plate no. 1067
The parable of the great communion
Wilhelm Marstrand, 1869
recreation guide
Wilhelm Marstrand’s 'The Parable of the Great Communion' (1869) is a Romantic-era religious painting executed in oil on canvas. While specific visual details of the composition (such as the arrangement of figures or specific iconography) are not described in the provided sources, the work belongs to a tradition of historical and religious painting where the artist exercises significant choice over draperies, backgrounds, and accessories, while flesh tones remain fixed by the model or anatomical convention (Source 3). The painting likely employs principles of simultaneous contrast to harmonize colors that are inherent to the objects represented, ensuring that the interaction between adjacent hues enhances the realism and vibrancy of the scene (Source 3).
estimated time
40-60 hours over 8-12 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints: Two whites, yellow ochre, light red, vermilion, rose madder, cobalt, emerald green, oxide of chromium, raw umber, burnt umber, ivory black | Primary palette for direct painting in color from life or studio models, as recommended for flesh and general composition. | Standard tube oils; note that 'emerald' likely refers to emerald green (chromium oxide green) and 'oxide of chromium' is a specific green pigment. |
| Spirits of turpentine | Medium for the first painting layer to ensure fast drying and prevent the surface from becoming 'soapy' or overly darkened by oil. | Odorless mineral spirits or pure gum turpentine. |
| Linseed oil | Medium for subsequent layers to provide body and gloss, used after the initial turpentine-based layer. | Refined linseed oil. |
| Canvas | Support for the oil painting. | Linen or cotton canvas, primed. |
| Varnish (optional for glazing) | Mixed with oil for advanced glazing techniques to achieve transparent color effects. | Dammar or synthetic resin varnish. |
preparation
surface prep
The canvas should be prepared with a ground suitable for oil painting. While Marstrand’s specific ground preparation is not detailed in the sources, the technique described involves painting directly onto a prepared surface. The sources suggest that for direct painting, the surface should be ready to accept turpentine-thinned paint without excessive absorption that would dull the color, but not so glossy that it prevents adhesion. A standard white or neutral-toned oil ground is appropriate for the described palette.
underdrawing
The sources do not specify Marstrand’s underdrawing method. However, given the emphasis on 'direct painting in color' (prima) and the comparison to monochrome methods, it is likely that a light, non-intrusive sketch was made to establish proportions, particularly for the flesh tones which are 'fixed by the model' (Source 3). The artist may have used a thin wash of umber or charcoal, but this is inferred from general practice rather than explicit source evidence.
underpainting
The sources describe two main approaches: direct painting in color (prima) and a monochrome underpainting (grisaille) followed by glazing. For a Romantic religious work, the artist might employ a grisaille underpainting to establish values, then glaze with transparent colors (Source 7). Alternatively, they may paint directly in color from the start, substituting 'toned colour for uncoloured tone' (Source 2). The direct method is preferred for capturing the 'modifications of the light on the model' promptly (Source 1).
color palette
Flesh tones
Yellow ochre, light red, vermilion, rose madder, white
Human figures, as these colors are 'fixed by the model' and require careful handling to avoid the 'soapy' effect of too much oil (Source 2).
Draperies and Backgrounds
Cobalt, emerald, oxide of chromium, raw and burnt umber, ivory black
Clothing and setting, where the painter has 'a choice' and can select colors to harmonize with the flesh tones using simultaneous contrast (Source 3).
Highlights and Shadows
Two whites, ivory black, burnt umber
Modeling form and light, leveraging the law of simultaneous contrast to enhance the perception of light and dark tones (Source 3).
composition
The composition likely involves a careful arrangement of figures and draperies to create a harmonious whole. The artist has the freedom to choose the colors of draperies and backgrounds to complement the fixed flesh tones (Source 3). The use of simultaneous contrast means that adjacent colors will influence each other’s appearance; for example, a light tone next to a dark tone will appear heightened or enfeebled respectively, creating a 'true gradation of light' (Source 3). The artist should aim for 'great effects' from which 'many small ones resulted,' focusing on the overall harmony rather than getting lost in minute details that might fatigue the eye (Source 3).
step by step
underdrawing→first pass→refining→finishing→varnishing
underdrawing
step 01
Lightly sketch the main figures and draperies on the prepared canvas. Focus on the proportions of the human figures, as flesh colors are fixed and require accurate placement.
