plate no. 8669

Girl with a pink ribbon

Gustave de Smet, 1935

oilExpressionismportraitportraitgirlfigureribbondresshair

recreation guide

Gustave de Smet’s 'Girl with a pink ribbon' (1935) is a portrait executed in the mature phase of his Flemish Expressionist style. By 1935, de Smet had settled in Deurle, where his work represented a peak mixture of Expressionism and Cubism, characterized by a well-organized and balanced structure that augmented expressive quality (Source 2). The artwork likely exhibits the 'warm autumnal tones and blacks applied in broad brushstrokes' that defined his palette during this period, creating 'solid masses of paint on the canvas' rather than fine, realistic detail (Source 2). As a founder of Flemish Expressionism, de Smet moved away from bourgeois art and visual imitation of nature, favoring distorted forms and dynamic compositions to express personal feelings (Source 1, Source 2). The portrait would reflect his influence from the Bergen School and German Expressionism, utilizing chiaroscuro effects and simplified lines to convey emotional significance rather than photographic realism (Source 2).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (warm autumnal tones: ochres, umbers, siennas; plus black and white)	To replicate de Smet's characteristic palette of warm tones and solid black masses.	Standard tube oils: Yellow Ochre, Burnt Umber, Burnt Sienna, Ivory Black, Titanium White.
Canvas or wood panel	Support for the oil painting.	Linen canvas primed with gesso or oil ground.
Bristle brushes (flat and filbert)	To apply broad brushstrokes and create solid masses of paint.	Hog bristle brushes.
Medium (Linseed oil or similar)	For glazing and scumbling techniques if employed, or to adjust paint consistency.	Stand oil or refined linseed oil.

preparation

surface prep

While specific surface preparation for this 1935 work is not detailed in the sources, de Smet was trained at the Royal Academy of Fine Arts in Ghent (Source 1). Standard practice for oil painting of this era involves a primed canvas. Given his move toward 'solid masses of paint' and broad brushstrokes in his later years (Source 2), a slightly textured ground may be beneficial to hold the impasto, though a smooth ground allows for the 'simplified lines' also noted in his style (Source 2).

underdrawing

De Smet’s later work emphasized 'simplified lines and shapes' and a 'well-organized and balanced structure' (Source 2). The underdrawing should likely be loose and structural, focusing on the 'cubist elements in their sense of balance, synthesis and construction' (Source 1). Avoid tight, realistic contouring; instead, sketch the major masses and rhythmic lines that direct the eye to the center, consistent with the principle that 'lines have a power of directing the attention' (Source 6).

underpainting

De Smet’s style evolved to include 'chiaroscuro effects' and 'solid masses of paint' (Source 2). A grisaille or tonal underpainting could be used to establish the 'well-organized and balanced structure' before applying color. Source 3 discusses the traditional method of painting a grisaille first, then glazing and scumbling color over it. While de Smet’s later work involved direct application of broad strokes, establishing the value structure (chiaroscuro) early is consistent with his expressionist focus on light and shadow (Source 2).

color palette

Warm Autumnal Tones

Yellow Ochre, Burnt Sienna, Burnt Umber, mixed with White or Black

General use in this artist's palette; de Smet’s palette changed to 'warm autumnal tones' in his later period (Source 2).

Black

Ivory Black or Mars Black

Applied in 'broad brushstrokes leading to solid masses of paint' (Source 2). Used for shadows and structural definition.

Pink (for the ribbon)

White mixed with a touch of Red (Vermilion or Cadmium Red)

The title specifies a 'pink ribbon'. While not explicitly described in the sources, this is the only specific color detail provided in the artwork title. It would contrast with the warm autumnal background.

