plate no. 2082

Cornelis Evertsen (1642 - 1706), Lieutenant Admiral of Zeeland

oilBaroqueportraitportraitfigurearmorskycloudssea

recreation guide

This artwork is a formal portrait of Cornelis Evertsen, Lieutenant Admiral of Zeeland, painted by Nicolaes Maes in 1680. By this period, Maes had established himself as the leading portrait painter in Amsterdam, catering to a prosperous burgher class who viewed a portrait by him as a significant honor (Source 5). The work reflects the Baroque style of the Dutch Golden Age, characterized by a solemn dignity and a focus on the sitter’s status and character rather than flamboyant action (Source 2, Source 3). Maes’s approach to portraiture during this late career phase was influenced by his earlier training under Rembrandt, particularly in the use of chiaroscuro and brushwork, though adapted to the more refined tastes of Amsterdam society (Source 3, Source 6). The painting likely employs a limited color palette and a play of light and shadow to endow the subject with a sense of moral uprightness and solemnity, consistent with Maes’s broader artistic philosophy (Source 3).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (lead white, earth tones, ultramarine/lapis lazuli)	Primary medium for the portrait, allowing for rich color and layering.	High-quality tube oil paints
Linseed oil or poppy seed oil	Binder for the pigments, providing flexibility and depth.	Refined linseed oil or walnut oil
Turpentine	Thinner for initial layers and cleaning brushes.	Odorless mineral spirits or pure gum turpentine
Canvas or wood panel	Support for the painting. Maes worked on both, but canvas was common for large portraits.	Linen canvas stretched on wooden stretcher
Gesso or chalk ground	Preparation of the support to create a smooth, absorbent surface.	Acrylic gesso or traditional rabbit-skin glue/chalk ground
Resin varnish (pine resin or frankincense)	Final protection and enhancement of color depth.	Dammar or synthetic resin varnish

preparation

surface prep

The support (likely canvas or panel) should be prepared with a smooth, white or light-toned ground. While specific details of Maes’s ground for this exact portrait are not detailed in the sources, Dutch Golden Age painters typically used a chalk or gypsum-based ground to facilitate the layering of translucent glazes and to reflect light back through the paint layers (Source 4). The surface should be smooth to allow for the fine brushwork characteristic of Maes’s later portraits.

underdrawing

Maes’s preparatory methods for portraits are not explicitly detailed in the provided sources. However, as a pupil of Rembrandt and a master of the Dutch Golden Age, he likely used a charcoal or chalk underdrawing to establish proportions and key features. This drawing would be subtle, possibly toned down with a wash to avoid showing through the final layers. The focus would be on capturing the likeness and the solemn expression expected of a high-ranking official (Source 8).

underpainting

An underpainting (imprimatura) in a neutral tone, possibly a warm brown or gray, would be applied to establish the overall tonal values. This aligns with the Rembrandtesque influence on Maes, who used chiaroscuro to create depth and solemnity (Source 3). The underpainting helps in judging the subsequent layers of color and light.

color palette

Lead White

Pure lead white pigment

Highlights on the face, hands, and white elements of the uniform or lace. Essential for the chiaroscuro effect.

Earth Tones (Umber, Ochre, Sienna)

Natural earth pigments

Shadows, skin tones, and background. Maes used a limited color palette derived from Rembrandt to create solemn dignity (Source 3).

Ultramarine or Lapis Lazuli

Expensive blue pigment

Deep shadows and possibly elements of the uniform or background, providing richness and depth.

Red Lake or Vermilion

Organic or mineral red pigments

Lips, cheeks, and any red elements in the attire or background, adding vitality to the solemn composition.

