plate no. 5874

A view of Blaricum

Gustave de Smet, 1917

oilExpressionismlandscapelandscapevillagefieldsskycloudschurch

what to study here

It shows how three value zones, one diagonal and direct brushwork can organize a landscape without refined edges or detail.

Start with the value structure, because the painting is organized by it. Three zones carry the picture: a bright golden-yellow foreground field, a dark mass of trees and buildings in the middle ground, and a mid-light sky that bridges the two. Squint and the strongest contrast is between the yellow field and the dark village cluster. The church spire and the planted row are the darkest accents. Study the diagonal of that planted row, which runs from lower left toward upper right across the field and sets up the perspective. Then look at the brushwork: strong horizontal strokes in the field follow the land, the village is reduced to a few dark masses with economical internal strokes, and the cloud edges stay soft but keep visible brushwork instead of being blended. The light comes from upper left, lighting the undersides of the clouds and the field. Copy the restraint: each stroke has a direction, and nothing is overworked. Note how much of the picture depends on one warm, light area set against one dark, simplified area.

key decision

The painter reduced the village to a dark mass with the church spire as the darkest accent, set against the bright yellow field. The planted-row diagonal then leads the eye toward it.

recreation guide

Gustave de Smet’s *A view of Blaricum* (1917) represents a pivotal moment in his transition toward Flemish Expressionism, created during his exile in the Netherlands during World War I. The work is characterized by a departure from naturalistic imitation toward 'pure expression,' utilizing distorted forms and a saturated palette influenced by the Bergen School and German Expressionism (Source 4, Source 5). Rather than capturing the topographical accuracy of the Dutch landscape, De Smet employed simplified lines and shapes to create a well-organized, balanced structure that augmented the expressive quality of the scene (Source 5). The painting likely features the warm autumnal tones and broad brushstrokes that defined his style during this period, creating solid masses of paint rather than delicate details (Source 5).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (warm autumnal tones, blacks, whites)	Primary medium for the expressive color application	—
Linseed oil	Medium for glazing and scumbling techniques	Stand oil or refined linseed oil
Spirits of turpentine	Thinner for initial layers to ensure fast drying and absorbency	Odorless mineral spirits
Canvas or wood panel	Support for the oil painting	Linen canvas primed with gesso
Brushes (various sizes)	Applying broad brushstrokes and solid masses of paint	Hog bristle brushes for impasto, sable for glazing

preparation

surface prep

The surface should be prepared to accept oil paints. While specific preparation for this exact canvas is not detailed, De Smet’s practice involved working with solid masses of paint. A standard oil ground is appropriate. If employing the glazing techniques mentioned in general oil painting practice, a dry, absorbent ground is beneficial for the initial layers (Source 7).

underdrawing

De Smet’s style during this period emphasized simplified lines and shapes to create structure (Source 5). The underdrawing should likely be minimal, focusing on the essential contours and massing of the landscape elements rather than detailed topographical accuracy. Contour drawing principles suggest emphasizing mass and volume over minor details (Source 8).

underpainting

A monochrome underpainting (grisaille) may be employed to establish tone and value before applying color. This technique allows the artist to mentally extract specific hues and focus on the structural composition. Once dry, this layer serves as a foundation for glazing and scumbling (Source 3).

color palette

Warm autumnal tones

Yellow ochre, burnt umber, vermilion, rose madder

General use in this artist's palette during the Blaricum period, reflecting the influence of the Bergen School

Blacks and dark tones

Ivory black, burnt umber

Creating solid masses and chiaroscuro effects, applied in broad brushstrokes

Whites

Titanium white or lead white (historical)

Highlighting and balancing the composition, consistent with the use of two whites in direct painting

Saturated hues

Ultramarine, emerald, cobalt

Expressive coloration, potentially used in glazes to modify the underlying tones

composition

The composition likely emphasizes a well-organized and balanced structure, a hallmark of De Smet’s work during this period (Source 5). The landscape elements are arranged to create a coherent whole, with simplified shapes and forms that prioritize expressive impact over realistic detail. The sky is likely included as a significant element, contributing to the overall mood and color harmony (Source 6).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the basic contours and masses of the landscape using simplified lines. Focus on the overall structure and balance rather than detailed features.
Tip — Emphasize mass and volume; avoid getting lost in minor details.
Contour drawing

