plate no. 8717

Landscape with Farmhouses

Gustave de Smet, 1942

oilExpressionismlandscapelandscapefarmhousestreesskybirdsbuildings

recreation guide

Gustave de Smet’s *Landscape with Farmhouses* (1942) is a late work by a founder of Flemish Expressionism, a movement characterized by distorted forms, dynamic compositions, and a departure from bourgeois realism toward the lives of workers and farmers (Source 2). Created during the artist’s exile in the Netherlands, the work likely reflects the influence of the Bergen School and German Expressionism, which emphasized emotional expression over naturalistic illusion (Source 2). The painting serves as a 'painted symbol' rather than a deceptive replica of nature, adhering to the principle that art is an expression of feeling intimately associated with the material medium (Source 4). As a landscape genre work, it arranges natural scenery—likely including sky, weather, and rural structures—into a coherent composition where the primary purpose is expressive rather than strictly topographical (Source 3).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, Black, White, Red, Yellow)	Primary pigments for underpainting and glazing	Standard artist-grade oil paints
Oil of Copavia (or modern linseed/stand oil)	Medium for the first and second paintings to ensure transparency and flow	Stand oil or Galkyd medium
Varnish	Mixed with oil for later glazing stages to gain mastery over transparent coats	Dammar or synthetic resin varnish
Canvas or Panel	Support for the oil painting	Linen canvas primed with gesso

preparation

surface prep

Prepare a rigid support (panel or stretched canvas) with a neutral ground. While specific preparation for this 1942 work is not detailed, the technique described involves a 'grisaille' (monochrome underpainting) that must be 'quite dry' before proceeding (Source 1). Ensure the surface is smooth enough to allow for the 'transparent coat of colour' (glazing) to sit evenly without absorbing too much oil, which could lead to uneven drying.

underdrawing

De Smet preferred to work in nature without a teacher and aimed to innovate by drawing inspiration from nature (Source 2). While specific underdrawing methods for this piece are not recorded, the emphasis on 'painted symbols' suggests that the drawing phase should be loose and expressive, focusing on the 'dynamic compositions' and 'distorted forms' characteristic of Flemish Expressionism (Source 2). Avoid rigid, photographic outlines; instead, use the drawing to establish the 'coherent composition' of the landscape elements (Source 3).

underpainting

Execute a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia (Source 1). This stage involves 'mentally extracting the red and yellow colours' to translate what would be left in nature if those colors were absent (Source 1). This establishes the value structure and form without color distraction. Ensure this layer is completely dry before applying subsequent layers.

color palette

Ultramarine

Pure ultramarine blue

Underpainting and cool tones in the sky or shadows

Black

Ivory black or Mars black

Underpainting and deep shadows

White

Titanium or Zinc white

Underpainting highlights and mixing tints

Red/Yellow Tones

Transparent reds (e.g., Alizarin Crimson) and yellows (e.g., Cadmium Yellow Light)

Glazing and scumbling over the dry grisaille to introduce warmth and local color

composition

The composition should reflect the 'dynamic compositions' and 'sense of balance, synthesis and construction' found in Flemish Expressionism (Source 2). Arrange the landscape elements—sky, weather, and farmhouses—into a 'coherent composition' where the main subject is a wide view (Source 3). Use 'distorted forms' to convey emotional intensity rather than strict topographical accuracy (Source 2). The arrangement should prioritize the 'emotional idea' over the 'actual illusion of natural appearances' (Source 4).

step by step

underpainting→first pass→drying→refining→finishing

underpainting

step 01
Mix black, ultramarine, and white with oil of copavia. Paint the entire composition in monochrome (grisaille), focusing on values and forms while mentally excluding red and yellow hues.
Tip — Ensure the underpainting captures the 'spiritual element' or mood of the landscape, as the color will be added later (Source 1, Source 3).
Grisaille

first pass

step 03
Begin glazing and scumbling with oil. Apply transparent coats of red and yellow tones over the dry grisaille, similar to tinting an engraving with watercolors.
Tip — Glazing is a 'transparent coat of colour' that allows the underlying painting to show through (Source 1).
Glazing

drying

step 02
Allow the grisaille to dry completely. This is critical before applying transparent layers.
Tip — Rushing this step can cause cracking or muddiness in the glazes.
Drying

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones. When employed over a darker ground, scumbling tends to coldness, allowing for a 'grey bloom' effect.
Tip — Use this to create atmospheric effects or cool shadows, leveraging the 'law of simultaneous contrast' to enhance visual tension (Source 1, Source 8).
Scumbling

finishing

step 05
Once sufficient mastery is gained, mix varnish with oil for final glazes. Refine the 'distorted forms' and 'dynamic compositions' to ensure the work remains a 'painted symbol' rather than a deceptive illusion.
Tip — Remember that 'art is not a substitute for nature, but an expression of feeling' (Source 4).
Varnish Glazing

critical techniques

Glazing and Scumbling

Used to build color over a monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture, allowing the underpainting to influence the final tone (Source 1).

Grisaille Underpainting

Establishes value and form using only black, ultramarine, and white. This separates the structural work from the color work, allowing for greater control over the 'emotional idea' (Source 1, Source 4).

Expressionist Distortion

Forms are distorted and compositions are dynamic to convey emotion rather than realism, consistent with Flemish Expressionism (Source 2).

common pitfalls

→Attempting to paint naturalistically: The goal is 'painted symbols' and 'expression of feeling,' not 'deception of the eye' (Source 4).
→Applying glazes before the underpainting is dry: This can ruin the transparency and cause physical damage to the painting (Source 1).
→Ignoring color contrast: Failing to use the 'law of simultaneous contrast' can result in flat, unharmonious colors (Source 8).
→Overworking the surface: Modern painters often have prejudice against glazing/scumbling, but this method was practiced by old masters to achieve depth (Source 1).

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 farmhouses (e.g., roof shape, window placement) are not described in the sources and must be inferred from the artist's general style or the viewer's own interpretation of the title.
·Exact pigment brands or specific red/yellow hues used by De Smet in 1942 are not specified; standard expressionist palettes are assumed.
·The specific 'dynamic composition' layout (e.g., horizon line height, placement of houses) is not detailed in the sources.

grounded in

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

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting (grisaille), glazing, scumbling, and medium usage
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of oil painting, avoiding illusionism
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Color harmony and contrast principles

cross-referenced from

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

Wikipedia bio — Gustave de Smet↗
- Biography — applied to Artist style, Flemish Expressionism characteristics, and historical context
Wikipedia: Landscape painting↗
- Landscape painting — applied to Genre conventions, composition of natural scenery

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

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