plate no. 8149

Nude by a window

Gustave de Smet, 1931

oilExpressionismnude painting (nu)figurewindowlandscapebuildingsskytrees

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