Portrait of Otto Marstrand's Two Daughters and their West Indian Nanny, Justina, in Frederiksberg Garden

surface prep

The canvas should be primed with a white or light-toned ground to allow for the traditional layering techniques. Marstrand’s academic training under Eckersberg would have emphasized a solid foundation. The surface should be smooth enough to allow for fine detail in the faces but textured enough to hold impasto if used for highlights. (Source 5)

underdrawing

Marstrand likely used a precise underdrawing, given his academic background and skill in handling complex compositions with many figures (Source 5). The drawing should establish the proportions and poses of the two daughters and Justina, ensuring the likeness is recognizable (Source 3). Use charcoal or thinned paint to sketch the forms lightly, focusing on the 'inner essence' and character of the subjects rather than just literal likeness (Source 6).

underpainting

Begin with a monochrome underpainting (grisaille) using black, ultramarine, and white, as suggested by Sir Joshua Reynolds’ method which was influential in academic training (Source 1). This layer establishes the values and forms without the distraction of color. The goal is to mentally extract red and yellow tones, focusing on the structural light and shadow (Source 1). This step is crucial for achieving the depth characteristic of old master techniques (Source 1).

Glazing

Applying transparent coats of color over a dry underpainting to achieve depth and luminosity. This was a common practice among old masters and is recommended for achieving rich tones (Source 1).

Scumbling

Using semi-opaque paint to modify underlying tones, particularly useful for creating cool highlights or softening edges. It allows the underpainting to influence the final color (Source 1).

Simultaneous Contrast

Understanding how adjacent colors affect each other’s perception. This is crucial for harmonizing the composition and ensuring accurate color representation (Source 4, Source 7).