plate no. 8149

Nude by a window

Gustave de Smet, 1931

oilExpressionismnude painting (nu)figurewindowlandscapebuildingsskytrees

what to study here

It shows how dark contour, a dark window frame, and a deliberately sketchy background can make a simply modeled figure dominate the canvas.

The useful lesson here is how one warm figure is held against a muted, flattened background. The nude stands centered in golden light, modeled with subtle value shifts in the tan-to-light range and soft blending on the torso. Her silhouette and internal anatomy are drawn with deliberate dark contour lines, with firm edges at the boundaries. The window frame, a dark blue-navy, and the hair are the darkest accents, nearly black. That frame separates the figure from the landscape behind it. The landscape (cream buildings, a rust-red church spire, scattered trees, pale sky) is compressed and schematic, painted in shorter, sketchy, directional strokes with softer, less resolved edges. It reads as backdrop, not receding space. Squint and you get two masses: the warm lit figure and the cooler, lower-contrast background. Study how little modeling the figure needs, and how much the contrast in finish between figure and background does to push her forward. The observed palette is narrow: umbers, siennas, ochres, and a pale cream for the cloth and highlights.

key decision

The painter flattened and abbreviated the landscape behind the window while keeping the figure's edges sharp and her contours dark. This holds the figure forward without needing deep space.

recreation guide

Gustave de Smet’s 'Nude by a window' (1931) represents the mature phase of his Flemish Expressionist style, characterized by a synthesis of Cubist structure and Expressionist emotion. By 1931, De Smet had settled in Deurle, where his work peaked in its mixture of Expressionism and Cubism, moving away from the naturalism of his earlier Latem School period (Source 2). The artwork likely exhibits the 'distorted forms, coloration and dynamic compositions' associated with Flemish Expressionism, which drew stylistic relationships to German Expressionism (Source 1). The painting is defined by a shift in De Smet’s palette toward 'warm autumnal tones and blacks applied in broad brushstrokes leading to solid masses of paint on the canvas' (Source 2). Unlike his earlier work, this period emphasizes a 'well-organized and balanced structure' that augments expressive quality, utilizing 'simplified lines and shapes' and 'chiaroscuro effects' to depict personal feelings rather than visual imitation of nature (Source 2). The composition likely relies on the structural balance influenced by Henri Le Fauconnier and the Bergen School, integrating figurative depiction with cubist influences (Source 2).

estimated time

20-30 hours over 5-7 sessions

materials

7 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (warm autumnal tones: ochres, umbers, siennas)	To replicate De Smet's post-1922 palette shift	Burnt Sienna, Yellow Ochre, Raw Umber
Black pigment	For broad brushstrokes and solid masses of paint	Ivory Black or Mars Black
Linseed oil	Primary drying oil for medium	Refined Linseed Oil
Turpentine or Spirits of Turpentine	Thinner for underdrawing and initial washes	Odorless Mineral Spirits
Canvas	Support for oil painting	Linen or Cotton Canvas
Charcoal	For initial underdrawing	Vine Charcoal
Raw Umber	For underdrawing lines and monochrome study	Raw Umber Oil Paint

preparation

surface prep

Prepare a standard oil-primed canvas. While De Smet’s specific ground preparation is not detailed in the sources, the practice of the period and the need for 'solid masses of paint' suggests a stable, slightly absorbent ground to hold the heavy impasto characteristic of his later style (Source 2).

underdrawing

Begin with a charcoal sketch to establish the 'simplified lines and shapes' characteristic of De Smet’s mature style (Source 2). Ensure the drawing is well-placed on the canvas, as 'a good study is often spoilt by being badly placed' (Source 4). Once satisfied with the proportions, blow off all but the faintest indications of the line to keep the picture clean and bright (Source 4). Then, go over the lines with a thin mixture of raw umber and turpentine using a sable brush (Source 4).

underpainting

Consider a monochrome underpainting (grisaille) using Raw Umber and White to establish the 'chiaroscuro effects' and 'well-organized and balanced structure' before applying color (Source 2, Source 4). This aligns with the general practice of establishing value structure first. Mix three tones: background, middle tint, and general shadow tone (Source 4).

color palette

Warm Autumnal Tones

Burnt Sienna, Yellow Ochre, Raw Umber

General palette shift noted in De Smet's post-1922 work (Source 2)

Black

Ivory Black

Broad brushstrokes and solid masses of paint (Source 2)

White

Titanium White or Flake White

Highlighting and mixing tones (Source 4)

