Haystacks

surface prep

Prepare a standard oil ground. While de Smet’s specific ground preparation for this exact work is not detailed, the general practice of the period and the 'old masters' referenced in technical texts involved preparing a surface capable of supporting glazing and scumbling techniques (Source 4). Given the shift toward 'solid masses of paint' in his later work, a robust, absorbent ground would be appropriate to handle the impasto.

underdrawing

De Smet’s work during this period emphasized 'simplified lines and shapes' (Source 5). A loose, gestural underdrawing focusing on the mass and volume of the haystacks and landscape elements, rather than fine detail, is consistent with the contour drawing principles that emphasize form over minor details (Source 8). The drawing should establish the 'well-organized and balanced structure' noted in his biography (Source 5).

underpainting

Consider a grisaille or monochrome underpainting. Technical texts from the era describe a method where a monochrome base is established, from which red and yellow tones are mentally extracted, before glazing and scumbling color over it (Source 4). This technique allows for the 'chiaroscuro effects' de Smet began to employ (Source 5). Alternatively, given his move toward 'solid masses of paint,' a direct alla prima approach with thick application may be more appropriate for the final layers, but an underpainting helps manage the 'modifications of the light' (Source 3).

Simultaneous Contrast

Understanding that juxtaposed colors affect each other’s appearance, allowing the artist to create 'true gradation of light' and harmonize colors inherent to the object (Source 1, Source 3).

Chiaroscuro

Used to create depth and expressive quality, with de Smet employing it alongside simplified lines and shapes during his expressionist phase (Source 5).

Glazing and Scumbling

Techniques for layering color to achieve transparency and harmony, as described in historical oil painting practices (Source 4).