plate no. 9408

Portrait of a Man in a Black Wig

oilBaroqueportraitportraitmanwigclothingdraperyfigure

what to study here

It shows a face held as the brightest, warmest area using restrained value steps, soft edges, and looser handling of wig and drapery.

Study how the face is made to dominate through value and temperature rather than detail. The vision notes describe a dark envelope of near-black wig, murky warm-brown background and drapery shadows, with a warm mid-tone band of golden fabric and face shadows, and then the bright focal zone of face and white cravat. Inside the face the modeling is very quiet: about a half-step between forehead and cheek, and another to the shadow side. The edges there are soft and blended. Compare that with the wig, where directional strokes follow the curls and suggest locks without rendering each one, and with the drapery, where folds are gestural and not described fiber by fiber. The burgundy on the right and gold-yellow on the left sit in the low-mid range so they stay behind the face. The background is almost featureless and warm, which pushes the face forward. Copy this in a small study: three value zones, then vary edge handling by material.

key decision

The painter kept value contrast inside the face very small while surrounding it with a near-black wig and warm dark background, so the face reads as the focal point. Edge handling shifts from soft on the face to looser, directional strokes on wig and drapery.

From the record

Dimensions: 47.6 cm high × 38.7 cm wide
Institution: National Gallery
Location: National Gallery
Inception: 1680
Materials: oil paint, canvas

Wikidata item Q26699508

recreation guide

Nicolaes Maes’s 'Portrait of a Man in a Black Wig' (1680) represents the artist’s mature period, characterized by a shift toward the lighter, more elegant style influenced by Flemish and French portraiture, particularly that of van Dyck (Source 2). Unlike his earlier austere works, Maes’s later portraits from the 1670s and 1680s emphasize gestures, poses, and the detailed rendering of clothes and hairstyles, often placing sitters in light-toned settings or against sunset skies (Source 2). The work is a standard half-length or three-quarter-length portrait, likely executed on a rectangular canvas, adhering to the standardized formats Maes employed for hundreds of portraits during this era (Source 2). The painting serves as a memorial record, a primary function of portrait painting, aiming for a recognizable likeness of the sitter (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, White, Black, Red Ochre/Yellow Ochre)	Primary pigments for the grisaille underpainting and subsequent glazing	Modern tube oils: Ultramarine Blue, Titanium White, Ivory Black, Red Ochre, Yellow Ochre
Oil of Copavia (or modern linseed/walnut oil)	Medium for the first and second paintings, as recommended by Reynolds for this style	Stand oil or refined linseed oil
Varnish	Mixed with oil for later glazing stages to gain mastery over transparent coats	Dammar varnish or synthetic resin varnish
Canvas	Support for the oil painting, likely small rectangular for half-length or larger for three-quarter length	Linen or cotton canvas, primed

preparation

surface prep

The surface should be prepared as a standard oil painting ground. While specific priming details for this exact canvas are not in the sources, Maes’s practice involved standardized formats on canvas (Source 2). The ground should be neutral to allow for the subsequent grisaille technique.

underdrawing

Sources do not explicitly describe Maes’s underdrawing method for this specific work. However, general practice for this period and the emphasis on 'broad masses' suggests a loose initial sketch to establish the pose and gesture, which Maes emphasized in his later works (Source 2).

underpainting

The underpainting should be a monochrome grisaille. The artist must mentally extract red and yellow colors, painting only what would remain if those colors were absent (Source 1). This monochrome layer establishes the tonal values and forms before color is introduced.

color palette

Black

Ivory Black or Lamp Black

Part of the initial grisaille underpainting (Source 1)

Ultramarine

Ultramarine Blue

Part of the initial grisaille underpainting to establish cool shadows and tones (Source 1)

White

Lead White (historically) or Titanium White

Part of the initial grisaille underpainting to establish highlights and mid-tones (Source 1)