underpainting

step 02
Apply a monochrome underpainting (grisaille) to establish the tonal values of the composition. Use black, white, and perhaps a neutral tone to define light and shadow.
Tip — Ensure the underpainting is completely dry before proceeding to color layers.
Grisaille

first pass

step 03
Begin applying color using broad brushstrokes. Focus on the warm autumnal tones and blacks characteristic of De Smet’s style. Use turpentine-thinned paint for the initial layers to ensure fast drying.
Tip — Watch for the paint becoming too 'soapy' if too much oil is used; turpentine helps keep the surface absorbent.
Direct painting (prima)

refining

step 04
Apply glazes and scumbles to modify the colors and enhance the expressive quality. Use transparent coats of color (glazing) and semi-opaque layers (scumbling) to create depth and harmony.
Tip — Glazing over a darker ground can create a coldness or grey bloom; use this effect intentionally for atmospheric depth.
Glazing and scumbling

finishing

step 05
Refine the composition by adjusting the balance of colors and tones. Ensure that the simplified shapes and solid masses of paint contribute to the overall expressive impact.
Tip — Consider the simultaneous contrast of colors; adjacent hues will influence each other’s appearance.
Color harmony

varnishing

step 06
Once the painting is completely dry, apply a varnish to protect the surface and enhance the depth of the colors.
Tip — Ensure the painting is fully cured to avoid trapping solvents beneath the varnish.
Varnishing

critical techniques

Glazing and Scumbling

Used to modify the underlying monochrome layer and create depth and harmony. Glazing involves transparent coats of color, while scumbling uses semi-opaque layers. This technique was common among old masters and is useful for achieving the desired expressive effects in De Smet’s style.

Simultaneous Contrast

Understanding how adjacent colors influence each other’s appearance is crucial for achieving the desired color harmony. De Smet’s saturated palette and expressive coloration rely on this principle to create visual impact.

Broad Brushstrokes

De Smet applied paint in broad brushstrokes to create solid masses, a characteristic of his expressionist style during the Blaricum period. This technique emphasizes the physicality of the paint and the expressive quality of the work.

common pitfalls

→Overworking the paint: De Smet’s style relies on solid masses and broad strokes. Over-blending can lose the expressive impact.
→Ignoring color contrast: Failing to account for simultaneous contrast can result in muddy or dull colors. Adjacent hues will influence each other, so plan the palette carefully.
→Using too much oil in early layers: This can lead to a 'soapy' surface and slow drying. Use turpentine for initial layers to maintain absorbency.
→Focusing on topographical accuracy: De Smet moved away from realistic imitation. Prioritize expressive structure and color over detailed realism.

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 the landscape in *A view of Blaricum* (e.g., specific buildings, trees, or weather conditions) are not described in the sources, so the composition must be inferred from general style notes.
·The exact pigments used by De Smet in 1917 are not specified, so modern equivalents are suggested based on general practice.
·The specific preparatory methods (e.g., type of ground, exact underdrawing technique) for this particular painting are not documented.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

Laws of Contrast of Colour↗
- Chapter 6 — applied to Understanding simultaneous contrast and color harmony in the palette
The Practice of Oil Painting↗
- Colouring a Monochrome — applied to Techniques for glazing and scumbling over a grisaille underpainting
- Painting in Colour Direct from Life — applied to Advice on using turpentine for initial layers to prevent soapy surfaces

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — Gustave de Smet↗
- Part 1 and Part 2 — applied to Context on De Smet’s style, influences, and use of broad brushstrokes and saturated palettes
Wikipedia: Contour drawing↗
- Part 1 — applied to Principles of emphasizing mass and volume in the underdrawing

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

A rural landscape with luminous golden-yellow field dominating the foreground, rendered with strong horizontal brushstrokes that suggest cultivation. A diagonal dark vegetation line cuts sharply across this field from lower left toward upper right, creating powerful linear perspective. The middle ground clusters a dark mass of trees and buildings with a prominent vertical church spire rising as the focal anchor—silhouetted against the sky. Dramatic cream and pale yellow cloud forms with grey shadow areas fill the upper third, with light source clearly from upper left, illuminating the clouds' undersides and the bright foreground field.

value structure

The painting organizes into three distinct value zones: luminous light in the foreground field, dark mid-tone trees and buildings creating the focal village, and mid-light sky with strong highlights in the clouds. When squinted, the sharpest contrast is between the bright yellow field and the dark village cluster; the sky bridges them as a mid-tone transition. The church spire and planted row are the darkest accents, anchoring the composition.

