plate no. 5654

Portrait of a Gentleman

oilBaroqueportraitportraitfiguredraperyclothinghairlace

recreation guide

Nicolaes Maes, a pupil of Rembrandt, is known for applying the master’s stylistic characteristics—specifically brushwork and chiaroscuro—to domestic scenes and portraits, endowing them with a solemn dignity through the play of light and shadow (Source 2). In his later career, particularly after returning to Amsterdam, he became the leading portrait painter of his time, dedicating himself almost exclusively to this genre from the 1660s onward (Source 7). His work is characterized by a limited color palette derived from Rembrandt, which helps unify the composition and emphasize the moral or dignified nature of the subject (Source 2). The painting likely employs the traditional Dutch Baroque method of building form through a monochrome underpainting followed by transparent glazes, a technique widely practiced by old masters to achieve depth and luminosity (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (limited palette)	To replicate the Rembrandt-derived limited palette characteristic of Maes' work.	Titanium White, Yellow Ochre, Red Ochre, Ivory Black, Ultramarine, Vermilion
Oil of Copavia (or modern stand oil/linseed oil)	Medium for glazing and scumbling, as recommended by Sir Joshua Reynolds for old master techniques.	Stand oil or refined linseed oil
Varnish	To mix with oil for glazing once mastery is gained, enhancing transparency.	Dammar varnish or resin varnish
Canvas or Panel	Support for the oil painting.	Linen canvas primed with gesso

preparation

surface prep

The surface should be prepared to accept a monochrome underpainting. While specific ground details for this exact portrait are not in the sources, the general practice of the period involved a white or light ground to facilitate the grisaille technique described in Source 1. The artist must ensure the ground is dry before proceeding.

underdrawing

Sources do not specify Maes' underdrawing method for this specific portrait. However, as a sound craftsman (Source 3), he likely used a charcoal or chalk sketch to establish the composition, focusing on the 'broad masses' before detailing. The drawing should be loose enough to allow for the 'solemn dignity' and expressive gestures characteristic of his style (Source 2).

underpainting

Create a grisaille (monochrome underpainting) using black, ultramarine, and white, as described by Sir Joshua Reynolds in Source 1. This step involves mentally extracting red and yellow colors to establish the value structure and form. This technique allows the artist to focus on light and shadow (chiaroscuro), a hallmark of Maes' Rembrandt-influenced style (Source 2).

color palette

White

White lead or Titanium White

Highlights and mixing with black/ultramarine for the grisaille underpainting.

Black

Ivory Black or Lamp Black

Shadows and defining forms in the grisaille underpainting.

Ultramarine

Natural Ultramarine

Cool shadows and mixing with white/black for the grisaille underpainting.

Yellow Ochre

General use in this artist's palette; likely used for skin tones and warm glazes.

Red Ochre/Vermilion

Red Ochre or Vermilion

General use in this artist's palette; likely used for warm glazes and accents.

composition

Maes characteristically treated subjects with a solemn dignity, often using chiaroscuro to enhance the moral or dignified nature of the sitter (Source 2). While specific compositional details of this portrait are not described, his general practice involved careful structuring of space and light. The composition likely focuses on the sitter's face and upper body, using light to draw attention to the expression and gestures, which Maes was known for inventing to convey character (Source 2).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the composition loosely, focusing on the broad masses and the sitter's pose. Avoid tight outlines to prevent being 'tied down' (Source 3).
Tip — Ensure the pose conveys the 'solemn dignity' characteristic of Maes' work.
Loose sketching

underpainting

step 02
Apply a grisaille underpainting using black, ultramarine, and white mixed with oil of copavia. Establish the light and shadow structure without red or yellow tones.
Tip — Mentally extract red and yellow colors to focus on value and form (Source 1).
Grisaille

first pass

step 03
Once the grisaille is dry, begin glazing and scumbling with oil. Apply yellow and red tones transparently over the underpainting, similar to tinting an engraving with watercolors.
Tip — Use thin, transparent layers to build color depth without obscuring the underlying form.
Glazing and Scumbling

refining

step 04
Refine the facial features and gestures, ensuring they convey the expressive quality Maes was known for. Use the limited palette to maintain harmony.
Tip — Watch for simultaneous contrast effects; adjacent colors will influence each other's appearance (Source 6).
Expressive detailing

finishing

step 05
Apply final glazes with varnish and oil mixed, if desired, to enhance luminosity and depth. Ensure the 'fat over lean' rule is followed to prevent cracking.
Tip — Be cautious of chemical reactions between pigments; use stable earths and ochres where possible (Source 8).
Varnish glazing

critical techniques

Grisaille Underpainting

Used to establish form and value structure before applying color. This method allows for greater control over light and shadow, essential for Maes' chiaroscuro style.

Glazing and Scumbling

Transparent layers of color are applied over the dry grisaille to build richness and depth. Scumbling adds semi-opaque texture, enhancing the tactile quality of the paint.

Chiaroscuro

Strong contrasts between light and dark are used to create volume and drama, a technique Maes adopted from Rembrandt to lend solemn dignity to his subjects.

common pitfalls

→Over-modeling or being too tied to the initial outline, which can result in a stiff, lifeless appearance (Source 3).
→Ignoring the 'fat over lean' rule, which can lead to cracking and flaking of the paint layers (Source 3).
→Failing to account for simultaneous contrast, where adjacent colors alter each other's perceived hue and value, leading to inaccurate color mixing (Source 6).
→Using unstable pigments that may chemically react or change over time, compromising the longevity of the work (Source 8).

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 sitter's clothing, jewelry, or background are not described in the sources, so these must be inferred or left generic.
·The exact dimensions and aspect ratio of the painting are not provided.
·Maes' specific underdrawing materials (charcoal, chalk, etc.) are not explicitly stated, though inferred from general practice.
·The specific year of creation is not available, making it difficult to pinpoint the exact phase of his career represented.

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 and glazing techniques
- ON COPYING — applied to Craftsmanship and avoiding over-modeling
Laws of Contrast of Colour↗
- 315-318 — applied to Color perception and mixing
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Material stability and pigment selection