A view of Blaricum

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).

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.