Tip — Keep the drawing light to avoid interfering with the color layers.
Direct sketching
first pass
step 02
Begin painting with turpentine-thinned colors. Use the palette of two whites, yellow ochre, light red, vermilion, rose madder, cobalt, emerald, oxide of chromium, raw and burnt umber, and ivory black (Source 2).
Tip — Turpentine dries 'dead' and leaves the paint slightly absorbent, which is preferable for the first layer to prevent subsequent layers from becoming 'soapy' (Source 2).
Direct painting in color (prima)
refining
step 03
Apply subsequent layers with linseed oil. Pay attention to the simultaneous contrast of colors; ensure that adjacent hues enhance each other rather than clash. For example, if a flesh tone is next to a blue drapery, the flesh may appear slightly warmer due to the complementary effect (Source 1).
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast; take breaks to reset your vision (Source 1).
Simultaneous contrast
step 04
Harmonize the colors of the composition, particularly those inherent to the objects (flesh, eyes, hair) and those chosen by the artist (draperies, background). Ensure that the lightest tones are not lowered and the darkest tones are not heightened unintentionally by adjacent colors (Source 3).
Tip — Focus on the overall effect rather than minute details, as 'many small ones resulted from' great effects (Source 3).
Color harmony
finishing
step 05
If using a glazing technique, apply transparent coats of color over a dry grisaille underpainting. Mix oil with varnish for advanced glazing to achieve depth and luminosity (Source 7).
Tip — Glazing is a transparent coat of color, while scumbling is semi-opaque. Use these to refine the tones and add richness (Source 7).
Glazing and scumbling
varnishing
step 06
Once the painting is completely dry, apply a final varnish to protect the surface and unify the gloss.
Tip — Ensure the painting is fully dry to avoid trapping solvents.
Varnishing
critical techniques
Simultaneous Contrast
The artist must perceive and imitate the modifications of color caused by adjacent hues. This ensures that the colors appear true to life and harmonious, rather than flat or discordant (Source 1, Source 3).
Direct Painting in Color (Prima)
Painting directly with turpentine-thinned colors for the first layer, then oil for subsequent layers, to maintain freshness and avoid the 'soapy' surface that results from too much oil (Source 2).
Glazing and Scumbling
Using transparent and semi-opaque layers over a monochrome underpainting to achieve depth and luminosity, a technique practiced by old masters (Source 7).
common pitfalls
- →Using too much oil in the first layer, which can darken the color and make the surface 'soapy,' making subsequent layers difficult to apply (Source 2).
- →Ignoring the effects of simultaneous contrast, leading to colors that appear inaccurate or disharmonious (Source 1).
- →Fatiguing the eye by focusing too long on one color, which can lead to inaccurate perception of subsequent colors due to mixed contrast (Source 1).
- →Overworking minute details at the expense of the overall effect, which can detract from the 'great effects' that give rise to 'many small ones' (Source 3).
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 visual details of 'The Parable of the Great Communion' such as the number of figures, their poses, and the exact setting are not described in the sources.
- ·Marstrand’s specific underdrawing technique is not documented in the provided passages.
- ·The exact sequence of layers (whether he used grisaille or direct painting for this specific work) is not specified, so both methods are presented as possibilities based on general practice.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- 315-318, 324 — applied to Understanding simultaneous contrast, color harmony, and the artist's choice in draperies vs. fixed flesh tones.
The Practice of Oil Painting↗
- Chapter XV — applied to Palette selection, use of turpentine vs. oil, and direct painting technique.
- Colouring a Monochrome — applied to Glazing and scumbling techniques for advanced color effects.
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
in this vein
related artworks
Romantic Landscape
Karl Lessing
Self-portrait with his brother Francesco
Giuseppe Tominz
Oenone Refuse de Secourir Pâris au Siège de Troie
Léon Cogniet
Duke of Alba
Francisco Goya
Blick Aus Dem Wald Ins Tal
Andreas Achenbach
Young Girl Fixing Her Hair
Sophie Gengembre Anderson
The Plough Inn
William Shayer
Hudson River Landscape
Johann Hermann Carmiencke