plate no. 0670
A windmill in a landscape, Het Gooi
Gustave de Smet, 1916
what to study here
It shows how loose, gestural sky handling and a calm, unified light field can share one canvas, held together by value zones.
Look at how the picture is built from three horizontal bands: a restless sky, a narrow zone holding the windmill and buildings, and a pale cream-yellow foreground that reads as one light plane. Squint and the values separate into very dark (tree forms on the left, deepest sky shadows), very light (the field), and medium (the windmill and buildings). The dark left trees and the sky shadows push the windmill forward. Compare the two kinds of handling. The sky is thick, visible strokes of blue, white and green with minimal blending. The field uses longer, softer horizontal strokes that suggest flatness without looking mechanical. The windmill is a warm reddish-brown form, with sharper edges where it meets the sky so it reads clearly. Study how the painter keeps the field unified while allowing small shifts in warmth, and how the eye enters through the light field but is pulled up into the sky. The palette is muted: ochres, raw sienna, blue-grays, and a dark blue-green.
key decision
The painter split the canvas into three value zones and handled the sky and the foreground field with different brushwork. Dark trees and sky shadows push the windmill forward while the pale field stays one luminous mass.
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.
read from the painting
observed from the image, not the label6 dominant colors, measured
what the eye sees
The windmill anchors the center-right as a warm reddish-brown form, silhouetted against a vibrant, fragmented sky of blue, white, and gestural green passages. The composition is divided into three clear horizontal bands: a dynamic, restless sky (upper half) dominated by visible brushstrokes and soft whites; a transitional zone of the windmill and warm-toned buildings; and a luminous, pale cream-yellow field (foreground) that reads as a unified light plane. On the left, dark green vertical forms (trees) frame the scene and push the windmill forward through value contrast; eye entry is through the light field, but movement is drawn upward to the sky's energetic patchwork.
value structure
The painting operates on three distinct value zones: very dark (deep blue-green sky shadows and tree silhouettes on the left), very light (the cream-yellow field that dominates the lower half), and medium (the windmill and surrounding structures). When you squint, the field reads as a single luminous mass that anchors the composition, while the sky above breaks into fragmented dark and light patches. The darkest accents—pure shadows in the sky and the tree forms—establish spatial recession and make the windmill advance.
observed palette and mixes
#c4ac87
Yellow ochre + raw sienna + white (generous)
Windmill structure, building forms, warm field transitions
#b59c81
Raw sienna + yellow ochre + white
Mid-tone field areas, earthen warmth throughout foreground
#6c8186
Cerulean blue + viridian + touch of ultramarine
Sky mid-tones, atmospheric blue-gray areas
#6b7478
Ultramarine + alizarin + viridian
Sky shadows, cool recessive areas
#434d4f
Ultramarine + burnt sienna + viridian
Tree silhouettes on left, deepest sky shadows
#8a8782
Raw sienna + ultramarine + white
Warm grays and field shadow areas
edges and brushwork
The sky dominates with bold, gestural brushwork—thick strokes of blue and white are laid with visible energy and minimal blending, creating a sense of movement and emotion. The field is handled more softly with longer horizontal strokes that suggest flatness, though never mechanical. The windmill gains definition through sharper edges against the sky to read clearly, while tree forms on the left are rendered as decisive, dark vertical marks. There's deliberate contrast between controlled form (field and building masses) and loose, expressionistic sky handling.
a working sequence
- 01
Block composition and value zones
Lightly wash in the horizon line that divides the field from the sky (roughly middle-upper third). Establish the three major value areas: sky mass (leave lighter for now), large foreground field (light), and dark vertical tree forms on the left. Position the windmill as a medium-value shape center-right. Use thin ultramarine + burnt sienna for this underpainting.
- 02
Establish the luminous field base
Mix generous pale cream-yellow (yellow ochre + raw sienna + white in large quantity) and cover the entire foreground with confident horizontal strokes. Vary subtly—warmer in places, hints of mauve and green elsewhere, but keep it unified and light. Paint around but not over the dark green left edge; that stays pronounced. The field should feel glowing, not flat.
- 03
Build the energetic sky
Load your brush and work quickly—lay in gestural strokes of cerulean and viridian in the upper-left, whites for cloud forms, hints of warm yellow-green upper-right. Make the strokes visible and energetic; don't smooth them. Build darker blue-gray and deep shadows where the sky recedes. The sky must feel restless and alive, not modeled smoothly.
- 04
Define the windmill
Using warm ochre-sienna, paint the windmill structure as a distinct form—warm reddish-brown on sun-struck faces, darker shadow sides. Give it enough silhouette and value to read against the complex sky behind it. Add the secondary building (visible right side) in similar warm tones but slightly more muted than the windmill.
- 05
Plant the dark green tree forms and frame
Paint the vertical tree forms on the left with bold, dark strokes using your darkest mix (viridian + ultramarine + burnt sienna). They should feel solid and present, creating a strong left frame. Define the dark green path or border at the bottom-left edge—this frames the whole composition and is crucial for making the light field advance forward.
- 06
Deepen sky transitions and add atmospheric work
Return to the sky with additional gestural marks—deeper blue accents, brighter whites, hints of green. Allow underlying colors to show; the sky should feel layered. Soften some edges where sky meets landscape (especially around the windmill), but leave others sharp and clear. The upper portion must feel more energetic than the horizon.
- 07
Refine field harmony and subtle shadows
Work back into the field with soft strokes to unify subtle transitions between warm and cool areas. Add thin shadows beneath the windmill and at the base of tree forms using warm gray (raw sienna + ultramarine + white). Keep the overall field reading as a single light plane while allowing internal variation. Step back frequently to assess unity.
- 08
Final emphasis and color harmony
Make final passes to clarify windmill-sky contrast and ensure sufficient value separation. Add warm or cool touches that tie areas together—brighter yellows in the field, hints of green in sky transitions, deepened shadow accents around buildings. The painting should feel unified through color and value relationships, energetic but harmonious, not overworked.
where studies of this painting go wrong
- Over-blending the sky into smoothness—this painting's expressive power depends on visible, gestural strokes that remain distinct and energetic. Resist the urge to blend.
- Making the field too saturated or too varied in hue; it must read as a unified light plane despite internal warmth and subtle color shifts. Muted harmony is the goal.
- Losing the windmill through insufficient value contrast or definition against the complex sky. It's the subject—ensure clear silhouette and distinct form.
- Rendering the dark green tree forms as soft or subtle. They must be bold, dark, and decisive to frame the composition and establish spatial recession.
measured difficulty
- beginner friendliness
- value contrast
- palette complexity
- compositional simplicity
- brushwork visibility
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