plate no. 7038
Haystacks
Gustave de Smet, 1914
what to study here
It shows how a narrow band of light, warm mid-tones can carry a landscape when shadows stay warm and the darkest darks are kept to a few small areas.
Study how the lights are held high in this picture. The visionGuide describes the pale sky and sunlit haystack faces as the lightest values, the field and earth as warm mid-tones, and the tree line and shadows under the stacks as the darkest accents. Squint and the canvas reads as three horizontal bands: cool light on top, warm light in the middle, warm dark below. Notice that the haystacks stay fairly light overall, and that their shadow sides tip toward muted purples and warm browns rather than hard dark edges. Light comes from the upper left, so the left faces of the stacks carry the brightest cream. Look at the brushwork contrast too: loose horizontal strokes in the sky and field suggest wind, the haystack edges are softer where light meets shadow, and the distant tree line is made of broken marks that sit back in space. The small reddish building on the left is a warm accent that anchors the scene. Copy the value relationships first and the edges second.
key decision
The painter keeps the haystacks relatively light and lets their shadows turn muted purple-brown rather than dark. This holds the luminosity of the stacks against the darker tree line.
recreation guide
Gustave de Smet’s 1914 oil painting *Haystacks* represents a pivotal moment in his artistic development, occurring during his exile in the Netherlands at the outbreak of World War I. While the artwork is categorized under Impressionism in the prompt, historical records indicate that during this period (1914–1922), de Smet was transitioning away from pure visual imitation toward a style influenced by the Bergen School and German Expressionism (Source 5). This shift is characterized by a move toward 'pure expression' rather than strict realism, utilizing simplified lines, shapes, and chiaroscuro effects to convey personal feeling (Source 5). The work likely exhibits a 'well-organized and balanced structure' that augments its expressive quality, moving beyond the Latem School’s earlier naturalism (Source 6).
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, blacks, ultramarine, white) | Primary medium for creating the saturated palette and solid masses of paint characteristic of de Smet's post-1914 style. | — |
| Canvas or linen support | Standard support for oil painting. | — |
| Oil of copavia or similar resinous medium | Historical medium used by artists of this tradition for glazing and binding pigments, as noted in Reynolds' method which influenced the period's technical discourse. | Liquin or Galkyd |
| Brushes (various sizes for broad brushstrokes) | To apply paint in 'broad brushstrokes leading to solid masses,' a key feature of de Smet's evolving style. | — |
preparation
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).
color palette
Warm Autumnal Tones
Ochres, Umbers, Siennas, mixed with White
De Smet’s palette changed to 'warm autumnal tones' during his exile in the Netherlands (Source 5). These would be used for the haystacks and earthy landscape elements.
Black
Ivory Black or Lamp Black
Applied in 'broad brushstrokes leading to solid masses of paint' to create depth and structure (Source 5).
Ultramarine
Ultramarine Blue
Part of the traditional palette mentioned in historical technical contexts (Source 4), likely used for sky or shadow contrasts.
White
Lead White or Zinc White
Used to lighten tones and create highlights, essential for the 'gradation of light' described in color theory (Source 1).
composition
The composition should reflect a 'well-organized and balanced structure' (Source 5). De Smet’s work during this period moved away from the 'visual imitation of nature' toward 'pure expression' (Source 5). The arrangement of elements should prioritize structural balance and synthesis, influenced by Cubist elements (Source 6), rather than strict topographical accuracy. The sky is likely included as a significant element, consistent with landscape traditions where weather and sky are important compositional components (Source 2).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the basic forms of the haystacks and landscape using simplified lines and shapes. Focus on the mass and volume rather than fine details.
Tip — Ensure the composition has a balanced structure, avoiding overly detailed rendering at this stage.
Contour Drawing
underpainting
step 02
Apply a monochrome underpainting (grisaille) to establish the chiaroscuro effects and tonal values. This helps in perceiving the modifications of light on the model.
Tip — Pay attention to the 'gradation of light' where juxtaposed tones affect each other (Source 1).
Grisaille
first pass
step 03
Begin applying color using warm autumnal tones and blacks. Use broad brushstrokes to create solid masses of paint, reflecting de Smet’s stylistic shift.
Tip — Avoid mixing colors too much on the palette; allow the 'simultaneous contrast' of juxtaposed colors to create vibrancy (Source 3).
Impasto/Broad Brushwork
refining
step 04
Refine the composition by adjusting the balance and structure. Introduce glazing or scumbling techniques if needed to harmonize colors, particularly for sky or atmospheric effects.
Tip — Be aware of 'mixed contrast' where the eye’s tendency to see complementary colors can distort perception (Source 3).
Glazing/Scumbling
finishing
step 05
Finalize the painting by ensuring the expressive quality is maintained. Check that the 'solid masses of paint' hold their form and that the chiaroscuro effects are effective.
Tip — Ensure the work does not revert to 'visual imitation of nature' but retains its expressive, structural integrity.
Final Assessment
critical techniques
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).
common pitfalls
- →Over-rendering details: De Smet’s style during this period emphasized 'simplified lines and shapes' and 'solid masses of paint' rather than fine detail (Source 5).
- →Ignoring color contrast: Failing to account for 'simultaneous contrast' can lead to muddy colors and a lack of vibrancy (Source 3).
- →Reverting to realism: The artist explicitly moved away from 'visual imitation of nature' toward 'pure expression' (Source 5). Avoid overly realistic rendering.
- →Eye fatigue: Prolonged focus on one color can lead to 'mixed contrast' errors, where the eye perceives complementary colors inaccurately (Source 3).
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 1914 *Haystacks* painting (e.g., exact number of haystacks, specific background elements) are not described in the sources.
- ·De Smet’s exact pigment choices for this specific work are not listed, only general palette shifts to 'warm autumnal tones' and 'blacks'.
