Venetian Women in a Church

surface prep

Prepare the cardboard surface with a traditional oil ground. Given the medium is oil on cardboard, ensure the surface is sealed to prevent the oil from degrading the paper fibers. Marstrand’s training under Eckersberg at the Royal Danish Academy would have emphasized rigorous preparation, though specific ground recipes for this piece are not detailed in the sources. The artist likely treated the surface to allow for the 'vital qualities' of the oil medium to express themselves without being lost in the support (Source 6).

underdrawing

Marstrand was known for tackling 'difficult subjects such as group scenes with many figures and complicated composition' (Source 5). While specific underdrawing techniques for this piece are not recorded, academic training of the period typically involved a precise charcoal or graphite sketch to establish the narrative and spatial relationships before applying paint. The drawing should focus on the 'organization of an artwork' and the 'visual path that enables the eye to move within the piece' (Source 7).

underpainting

Execute a monochrome underpainting (grisaille) using black, ultramarine, and white. This step involves 'mentally extracting the red and yellow colours' to establish the tonal structure of the scene (Source 1). This method aligns with the practice of Sir Joshua Reynolds, who used these specific colors for his first and second paintings, a technique Marstrand may have encountered through academic study or general knowledge of old master practices (Source 1).

Glazing and Scumbling

Used to apply color over a dry monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture. This method was practiced by old masters and is recommended for achieving depth and tone (Source 1).

Simultaneous Contrast

Understanding that adjacent colors affect each other’s perception. The painter must appreciate the 'modifications of tone and of colour which they receive from contiguous colours' (Source 4).

Monochrome Underpainting

Establishing the tonal structure using only black, ultramarine, and white before introducing color. This helps in 'mentally extracting' warm colors to focus on form and light (Source 1).