This paper examines the circumstances that may have contributed to the success enjoyed by Danish portrait painter Jens Juel during this period. In the latter half of the 18th century cultural changes and economic growth in European society stimulated the demand for portraits and consequently the establishment of the prolific portrait painter. he aim is to demonstrate development in the artist's practice, and in so doing ofer a contribution to collectors and keepers of Rørbye's works when assessing the nature of his painting as either principal versions or replicas. his paper investigates the diferent approaches that Rørbye used, ranging from his early copies after his teacher to his autograph replicas of his own paintings. In the present study, three versions of one subject – a standing clergyman – are examined. Would Rørbye at a more mature age carry out the same meticulous underdrawing when transferring his own composition to the canvas? Rørbye also often made repetitions of his own works, occasionally in up to four or ive identical versions. Eckersberg, Rørbye painted several copies after his master, some initially believed to be by Eckersberg himself. he question arises as to whether his underdrawing technique changed over time.
Based on drawings made on his travels, Rørbye executed paintings on canvas.
Rørbye, a central igure of the Golden Age of Danish painting, worked in Italy, Greece, the Middle East and the Balkans, as well as Norway and Denmark.
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