — Focus on the 'modifications of the light on the model' (Source 1) and the 'inner significance' of the subject (Source 7).
Monochrome underpainting

first pass

step 03
Allow the grisaille to dry completely. Then, begin glazing and scumbling with transparent red and yellow tones to add color.
Tip — Apply thin, transparent layers of color, similar to tinting an engraving with watercolors (Source 2).
Glazing and scumbling

refining

step 04
Build up the colors in layers, paying attention to the 'simultaneous contrast of colours' where adjacent colors affect each other’s appearance (Source 1).
Tip — Be aware that the eye may see colors inaccurately due to 'mixed contrast' after looking at one color for a long time (Source 1).
Layering

finishing

step 05
Refine the details, particularly the eyes and eyebrows, to convey the sitter’s character and moral quality (Source 7).
Tip — Avoid over-modeling; maintain the 'broad masses' while adding necessary finish (Source 3).
Detailing

varnishing

step 06
Once the painting is completely dry, apply a varnish to protect the surface and unify the sheen.
Tip — Use a varnish made from oil boiled with resin, such as pine resin or frankincense, for protection and texture (Source 4).
Varnishing

critical techniques

Glazing and Scumbling

Used to add color over a dry monochrome underpainting. Glazing involves transparent coats of color, while scumbling involves semi-opaque painting that allows the underlying layer to show through (Source 2).

Simultaneous Contrast

Understanding how adjacent colors affect each other’s appearance is crucial for accurate color perception and application (Source 1).

Academic Portraiture

Focus on capturing the 'inner essence' and 'character' of the sitter, rather than just a literal likeness (Source 7).

common pitfalls

→Over-modeling or becoming 'too much tied down to your outline,' which can result in a stiff or lifeless portrait (Source 3).
→Ignoring the 'simultaneous contrast of colours,' leading to inaccurate color perception and application (Source 1).
→Applying color before the underpainting is completely dry, which can muddy the colors and ruin the glazing effect (Source 2).
→Focusing too much on external details rather than the 'inner significance' and character of the sitter (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 N.F.S. Grundtvig’s appearance (clothing, facial features, pose) are not described in the sources, so the artist must rely on historical photographs or other portraits of Grundtvig for accuracy.
·Marstrand’s specific palette for this painting is not detailed; the suggested palette is based on general 19th-century oil painting practices and the techniques described in the sources.
·The exact composition (e.g., background, lighting setup) is not described, so the artist must make interpretive choices consistent with Marstrand’s style and the Romantic period.

grounded in

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

Laws of Contrast of Colour↗
- 315-318 — applied to Understanding color perception and the importance of simultaneous contrast in painting.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Technique of glazing and scumbling over a grisaille underpainting.
- ON COPYING — applied to Advice on avoiding over-modeling and maintaining broad masses.

cross-referenced from

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

Wikipedia: Oil painting↗
- part 1 — applied to General information on oil painting materials and techniques.
Wikipedia: Portrait painting↗
- part 2 — applied to Principles of portrait painting, focusing on character and expression.
Wikipedia bio — Wilhelm Marstrand↗
- part 1 — applied to Background on Marstrand’s training and artistic style.