Red/Yellow Tones

Red Ochre, Yellow Ochre, Vermilion

Applied later via glazing and scumbling to introduce warmth and flesh tones (Source 1)

composition

Maes’s mature portraits often feature sitters leaning against props such as columns, fountains, or rocks, or placed in elegant gardens with light tones (Source 2). The composition likely emphasizes the sitter’s gesture and pose, consistent with the influence of van Dyck and the lighter spirit of the 1670s-1680s (Source 2). The background may be a dark tone or a light sunset sky, depending on the specific format chosen (Source 2).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the composition lightly, focusing on the gesture and pose of the sitter, consistent with Maes’s emphasis on these elements in his later work.
Tip — Ensure the pose reflects the elegance and staging typical of Flemish-influenced Dutch portraiture.
Gesture drawing

underpainting

step 02
Create a grisaille underpainting using only black, ultramarine, and white mixed with oil of copavia. Mentally exclude red and yellow colors to establish the tonal structure.
Tip — This layer must be completely dry before proceeding. It serves as the structural foundation.
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 involves transparent color layers that allow the underlying monochrome to show through, creating depth.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones, particularly over darker grounds to achieve a grey bloom or coldness if needed. Mix varnish and oil for greater mastery over the transparent effects.
Tip — Scumbling allows the underlying painting to make itself felt, adding texture and complexity.
Scumbling

finishing

step 05
Refine the likeness and details of the wig and clothing, ensuring the colors harmonize with the inherent nature of the objects. Pay attention to simultaneous contrast effects between adjacent colors.
Tip — Be aware that juxtaposed colors affect each other’s perceived tone; the lightest tone may be lowered and the darkest heightened.
Color Harmony

critical techniques

Grisaille Underpainting

A monochrome layer using black, ultramarine, and white to establish form and value before color is added. This was a common practice among old masters, including those cited by Reynolds.

Glazing and Scumbling

Glazing applies transparent color over the dry underpainting, while scumbling applies semi-opaque layers. This method allows for rich, luminous colors and complex tonal interactions, characteristic of Baroque oil painting.

Simultaneous Contrast

Understanding that adjacent colors influence each other’s appearance. The artist must account for this to harmonize the composition and accurately represent the sitter’s features against the background.

common pitfalls

→Adding red and yellow tones too early, before the grisaille is dry, which can muddy the tonal structure.
→Ignoring the effects of simultaneous contrast, leading to colors that appear inaccurate or disharmonious when placed next to each other.
→Over-modeling or becoming too tied to the outline, which can result in a small, timid appearance rather than the broad, elegant masses characteristic of Maes’s mature style.

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 facial features and expression are not described in the sources, so the artist must rely on general portrait conventions or reference images.
·The exact background setting (garden, terrace, or dark) is not specified for this particular painting, though Maes used both in this period.
·The specific pigments used for the black wig and clothing are not detailed, though ultramarine and black were used in the underpainting.

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 Grisaille underpainting and glazing techniques
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color harmony and tonal adjustments

cross-referenced from

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

Wikipedia bio — Nicolaes Maes↗
- Portrait painting — applied to Stylistic evolution, composition, and format

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 three-quarter-length bust portrait of a young man in formal attire, positioned slightly right of center. Light from the upper left models the face strongly, creating luminous peachy skin tones that read as the brightest, warmest area of the painting. The figure wears an imposing long black wig with crisp curls, a white cravat at the throat, and draped fabrics in rich burgundy and yellow-gold that recede into shadow. The background is nearly invisible—a warm, murky dark brown that pushes the illuminated face forward. The eye travels immediately to the face, held there by the value and color contrast against the surrounding darkness.

value structure

The painting is built on extreme value contrast: the near-black wig and deep background create a narrow band of mid-darks, while the face and cravat jump into lights and near-lights. Within the face itself, the values are remarkably subtle—a half-step difference between forehead and cheek, another between cheek and shadow side. Squint and you see three distinct zones: the dark envelope (background, wig, drapery shadows), a warm mid-tone band (the golden fabric and face shadows), and the bright focal point (face and white cravat). The drapery values sit in the low-mid range, allowing the face to dominate.