- ·The specific underpainting method used for this particular canvas is not documented, though general period techniques are available.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Understanding simultaneous contrast and gradation of light in color application.
- 315. As to the advantages the painter will find in it... — applied to Perceiving modifications of light and harmonizing colors.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Techniques of glazing, scumbling, and monochrome underpainting.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Gustave de Smet — part 2↗
- Biography — applied to Stylistic shift to expressionism, use of chiaroscuro, simplified shapes, and warm autumnal palette.
Wikipedia bio — Gustave de Smet — part 1↗
- Biography — applied to Context of exile, influence of Bergen School and Cubism on structure and balance.
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to General role of sky and weather in landscape composition.
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing approach focusing on mass and volume.
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
Light falls from the upper left onto three prominent conical haystacks arranged across a golden field, with the tallest stack in the left-center commanding immediate attention. The pale, luminous sky occupies the upper third with wispy clouds and wind-streaked brushwork that suggests movement. Behind the haystacks, a dark tree line anchors the horizon, while a small reddish building on the left grounds the composition in a working rural landscape. Your eye enters at the bright central haystack and travels rightward across the diminishing forms, guided by the warm earth tones and the contrast between sun-struck straw and cool shadows.
value structure
The painting is organized around a clear light-to-dark sequence: the pale sky and illuminated haystack faces are your lightest lights, the field and earth are warm mid-tones, and the tree line and deep shadows beneath the haystacks create your darkest accents. The haystacks themselves remain relatively light overall, which is key to their luminosity—avoid making their shadows darker than necessary. Squint and you'll see three distinct horizontal bands: cool light at top, warm light in the middle, and warm-to-dark at the bottom.
observed palette and mixes
#b4c9d3
Cerulean blue + titanium white, with touch of yellow ochre for warmth
Dominant pale sky throughout the upper third
#dbd4be
Titanium white + yellow ochre + raw sienna
Sunlit faces of the haystacks, particularly left side of central stack
#d7c7ab
Yellow ochre + raw sienna + titanium white
Middle field and mid-tones of the haystacks
#9b8b78
Burnt umber + raw sienna + touch of cerulean blue
Shadows beneath and around the haystacks, foreground earth
#abc3d1
Cerulean blue + titanium white + touch of raw sienna
Cool shadow sides of the haystacks and atmospheric tones
#b0b9ba
Burnt umber + cerulean blue + titanium white
Distant tree line providing horizontal anchor and depth
edges and brushwork
De Smet uses loose, confident horizontal strokes throughout the sky and field, suggesting wind and light without overworking the surface. The haystacks have softer, more blended edges where light meets shadow, tapering into muted purples and warm browns rather than hard lines. The tree line is rendered with broken, texture-rich marks that optically recede. Overall, the brushwork is decidedly impressionistic but remains clearly readable—this is expressive, gestural painting that prioritizes light and atmosphere over detail.
a working sequence
- 01
Sky foundation
Block in the sky with pale cerulean blue mixed toward white, working horizontally across the canvas with loose strokes. Keep the top slightly cooler, the bottom slightly warmer as it approaches the horizon. This establishes your luminous baseline.
- 02
Clouds and sky texture
While the sky base is still workable, add titanium white clouds with directional strokes suggesting wind. Use very light touches—airy, not opaque. Add subtle warm tints (pale ochre) to cloud undersides for reflected light from the field.
- 03
Haystack forms and tree line
Lightly establish the three conical haystacks—irregular but clearly tapering, the central one tallest. Block them in with warm tan (yellow ochre + raw sienna). Paint the dark tree line as a horizontal band behind them using muted blue-green (cerulean + raw sienna + touch of yellow).
- 04
Light on haystacks
Add the sun-facing sides of the haystacks with pale, warm cream (titanium white + yellow ochre). Keep this light directional—hitting left and front faces most brightly. Use loose, overlapping strokes to suggest straw texture without blending smooth.
- 05
Haystack shadows and form
Model three-dimensionality with shadows on the right and back of each stack using burnt umber mixed toward warm purple (add tiny touch of cerulean blue). Keep shadows warm and let the sienna-based underpainting show through. Shadows taper at the base and wrap softly around the forms.
- 06
Field and foreground ground
Paint the middle field with golden earth tones (yellow ochre + raw sienna + touch of white), sitting warmer than the shadows but cooler than direct haystack light. Paint the darker foreground with burnt umber and raw sienna—this darker, warmer ground creates atmospheric recession.
- 07
Tree line refinement
Solidify the tree line with confident marks, keeping it relatively flat and less detailed than the haystacks in front—this optical difference pushes it back in space. A soft white-touched edge at the top softens the horizon line.
- 08
Building and final balancing
Add the small reddish building on the left (raw sienna + burnt umber + touch of white for lit edges) as an important compositional anchor and warm accent distinct from the haystacks. Step back repeatedly: haystacks must remain your brightest lights, field your secondary warm tone, and shadows must never overwhelm the overall luminous feeling.
where studies of this painting go wrong
- Making haystacks too symmetrical or geometric—keep silhouettes organic and slightly irregular while maintaining the basic conical shape
- Pushing shadows too dark or too cool, losing the unified warm feeling—shadows must stay warm (umber, sienna, muted purple-brown tones)
- Over-blending and softening throughout—maintain some visible, directional strokes in sky and field to preserve impressionistic energy
- Neglecting the small building on the left; while small, it's essential for spatial anchoring and composition
- Making the distant tree line as textured and detailed as foreground forms—keep it simpler and flatter to preserve atmospheric perspective
measured difficulty
- beginner friendliness
- value contrast
- palette complexity
- compositional simplicity
- brushwork visibility
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
related guides
in this vein