Red/Yellow Accents

Cadmium Red, Cadmium Yellow

Glazing and scumbling to add warmth and expression (Source 3)

composition

De Smet’s work from this period emphasizes a 'well-organized and balanced structure' (Source 2). The composition likely avoids bisecting the image, instead placing key features near the lines that divide the image into thirds, consistent with conventional compositional techniques for visual pleasingness (Source 5). The 'distorted forms' and 'dynamic compositions' of Flemish Expressionism suggest a deliberate manipulation of space to convey emotion rather than strict realism (Source 1). The figure may be framed or balanced against the window structure, utilizing negative space to enhance the positive space of the nude (Source 5).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the nude and window frame in charcoal, focusing on simplified shapes and balanced placement.
Tip — Ensure the chin or focal point is near the center or rule-of-thirds intersection (Source 4, Source 5).
Charcoal Sketching
step 02
Blow off excess charcoal and reinforce lines with a thin wash of Raw Umber and turpentine.
Tip — Keep lines faint to maintain brightness (Source 4).
Wash Underdrawing

underpainting

step 03
Apply a monochrome underpainting using Raw Umber and White to establish chiaroscuro and structure.
Tip — Focus on the quality of light, not quantity, especially near the window (Source 4).
Grisaille

first pass

step 04
Apply broad brushstrokes of warm autumnal tones and black to build solid masses of paint.
Tip — Emphasize structure and balance over detailed realism (Source 2).
Impasto/Broad Brushwork

refining

step 05
Glaze and scumble with red and yellow tones to enhance expression and warmth.
Tip — Use transparent coats (glazing) and semi-opaque layers (scumbling) to modify underlying tones (Source 3).
Glazing and Scumbling

finishing

step 06
Adjust contrasts and ensure the composition feels balanced and expressive.
Tip — Check for 'distorted forms' that convey personal feeling rather than visual imitation (Source 2).
Final Adjustments

critical techniques

Broad Brushstrokes

De Smet used broad brushstrokes to create solid masses of paint, emphasizing structure and expression (Source 2).

Chiaroscuro

Used to depict personal feelings and new expressive ways, focusing on light and shadow contrasts (Source 2).

Glazing and Scumbling

Traditional oil painting techniques to layer color and modify tones, adding depth and warmth (Source 3).

Simplified Lines and Shapes

Influenced by German Expressionism, De Smet simplified forms to enhance expressive quality (Source 2).

common pitfalls

→Over-detailing: De Smet’s style favors simplified shapes and broad masses over fine detail (Source 2).
→Imbalanced Composition: Ensure the structure is well-organized and balanced, avoiding chaotic arrangements (Source 2).
→Incorrect Palette: Avoid cool or bright primary colors; stick to warm autumnal tones and blacks (Source 2).
→Poor Underdrawing Placement: A good study can be spoiled by bad placement on the canvas (Source 4).

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 details of the nude’s pose or the window’s architecture are not described in the sources.
·Exact pigment brands or specific glazing mediums used by De Smet are not detailed.
·The specific influence of the 'Bergen School' on this particular painting’s color choices is inferred from general style shifts.

grounded in

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

The Practice of Oil Painting — MONOCHROME STUDY↗
- Monochrome Study — applied to Underdrawing, grisaille, placement of subject
The Practice of Oil Painting — COLOURING A MONOCHROME↗
- Colouring a Monochrome — applied to Glazing and scumbling techniques

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 Palette shift, broad brushstrokes, chiaroscuro, simplified lines
Wikipedia: Composition (visual arts) — Composition (visual arts) — part 4↗
- Compositional techniques — applied to Rule of thirds, balance, positive/negative space
Wikipedia bio — Gustave de Smet — part 1↗
- Biography — applied to Flemish Expressionism, distorted forms, dynamic compositions

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 standing nude woman dominates the foreground, facing slightly toward the viewer with her body bathed in warm, golden light that creates strong modeling on her torso and limbs. Behind her, a large window with a dark blue-navy frame opens onto a compressed landscape of cream-colored buildings, a rust-red church spire, scattered trees, and pale sky. The figure's dark-brown hair and the deep window frame create the darkest accents, while the light pours across her exposed skin and the white cloth draping from her hip, drawing the eye immediately to her centered position. The background is intentionally flattened and schematic—the landscape reads as a backdrop rather than receding space—which keeps focus on the figure's volumetric presence.

value structure

The painting divides sharply into three value zones: very dark darks in the window frame and figure's hair (nearly black), a broad middle range of warm tans and ochres throughout the figure and background, and distinct light passages in the skin, cloth, and sky. Squinting reveals two dominant masses—the warm, illuminated figure and the cooler, muted landscape—separated by the dark window boundary. The figure's internal modeling uses subtle value shifts within the tan-to-light range, while the background clusters in mid-tone earth colors with minimal contrast, emphasizing the figure's projection forward.