observed palette and mixes

#1e1e15
ivory black + burnt umber
the deep wig, darkest folds in the burgundy drapery, and the receding background shadows
#262119
burnt umber + ivory black + touch of alizarin
the mid-dark background and the bulk of the wig's body tone
#5a4a2c
burnt umber + raw sienna + white
the warm mid-tone background, drapery mid-tones, and shadow transitions on the face
#8b7355
yellow ochre + burnt umber + white
the golden-yellow undergarment and the lit side of the neck
#c9a876
titanium white + yellow ochre + alizarin crimson
the face, including forehead, cheeks, nose, and chin—a warm, luminous skin tone
#a53d3d
alizarin crimson + burnt umber, darkened with ivory black in folds
the rich burgundy drapery on the right, with deeper burgundy in the shadow folds

edges and brushwork

The face is handled with soft, blended edges—each plane flows into the next with subtle modeling. The wig shows distinct, directional brushstrokes following the curl structure, with individual locks suggested rather than rendered. The drapery is more gestural; folds are indicated with decisive strokes that don't describe every fiber—a looser, more painterly approach than the face. The background is nearly featureless, atmospheric, almost wiped or blended to suggest recession without distraction.

a working sequence

01
Ground in the background
Block in the entire background with a warm dark brown (burnt umber + raw sienna + black). Keep it loose and atmospheric—this is not a textured surface. Work it slightly lighter near the figure's silhouette to create gentle atmospheric shift. This warm tone is critical; a cool gray here will flatten the painting.
02
Establish the head and fabric masses
Lightly sketch the head position, the wig's bulbous silhouette, and the two main fabric masses (burgundy on the right, gold-yellow on the left). Keep proportions loose at first; you're finding the composition, not drawing the final portrait.
03
Model the face in monochrome
Using your skin-tone mix (white + yellow ochre + alizarin), establish the face value structure. Paint the forehead, then the cheeks, then the shadow side of the face. Use the darker drapery mix for the shadow side. The modeling should be subtle—each plane only a half-step lighter or darker than the next. Pay attention to how the light wraps around the nose and defines the cheekbones.
04
Establish the wig as a distinct mass
Using ivory black + burnt umber, paint the wig as a dark, curled form. Follow the curl structure with directional strokes; don't render it smooth. Leave a few highlights on the curls by allowing the lighter background or face tone to show through. The wig should read as textured and three-dimensional, not as a flat dark shape.
05
Paint the neck and white cravat
The neck is lit and transitions from the warm face tone into near-white at the cravat. The cravat itself is a bright white but with subtle warm shadow tones on one edge. This bright area creates a visual bridge between the face and the dark drapery—don't lose it. The transition from neck to white cravat should be soft and luminous.
06
Establish the drapery in two distinct fabrics
Paint the burgundy fabric on the right using alizarin crimson + burnt umber for the midtones, darkening with black in the deep folds. Paint the yellow-gold fabric on the left with yellow ochre + white. Use clear value separation between them so the fabrics read as distinct. The folds in both should suggest volume and weight, not be meticulously detailed.
07
Refine the face and integrate the colors
Soften the face edges—particularly around the jaw and temples—so it reads as three-dimensional and glowing rather than flat. Add subtle detail to the eyes without making them hard. Check that your skin tone is warm enough; it should feel almost rosy or golden compared to the surrounding tones. The face should be the brightest, warmest area by a clear margin.
08
Step back and adjust the overall value harmony
View the painting from a distance. If the face doesn't read as luminous, darken the background or drapery slightly. If the wig looks dead, add a few catch-lights following the curl direction. Ensure the white cravat sings against the dark drapery. The drapery should recede, the face should advance—let value do that work.

where studies of this painting go wrong

Rendering the face too flat or with too much value contrast inside it. The modeling should be subtle and warm overall; resist the urge to darken the shadow side aggressively.
Making the wig featureless and dead black. It needs to show individual curls and catch-lights to feel alive and textured—paint the curls with direction.
Losing the luminosity of the skin tone by using a gray or cool undertone instead of warm yellow ochre and alizarin. The warmth is what makes the face glow against the dark surroundings.
Confusing the burgundy and yellow-gold fabrics by letting them blur together in value. Keep them distinctly separated in tone so the composition reads clearly.
Allowing the background to drift cool or gray. It must remain a warm, brownish dark; a cool background will flatten the painting and make the face sit awkwardly.

measured difficulty