observed palette and mixes

#393430
Lamp Black + touch of Ultramarine Blue
Church spire, dark tree masses, the planted row diagonal line
#716042
Raw Sienna + Ultramarine Blue + touch of Alizarin
Tree foliage, building shadows, darker areas of field
#92763a
Raw Sienna + Cerulean Blue
Medium-brown field areas, building mid-tones, shadow transitions
#847249
Yellow Ochre + Ultramarine Blue + touch of Alizarin
Olive-tinted field areas, vegetation shadows, mid-ground transitions
#99854e
Cadmium Yellow Medium + Raw Sienna
Golden-lit field areas, warm highlights in foreground
#ac9b6e
Titanium White + Yellow Ochre + touch of Ultramarine
Cream sky highlights, pale field accents, building highlights

edges and brushwork

Highly expressive, gestural technique throughout—edges are not refined but bold and suggestive. The foreground field is defined by confident horizontal strokes following the landscape's topography, with the planted row painted as a decisive diagonal. Cloud edges remain soft but never blended; they retain visible brushwork. Trees and buildings are simplified into their essential dark masses with economical internal strokes suggesting form rather than detail. No overworking; each stroke has direction and purpose.

a working sequence

01
Value Block-In
Using a limited palette of darks and lights, quickly establish the three major zones: sky (mid-light), village cluster with church (dark), foreground field (light). Work loosely; this is structure only. Use dry brush or thin paint to let corrections come easily.
02
Sky Foundation
Paint the entire sky with pale cream and soft yellow tones—mostly Titanium White with Yellow Ochre and a touch of Ultramarine. This should feel warm and luminous, not cool or grey. Leave the cloud highlights as the lightest notes; they won't be pure white.
03
Cloud Structure
Add the dramatic cream-white and pale grey cloud forms in the upper portion, creating depth through value—darker greys in the cloud shadows, brighter cream on the undersides where light wraps. The clouds should feel three-dimensional and active, not flat.
04
Dark Middle Ground Mass
Paint the unified dark silhouette of trees and buildings as ONE cohesive shape, not individual elements. Use dark brown-black (Lamp Black + Ultramarine). This mass should read as a solid anchor, with the church spire's position already suggested by the overall shape.
05
Church Spire Placement
Clearly define the vertical dark spire rising from the center of the village mass—this is your focal point. Ensure its placement aligns with the left-right balance you established; it should command attention without being dead-center. Use the darkest value here.
06
Foreground Field
Paint the luminous golden-yellow foreground field with confident horizontal strokes in the direction of the furrows or texture. The field should feel warm and bright but not artificial—this is the painting's warmest, most vibrant note. Use Cadmium Yellow Medium + Raw Sienna, keeping it luminous without oversaturation.
07
Planted Row Perspective
Add the diagonal dark green-black line cutting across the field from lower left toward upper right. This line is crucial—it organizes the perspective and guides the eye into depth. Paint with conviction; hesitant strokes will weaken the effect. The angle and positioning directly affect the spatial reading.
08
Texture and Details
Add horizontal directional strokes throughout the field to suggest cultivation. Refine building shapes and rooflines (rust-red tones using Light Red + Yellow Ochre). Suggest a few trees or tree groups within the dark mass without overdetailing. All marks should follow the expressive, gestural approach—no finicky detail work.
09
Value Refinement and Unification
Step back and check the overall value relationships—the field should sing as bright, the village should anchor as dark, the sky should bridge as mid-light. Soften a few edges where zones meet, but preserve the bold brushwork character. Ensure the church spire reads clearly against the sky and building mass.

where studies of this painting go wrong

The golden-yellow field is luminous and warm, but it's easy to overstep and make it look artificial or neon—it should feel like natural sunlight on cultivated land, not a highlighter pen. Stay true to ochre underneath.
The church spire is small but critical; if its horizontal position drifts even slightly from your value block-in, the entire composition loses balance. Measure twice before committing.
The planted row's diagonal angle is your perspective anchor—too steep and it loses power, too shallow and it reads flat. Get this angle right early and protect it through to the end.
The dark tree mass must read as ONE unified shape anchoring the middle ground. If you paint individual trees or break it into scattered pieces, it loses compositional weight and the spire loses its setting.
The sky's pale cream and yellow tones muddy quickly if you add too much pigment or mix in too much brown. Use mostly white and adjust with careful, minimal additions; it's easier to go darker than lighter once muddied.

measured difficulty