Portrait of a Man of the Campbell of Argyll Clan

surface prep

Prepare a linen canvas with a traditional oil ground or gesso. Maes worked on both panel and canvas; for a portrait of this stature, a linen canvas is likely. The surface should be smooth to allow for the fine brushwork required for facial features, consistent with the Dutch Golden Age standard of finish.

underdrawing

While specific underdrawing techniques for this portrait are not detailed in the sources, Dutch masters typically used a charcoal or chalk sketch, sometimes fixed with a wash, to establish proportions. Given Maes' attention to 'staging and accessories' in his mature period (Source 4), a precise underdrawing would be necessary to position the figure correctly within the likely garden or terrace setting.

underpainting

A grisaille or verdaccio underpainting is characteristic of the period to establish tonal values before applying color. This aligns with the principle of 'chiaro-scuro' and the gradation of light described in color theory texts, where the artist establishes the lightest and darkest tones to create a true gradation of light (Source 2).

Simultaneous Contrast of Colors

Adjusting colors based on their neighbors. When two colors are juxtaposed, each appears modified by the complementary of the other. This is crucial for harmonizing the composition.

Chiaro-Scuro

Creating a gradation of light by insensibly enfeebling the highest tone and heightening the lowest tone at the line of juxtaposition.

Character Portraiture

Focusing on the 'inner essence' rather than just literal likeness. Using the eyes and eyebrows to convey character, with a generally serious expression.