plate no. 8669

Girl with a pink ribbon

Gustave de Smet, 1935

oilExpressionismportraitportraitgirlfigureribbondresshair

what to study here

It shows how a single pale mass, a few controlled edges and loose, visible strokes can carry a calm frontal portrait.

Start with the value structure. The pale face, neck and hands are the only light mass, set against a dark burgundy dress and a divided background, with no middle grays between them. Squint and you should see three zones: pale head, dark dress, gray background. The background splits into warm gray-brown on the left and cooler blue-gray on the right, which separates the figure without building literal depth. Study the edges. The white collar against the dress is sharp, while the hair dissolves into the background, and that contrast sets the rhythm. The face is simplified into planar blocks, yet directional strokes keep it from going flat. The dress is built from short, parallel striations that follow the form without rendering every fold. The pink ribbon at the upper left of the head is a soft note that should not compete with the face. Note the limited palette of desaturated darks, muted grays and one warm skin tone. Copy the restraint: stop before the face turns realistic.

key decision

The painter kept the face, neck and hands as the only light mass against a dark dress and gray background, with no middle values between them. Edges are sharp only at the collar and dissolve elsewhere.

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.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A young girl gazes directly at the viewer with a solemn, composed expression. Soft light from the upper left illuminates her pale face and neck, which reads as the brightest mass against a dark burgundy dress and divided background. Her dark hair frames the face, with a soft pink ribbon visible on the upper left side of her head. The eye travels immediately to the centered pale face, anchored by the white collar detail at the neck. Behind her, the background shifts from warm gray-brown on the left to a cooler blue-toned area on the right, creating atmospheric separation without literal depth.

value structure

The painting operates on a clear binary of light versus dark. The face, neck, and hands form the distinct light key, rendered in pale warm tones that pop against the surrounding darks. The dress and most of the background occupy the dark family—a rich, desaturated burgundy for the dress and muted brown-grays and cool grays for the background. Squint and you see three value zones: the pale head, the dark dress, and the transitional gray-toned background. No middle grays mediate between them; the contrast is deliberate and structural.

observed palette and mixes

#362f30
Ultramarine + Alizarin + touch of Titanium White, heavily weighted toward ultramarine
Darkest accents in the dress folds, deepest shadow areas
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Burnt Sienna + Ultramarine + Alizarin in warm-leaning mix
Main body of the dark dress, warm shadow areas of the background left side
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Ultramarine + Titanium White + touch of Burnt Umber
Cool gray notes in the upper background on the right, mid-tone shadow areas
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Raw Sienna + Ultramarine + Titanium White
Warm mid-tone background, transition areas, some face shadows
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Yellow Ochre + Ultramarine + Titanium White, or Raw Sienna + Titanium White
Mid-tone face modeling, hand areas, lighter background warm tones
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Titanium White + Yellow Ochre + touch of Alizarin or Raw Sienna
Face highlight and primary skin tone, neck, collar, wrist/hand areas; the luminous core

edges and brushwork

The brushwork is loose and gestural throughout, especially visible in the background where diagonal and vertical marks suggest movement without describing form. The silhouette of the girl is soft and often lost, particularly around the hair and shoulders. The face, while simplified into planar blocks, shows enough directional brushwork to feel alive rather than flat. The dress displays linear striations—short, parallel marks that suggest fabric texture and follow the form without rendering every fold. Edges shift between sharp (white collar against dress) and completely dissolved (hair into background), creating visual rhythm.

a working sequence

01
Block in the value masses with raw shapes
Using thin paint or diluted medium, map the three main value zones: lay a pale rectangular shape for the face and neck area, a dark mass below for the dress, and establish the background as two color temperature zones (warm brown-gray left, cooler blue-gray right). Don't model yet—just establish where light and dark live. Keep the girl centered and frontal.
02
Establish the head shape and basic features
Define the simplified head as an oval, noticing how it sits upright and how the pale tone dominates. Block in the eye placement—two calm, direct eyes positioned at roughly equal heights. Indicate the pink ribbon as a soft shape in the upper-left portion of the hair. At this stage, treat the face as a single warm light mass; don't separate features yet.
03
Build the rich burgundy dress with directional strokes
Mix a deep burgundy using Alizarin and Ultramarine, adjusted with Burnt Sienna to keep it desaturated. Apply this in loose, parallel marks that suggest fabric weight and vertical flow. Notice how the dress has visible golden-yellow striations running through it—add these with a lighter warm mix. The sleeves roll up to show pale wrists; leave that light value exposed. Don't overwork; let the brushstrokes remain visible.
04
Refine the face modeling with subtle value shifts
The face isn't flat—use your pale mix with slight warmth variations to suggest the skull underneath. The forehead is lighter; the eye sockets and cheeks have warm-shadowed edges. Model gently with a soft brush, avoiding realistic rendering; these should read as simplified planes. Place the pink-mauve cheeks and a softer pink for lips. The pale skin tone is the unifying element holding the composition.
05
Define the white collar and deepen surrounding values
Paint the white collar shape at the neck—this is a key value anchor. Use near-white (Titanium White with minimal ochre). This crispness makes the neck feel present. Darken the shadows immediately around the collar where the dress meets the neck. The hands emerging from rolled sleeves should stay pale and simple, almost shapes rather than detailed hands.
06
Develop the background with color temperature and gesture
The left side of the background reads warm—use muted browns and ochres. The right side is cooler—add Ultramarine and gray. Avoid making this realistic; instead, use loose, energetic brushstrokes that move differently in each zone. The background should feel atmospheric but not recessive. Let your marks be visible; this is expressionist handling. Keep the focus on the face by ensuring the background never reads as sharp or detailed.
07
Clarify edges and integrate soft lost edges
Step back and assess. The white collar edge against dark dress can be relatively crisp—that's intentional. The hair-to-background edges should be soft and often invisible. If the silhouette feels too neat or outline-heavy, soften edges by dry-brushing or allowing colors to merge. The goal is a figure that feels integrated into the background, not cut out. Add any final pink ribbon accent if needed.
08
Refine value hierarchy and final adjustments
Squint at your work. Does the pale face still read as the primary light mass? If the dress feels too bright or the background competes, adjust accordingly. Make sure the pink ribbon reads softly—it shouldn't be loud. If any edges feel too busy, simplify them. This is a portrait of calm presence, not visual drama, so restraint in the final moves matters.

where studies of this painting go wrong

Overworking the face into photorealism—the expressionist planes and simplified modeling are the style; adding detail kills the impact.
Making the dress too bright or too saturated—it's a dark burgundy, desaturated and warm, not a lipstick red or pure maroon.
Rendering the background as atmosphere (soft and recessive) when it should be gestural and present—the loose brushstrokes are structural, not atmospheric smoke.
Making the white collar too bright or too sharp—it's a value anchor but should feel integrated, not like a cutout.
Losing the pink ribbon entirely or making it scream for attention—it's a soft, almost whispered note, visible only because you know to look for it.

measured difficulty