plate no. 0670
A windmill in a landscape, Het Gooi
Gustave de Smet, 1916
recreation guide
This artwork, 'A windmill in a landscape, Het Gooi' (1916), represents a pivotal moment in Gustave de Smet’s transition toward Flemish Expressionism. Created while the artist was in exile in the Netherlands during World War I, the work reflects the influence of the Bergen School and German Expressionism, characterized by a move away from bourgeois realism toward a more structured, expressive idiom (Source 2). The painting likely exhibits the 'saturated palette' and 'figurative depiction with cubist influences' that defined this period of his career, where visual imitation of nature was subordinated to pure expression (Source 6). Technically, the work aligns with De Smet’s documented shift toward using 'warm autumnal tones and blacks applied in broad brushstrokes leading to solid masses of paint' (Source 6). Unlike his earlier academic training, this period emphasizes a 'well-organized and balanced structure' augmented by chiaroscuro effects and simplified lines (Source 6). The composition likely prioritizes the expressive quality of the landscape over topographical accuracy, consistent with the Expressionist goal of depicting personal feelings through distorted forms and dynamic coloration (Source 2).
estimated time
20-30 hours over 5-7 sessions (allowing for drying times between layers if employing glazing/scumbling techniques)
materials
6 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, Black, White, Yellow Ochre/Red Ochre, Burnt Sienna) | Primary pigments for underpainting and color application. Ultramarine, black, and white are specifically noted in historical methods for initial layers (Source 1). | — |
| Linseed oil or Oil of Copavia | Medium for thinning paint and creating glazes. Source 1 mentions oil of copavia for first/second paintings; linseed is the standard modern equivalent for oil painting (Source 7). | Stand Oil or Linseed Oil |
| Mineral Spirits or Turpentine | Solvent for cleaning brushes and thinning initial washes (Source 7). | Odorless Mineral Spirits |
| Canvas | Support surface. | Linen or Cotton Canvas |
| Charcoal or Thinned Paint | For initial sketching of the composition (Source 7). | — |
| Palette Knives and Brushes | Application tools. Palette knives are noted for scraping and applying solid masses of paint (Source 7). | — |
preparation
surface prep
Prepare a standard oil-primed canvas. While specific ground preparation for this exact 1916 work is not detailed, traditional oil painting practices of the era involved preparing a stable surface to prevent cracking (Source 7). De Smet’s academic background suggests a respect for traditional support preparation, though his later expressionist phase focused more on the paint application itself.
underdrawing
Sketch the composition using charcoal or thinned paint (Source 7). De Smet’s work from this period emphasizes 'simplified lines and shapes' and a 'well-organized and balanced structure' (Source 6). The drawing should focus on the structural balance of the windmill and landscape rather than fine detail, reflecting the Cubist-influenced synthesis characteristic of his exile period (Source 2).
underpainting
Apply a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil (Source 1). This technique, attributed to Sir Joshua Reynolds and practiced by old masters, involves establishing the tonal values before adding color. The instruction is to mentally extract red and yellow colors, translating what would remain in nature if those colors were absent (Source 1). This creates a structural foundation for the subsequent expressive color layers.
color palette
Warm Autumnal Tones
Yellow Ochre, Red Ochre, Burnt Sienna
General use in this artist's palette during his exile period. De Smet’s palette changed to warm autumnal tones (Source 6).
Black
Ivory Black or Lamp Black
Applied in broad brushstrokes to create solid masses of paint and chiaroscuro effects (Source 6). Also used in the initial monochrome underpainting (Source 1).
Ultramarine
Ultramarine Blue
Used in the initial monochrome underpainting (Source 1). Likely used for sky or shadow accents in the final layer.
White
Titanium or Zinc White
Used in the initial monochrome underpainting (Source 1) and for highlighting.
composition
The composition should reflect the 'dynamic compositions' and 'sense of balance, synthesis and construction' associated with Flemish Expressionism and Cubist influences (Source 2). De Smet’s work from this period places greater emphasis on a 'well-organized and balanced structure' (Source 6). Avoid literal topographical accuracy; instead, focus on the 'figurative depiction' that serves the expressive intent (Source 6). The windmill and landscape elements should be arranged to create a coherent composition where the sky and weather are integral to the mood (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the windmill and landscape forms using charcoal or thinned paint. Focus on simplified shapes and structural balance.
Tip — Ensure the composition reflects the Cubist-influenced synthesis characteristic of De Smet’s 1916 style.
Initial Sketching
underpainting
step 02
Apply a monochrome layer using black, ultramarine, and white mixed with oil. Establish the light and shadow values, mentally excluding red and yellow tones.
Tip — This layer should be quite dry before proceeding. It serves as the structural base.
Grisaille Underpainting
first pass
step 03
Apply warm autumnal tones (yellows and reds) using glazing and scumbling techniques. Glaze transparent coats of color over the dry grisaille.
Tip — Glazing involves a transparent coat of color. Scumbling involves semi-opaque painting where the underlying layer shows through.
Glazing
refining
step 04
Apply black and other colors in broad brushstrokes to create solid masses of paint. Enhance chiaroscuro effects and simplify lines.
Tip — Focus on personal expression rather than visual imitation of nature. Use palette knives if needed for texture.
Broad Brushwork / Chiaroscuro
finishing
step 05
Adjust color contrasts based on the law of simultaneous contrast. Ensure that contiguous colors modify each other appropriately to achieve harmony.
Tip — Be aware that the eye may perceive colors inaccurately due to mixed contrast; adjust tones to ensure the intended expressive impact.
Simultaneous Contrast
critical techniques
Glazing and Scumbling
De Smet’s practice, influenced by old masters, involves glazing (transparent coats) and scumbling (semi-opaque layers) to build color depth. This is done after a dry monochrome underpainting (Source 1).
Broad Brushstrokes and Solid Masses
During his exile, De Smet applied colors, particularly blacks, in broad brushstrokes to create solid masses of paint, moving away from fine detail (Source 6).
Simultaneous Contrast
Understanding how contiguous colors affect each other’s appearance is crucial for harmonizing the composition and achieving the desired expressive tone (Source 3).
common pitfalls
- →Applying new layers before the previous layer is dry, which can lead to cracking and peeling. The 'fat over lean' rule must be observed (Source 7).
- →Over-relying on visual imitation of nature. De Smet explicitly stated that visual imitation stands in opposition to pure expression (Source 6).
- →Ignoring the effects of simultaneous contrast, which can lead to inaccurate color perception and disharmony in the final piece (Source 3).
- →Using too much solvent in later layers, violating the 'fat over lean' principle essential for paint film stability (Source 7).
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 pigment brands or exact ratios used by De Smet in 1916 are not detailed in the sources.
- ·The exact dimensions of the canvas are not provided.
- ·Specific details of the windmill’s structure (e.g., number of sails, specific architectural features) are not described in the sources, so the artist must rely on general knowledge of Het Gooi windmills or reference images, keeping in mind the 'simplified' style.
- ·The specific varnish type used for finishing is not mentioned, though varnish is noted as a medium for glazing in Source 1.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting technique (grisaille), glazing, and scumbling methods.
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast principles.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Gustave de Smet↗
- part 1 & part 2 — applied to Artist’s style evolution, influence of Bergen School, use of warm autumnal tones, broad brushstrokes, and expressive intent.
Wikipedia: Oil painting↗
- part 2 — applied to General oil painting techniques, 'fat over lean' rule, and material handling.
Wikipedia: Landscape painting↗
- part 1 — applied to General composition principles regarding sky and weather elements.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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