Black (Ivory Black or Lamp Black)

Carbon-based black pigment

Deep shadows and dark clothing, contributing to the austerity and prominence of the sitter (Source 2).

composition

The composition likely features the sitter in a formal pose, possibly seated or standing, with a solemn expression. Maes’s portraits from this period were designed to convey the sitter’s status and moral character. The background is likely dark or neutral to emphasize the figure, consistent with the practice of portraying trustees and officials in dark clothing to testify to their prominent standing (Source 2). The lighting is dramatic, using chiaroscuro to model the face and hands, a technique Maes learned from Rembrandt (Source 3).

step by step

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

underdrawing

step 01
Sketch the basic proportions of the sitter on the prepared surface using charcoal or chalk. Focus on the likeness and the solemn expression.
Tip — Ensure the eyes are level and the posture conveys dignity.
Proportional drawing

underpainting

step 02
Apply a thin layer of neutral tone (e.g., raw umber diluted with oil) to establish the overall light and shadow structure.
Tip — Keep the layer thin to allow for subsequent glazing.
Imprimatura

first pass

step 03
Block in the main colors, starting with the shadows and mid-tones. Use earth tones for the skin and dark clothing.
Tip — Pay attention to the limited color palette characteristic of Maes’s style (Source 3).
Blocking in

refining

step 04
Build up the highlights and details, particularly on the face and hands. Use lead white for the brightest areas to create the chiaroscuro effect.
Tip — Observe the modifications of light on the model, as advised by color theory (Source 7).
Layering and glazing

finishing

step 05
Add final touches to the eyes, lips, and any jewelry or uniform details. Ensure the solemn dignity is conveyed through the expression.
Tip — Avoid overworking the paint; maintain the freshness of the brushwork.
Detailing

varnishing

step 06
Apply a resin varnish to protect the painting and enhance the depth of the colors.
Tip — Use a varnish made from pine resin or frankincense, as was common in the period (Source 4).
Varnishing

critical techniques

Chiaroscuro

Maes applied Rembrandt’s stylistic characteristics, including chiaroscuro, to his portraits to create a sense of solemn dignity and depth (Source 3).

Limited Color Palette

Maes used a limited color palette derived from Rembrandt, focusing on earth tones and deep shadows to evoke moral uprightness (Source 3).

Layering and Glazing

Oil painting allows for the use of layers, which Maes would have used to build up the richness and density of the color (Source 4).

Simultaneous Contrast

Understanding how colors affect each other is crucial for accurately perceiving and imitating the modifications of light on the model (Source 7).

common pitfalls

→Overusing bright colors, which would contradict the solemn and austere style of Maes’s late portraits (Source 2, Source 3).
→Neglecting the chiaroscuro effect, which is essential for conveying the dignity and depth characteristic of Maes’s work (Source 3).
→Failing to capture the likeness accurately, as portraits were intended to be recognizable records of the sitter (Source 8).
→Ignoring the principles of color contrast, which can lead to inaccurate perception of tones and colors (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 details of the sitter’s clothing, jewelry, or background objects are not described in the sources, so these must be inferred from general knowledge of Dutch Golden Age portraiture or left to the artist’s discretion.
·The exact dimensions and format of the painting are not provided, though Maes’s portraits were often large and formal.
·The specific underdrawing technique used by Maes for this portrait is not detailed in the sources.

grounded in

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

Laws of Contrast of Colour↗
- Laws of Contrast of Colour — applied to Principles of color contrast and perception of light modifications.

cross-referenced from

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

Wikipedia bio — Nicolaes Maes — part 3↗
- Nicolaes Maes — applied to Maes’s use of chiaroscuro, limited color palette, and solemn dignity in portraits.
Wikipedia: Oil painting — Oil painting — part 1↗
- Oil painting — applied to Techniques of oil painting, including layering, glazing, and varnishing.
Wikipedia: Dutch Golden Age painting — Dutch Golden Age painting — part 10↗
- Dutch Golden Age painting — applied to Conventions of portrait painting, including the use of dark clothing and solemn expressions.
Wikipedia bio — Nicolaes Maes — part 2↗
- Nicolaes Maes — applied to Maes’s success as a portraitist in Amsterdam and the demand for his work.
Wikipedia: Portrait painting — Portrait painting — part 1↗
- Portrait painting — applied to The intent of portrait painting to achieve a recognizable likeness.