plate no. 3142

Portrait of N.F.S. Grundtvig

oil, canvasRomanticismportraitportraitfigurebookstablebeardchair

what to study here

It shows how a three-value structure, soft edges and one bright beard can hold a portrait together against an almost black ground.

This portrait is a study in how little a painter needs to make a head dominate. The vision read describes a near-black, warm background with only hints of burgundy, a charcoal coat and cap that merge with it, and a warm-gray middle register for face, hands and tan furniture. The only true lights are the white beard and the pale book pages. Squint and the picture breaks into three zones: dark ground, mid-value figure, small bright accents. Light comes from the upper left and the head sits left of center, tilted down. Edges are mostly soft: the beard feathers into the background, and the face turns into shadow gradually. Even the table and books are painterly rather than outlined, with long strokes following the coat folds and wood grain. The table with books, papers and a glass fills the lower third and anchors the figure. Copy the value plan first. Then check how the beard keeps internal shadow while remaining the brightest shape. The recreation text is generic and says nothing about this canvas's composition or palette.

key decision

Marstrand kept the background and clothing as one continuous near-black mass and reserved the lightest values for the beard and book pages, so the head dominates. Edges stay soft so the figure sits in the dark.

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.

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

Light enters from the upper left, striking the sitter's face and the near side of his white beard, which becomes the brightest anchor in the composition. His head is positioned left of center, tilted slightly downward in contemplation, drawing the eye immediately to his weathered face and long beard. The background is nearly black, with only hints of dark burgundy and shadow preventing total void—this near-absence of competing detail makes the figure commanding. A table with books, papers, and a glass occupies the lower third, grounding the composition and reinforcing his identity as a scholar.

value structure

The darkest darks are the background and the sitter's dark clothing (charcoal-black coat and cap), which form a continuous mass. Mid-tones dominate: his face, hands, and the tan-ochre of the wooden furniture sit in a warm gray middle register. The white beard and the pale pages of the open book are the only true lights—small but potent, they prevent the image from feeling oppressive. Squint and you see three value zones: near-black background, a warm-gray figure, and pinpoint highlights on beard and paper.

observed palette and mixes

#302c2d
ivory black + raw umber, slight cadmium red for warmth
background, shadows in folds of coat and chair fabric
#897768
raw umber + burnt sienna + titanium white, yellow ochre accent
face, hands, table surface, general flesh and wood tones
#48403c
ivory black + burnt sienna + raw umber
deepest shadow under chin, creases in clothing, interior chair frame
#f5f1e8
titanium white + trace yellow ochre, touch of burnt sienna for warmth
white beard, collar, pages of the open book

edges and brushwork

Edges are predominantly soft throughout—the beard feathers into the background with blended brushwork, and the transition from face to shadow is gradual and atmospheric rather than hard. The table and books show more definition, but even there the edges are painterly, not graphic; you see confident strokes describing the grain of wood and the spine of books rather than outlined forms. The coat's folds are rendered with long, directional strokes that follow the fabric's weight.

a working sequence

01
Establish the dark ground and lay in the figure's silhouette
Tint your ground with ivory black, raw umber, and a whisper of cadmium red, working wet-on-wet to create the warm-dark background. While still wet or semi-wet, block in the sitter's head, shoulders, and coat as a unified dark mass using the same dark mixture. Don't detail yet—think of it as a shadow puppet. Keep the background slightly warmer near the figure to suggest atmospheric depth.
02
Establish the mid-tone flesh base
Mix a warm beige from raw umber, burnt sienna, yellow ochre, and titanium white. Block in the entire face and neck with this tone, working broadly and ignoring small details. Note that the left side of the face (viewer's left) is warmer and lighter where light touches it; the right side drops into cooler, darker shadow. Leave the beard white for now—protect that area.
03
Model the face with shadow and half-tone
With a slightly darker, more red-umber version of your flesh mix, indicate the shadows: under the cheekbones, around the eye sockets, beside the nose, and under the lower lip. The right eye is set deeper in shadow; the left eye catches more light. Don't blend heavily—let brushstrokes define the planes. The forehead should show the structure of an elderly, balding head with a gentle slope.
04
Refine features and clarify the gaze
Using a smaller round brush and burnt sienna mixed with a touch of black, define the eyes. The left eye should be warmer and clearer; the right more shadowed. Paint the eyebrows (white hair), the nostril openings, and the mouth line with restraint—a thin burnt sienna line defines the lips, not a heavy outline. His downward gaze is contemplative; ensure both eyes angle slightly down and inward.
05
Paint and refine the beard
Build the white beard in layers. Begin with a pale yellow-ochre-tinged white in the shadowed areas (under the chin, in folds). Layer pure titanium white on the forward planes where light hits directly. Use directional strokes that follow the beard's long, wispy character. The beard should feel volumetric, not flat—darker values in the interior creases, brightest at the outer edges. Notice the beard's right edge (viewer's right) remains softer and darker against the background.
06
Render the head covering and coat
The skull cap is dark charcoal-black with subtle form; model it with a slightly lighter dark gray on the left side where light grazes it. The coat is a uniform dark black-brown; use directional strokes to suggest the weight of heavy fabric. The collar shows a hint of white linen—a small, precise touch. Ensure the right shoulder (viewer's right) recedes slightly into shadow.
07
Develop the table, books, and still-life details
Using burnt sienna and raw umber with white, establish the warm tan-brown table surface. Block in the books as rectangular shapes with subtle variation—spine edges darker, page edges lighter. The open book in the foreground should show distinct pages in warm cream. Add the glass with loose, transparent strokes using pale gray and white. The inkwell or small dark object on the table is secondary; suggest it simply without overworking.
08
Refine the hand and check spatial relationships
The visible hand (lower right) should echo the face's flesh tone but be slightly warmer and more saturated where light catches it. Paint it with the same careful attention to shadow you gave the face—the back of the hand catches light, the interior shadows are deeper. This hand anchors the lower composition and should feel as solid as the face. Step back and check: is the head reading as the dominant light? Are the values in correct relationship—face lighter than coat, beard lightest of all?
09
Final integration and atmospheric touches
Soften any harsh edges on the background around the head and shoulders using a large blending brush and your dark background mixture. Add a final glaze or scumble of thin dark mixture over parts of the background to deepen it and push the figure forward. Check the beard once more—it may need a final highlight accent of pure white on the forward-most curls. The overall impression should be a scholar lost in thought, emerging from shadow.

where studies of this painting go wrong

Painting the beard too uniformly white—it needs internal shadow and warmth in the folds. The darkest values in the beard sit where it tucks under the chin; the highlights are only on the outer edges catching direct light.
Making the background too uniform black. It has subtle warm undertones (raw umber, burnt sienna) that prevent it from being dead. Let it breathe slightly, especially near the figure's outline.
Over-rendering the facial features and losing the contemplative softness. The eyes are calm and downcast; avoid adding drama or tension with hard lines. The mouth is barely defined—trust suggestion over statement.
Neglecting the hand and table. These aren't afterthoughts; they establish the sitter's profession and dignity. The hand should be painted with the same care as the face, and the books should show real substance and weight.

measured difficulty