White

Titanium White or Lead White (historical)

Highlights and mixing with warm tones to create the 'saturated palette' associated with the Bergen School influence (Source 2).

composition

De Smet’s work from this period (1929-1930 onwards) peaked in a mixture of Expressionism and Cubism, emphasizing 'balance, synthesis and construction' (Source 1). The composition should avoid realistic perspective in favor of a 'well-organized and balanced structure' (Source 2). Use 'simplified lines and shapes' to define the figure (Source 2). The arrangement should likely feature 'distorted forms' and 'dynamic compositions' characteristic of Flemish Expressionism (Source 1). The eye should be directed to the center, possibly using dark masses in the corners to avoid drawing attention to the boundaries, a technique noted in general composition theory (Source 6).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic structure of the portrait using simplified lines and shapes. Focus on the balance and construction of the form rather than realistic detail.
Tip — Ensure the composition has a 'well-organized and balanced structure' (Source 2).
Structural Sketching

underpainting

step 02
Apply a tonal underpainting to establish chiaroscuro effects. Use black and white or warm browns to define the light and shadow masses.
Tip — De Smet used chiaroscuro to focus on personal feelings and expressive depiction (Source 2).
Chiaroscuro Underpainting

first pass

step 03
Apply broad brushstrokes of warm autumnal tones (ochres, umbers) to the background and clothing. Create solid masses of paint rather than blending smoothly.
Tip — Aim for 'solid masses of paint on the canvas' (Source 2).
Impasto/Broad Brushwork

refining

step 04
Define the face and the pink ribbon. Use simplified lines for facial features. The pink ribbon should be a distinct, saturated color against the warm tones.
Tip — Maintain the 'expressionist touch' and avoid 'visual imitation of nature' (Source 2).
Color Application

finishing

step 05
Adjust the balance and contrast. Ensure the black masses provide structural support and the warm tones dominate the palette.
Tip — Check that the 'dynamic composition' holds together without realistic detail (Source 1).
Compositional Balance

critical techniques

Broad Brushstrokes and Solid Masses

De Smet applied colors in 'broad brushstrokes leading to solid masses of paint on the canvas' (Source 2). This technique avoids fine detail and emphasizes the physical presence of the paint.

Chiaroscuro

Used to create 'chiaroscuro effects' that help depict personal feelings and expressive ways (Source 2). This involves strong contrasts between light and dark.

Simplified Lines and Shapes

De Smet used 'simplified lines and shapes' to move away from visual imitation of nature (Source 2). This is key to the expressionist distortion.

common pitfalls

→Attempting realistic detail: De Smet believed 'visual imitation of nature stands in terrific opposition to pure expression' (Source 2). Avoid fine, photographic rendering.
→Over-blending: The style relies on 'solid masses of paint' and 'broad brushstrokes' (Source 2). Over-blending will lose the expressionist texture.
→Cold Palette: De Smet’s later palette shifted to 'warm autumnal tones' (Source 2). Using cool blues or greens as dominant colors would be inconsistent with this period.
→Lack of Structure: The work must have a 'well-organized and balanced structure' (Source 2). Do not let the expressionism become chaotic; it should be constructed.

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 visual details of the 'Girl with a pink ribbon' (e.g., the girl's pose, facial expression, background setting) are not described in the sources. The guide relies on general stylistic traits of de Smet's 1935 period.
·The exact pigments used by de Smet are not specified, though 'warm autumnal tones' and 'blacks' are noted.
·The specific role of the pink ribbon in the composition (e.g., its size, placement) is unknown, as only the title is provided.

grounded in

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

The Practice of Oil Painting — COLOURING A MONOCHROME↗
- COLOURING A MONOCHROME — applied to General context on glazing and scumbling, though de Smet's later style favored direct application.
The Practice and Science of Drawing — ILLUSTRATING SOME OF THE LINES...↗
- ILLUSTRATING SOME OF THE LINES... — applied to General principles of composition and line direction.

cross-referenced from

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

Wikipedia bio — Gustave de Smet — part 1↗
- Biography — applied to Context on Flemish Expressionism, distorted forms, and dynamic compositions.
Wikipedia bio — Gustave de Smet — part 2↗
- Biography — applied to Details on palette (warm autumnal tones, blacks), technique (broad brushstrokes, solid masses, chiaroscuro, simplified lines), and structural balance.

Read more about the corpus on the sources page and how the guides are built on the methods page.

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