observed palette and mixes

#3b3230
Burnt Umber + Ultramarine Blue or Ivory Black
Window frame, darkest shadows in hair and contour lines defining the figure
#81634c
Burnt Sienna + Raw Umber with touch of Ultramarine
Hair, shadow side of face, contours on body, roof forms and building shadows
#5a524d
Ultramarine Blue + Burnt Sienna (cool neutral gray-brown)
Mid-tone shadows in background landscape, tree trunks
#9c8968
Yellow Ochre + Burnt Sienna with Titanium White
Primary flesh tone on figure, warm passages throughout background
#b4a787
Yellow Ochre + Titanium White with touch of Cadmium Yellow
Lighter sky areas, skin highlights on shoulders and breasts, light side of face
#c5bb9a
Titanium White + Yellow Ochre (pale cream)
Brightest highlights on figure's body, the white drape cloth, lightest sky

edges and brushwork

The figure is defined by deliberate, dark contour lines that outline limbs and torso—a hallmark expressionist technique that emphasizes form over naturalism. Within the figure, flesh is rendered with soft blending on the torso but firm edges at boundaries. The background landscape employs shorter, directional brushstrokes in the buildings and trees that feel sketchy and abbreviated compared to the more finished figure. Edges throughout vary intentionally: the figure's silhouette is sharp and defined, while the sky and landscape edges are softer and less resolved, creating atmospheric recession.

a working sequence

01
Establish composition and block major shapes
Lightly sketch the standing figure in the center-left, noting the head height, shoulder width, and stance. Block in the window frame as a dark rectangle behind her, then indicate the basic landscape divisions—sky at top, building masses in middle, foreground ground plane at bottom. Use proportional divisions rather than measurements: the figure should occupy roughly half the composition height, with the window opening as a framing element behind.
02
Underpainting and value structure
Lay in a thin wash establishing the three value zones: very dark for the window frame and shadows, warm mid-tone for the figure and background, pale cream for the sky and cloth. Work quickly and gestural at this stage. Pay attention to the cool-neutral gray-brown of the background landscape to ensure it stays recessive compared to the warm figure.
03
Build the flesh and figure
Begin with the warm tan base flesh tone (#9c8968) across the torso, shoulders, and arms. Model the form with the cooler brown-red shadow tones (#81634c) on the shadow side of the face, under the breasts, and along the right side of the body. Use the lightest cream (#c5bb9a) for the brightest highlights on the shoulders, center chest, and upper breasts where light strikes directly. Keep edges soft within the figure but maintain clear contours at the silhouette.
04
Paint the window frame and background landscape
Block in the dark blue-navy window frame with decisive strokes—this dark boundary is crucial for separating the figure from the backdrop. In the landscape beyond, use horizontal and angular marks with the warm tan and cool gray-brown to suggest buildings, the church spire form, trees, and horizon. Keep this area more abbreviated and less detailed than the figure; the landscape should feel compressed and schematic, not naturalistic.
05
Add the white drape and define the face
Paint the white cloth draping from her hip using the pale cream, adding shadows with the warm tan to show its folds. Simplify the face with a defined nose, dark eyes set close, and warm flesh tones; avoid over-modeling the facial features—they should read as direct and bold. The face's turn and expression drive the composition's mood.
06
Strengthen contour lines and edges
Using the darkest brown-black (#3b3230), add deliberate contour lines defining the figure's outline and internal anatomy—along the arms, between the legs, under the breasts, and around the shoulders. These lines should feel confident and expressive, not delicate; they organize and emphasize form. Adjust background edges where needed, keeping them softer than the figure's silhouette to maintain spatial recession.
07
Refine transitions and atmospheric depth
Soften the transitions between light and shadow on the figure where needed, particularly on the torso. Check that the cool window frame and cool-neutral background maintain visual distance from the warm foreground. Add any final details to the landscape—suggest the distant church spire's character, clarify building forms—but maintain their abbreviated quality. Step back frequently to assess overall value and color temperature relationships.

where studies of this painting go wrong

Modeling the figure too realistically or with too many gradations—this painting's strength lies in bold simplification; resist the urge to blend smoothly or render anatomy photographically.
Making the background landscape as detailed and finished as the figure, which will flatten the composition; the background must read as abbreviated, with directional marks and flattened forms.
Softening or losing the dark contour lines—they are essential to the expressionist language here; commit to them confidently and keep them visible in the final work.
Warming the window frame or allowing it to blend with the background; the dark, cool-toned frame is a crucial spatial and compositional boundary that separates figure from landscape.

measured difficulty