plate no. 2554

Portrait of a Young Man, Possibly Simon van Alphen

oilBaroqueportraitportraitfigurelandscapetreeclothingsky

recreation guide

This recreation guide addresses Nicolaes Maes' 'Portrait of a Young Man, Possibly Simon van Alphen' (1675), a work situated in the artist's mature period. By the 1670s, Maes had shifted from the austere, dark-background portraits of his early career to a style influenced by Flemish portraiture, particularly Anthony van Dyck, characterized by lighter tones, elegant garden settings, and a focus on gesture and fashion (Source 4). The artwork likely employs the standardized formats Maes used during this decade, potentially featuring a half-length or three-quarter-length figure against a light-toned background or terrace setting (Source 4). The painting reflects the Baroque genre conventions of the time, aiming for a recognizable likeness while emphasizing the sitter's status through clothing and pose (Source 5).

estimated time

20-30 hours over 5-7 sessions, allowing for drying times between glaze layers

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Earth tones, Red Ochre, Yellow Ochre)	Primary pigments for underpainting and glazing	Artist-grade oil paints
Linseed oil or Oil of Copavia	Medium for mixing paints and glazing; historically used by Reynolds and consistent with old master practices	Stand oil or refined linseed oil
Turpentine or Mineral Spirits	Solvent for thinning initial layers and cleaning brushes	Odorless mineral spirits
Canvas or Panel	Support surface	Linen canvas primed with gesso
Varnish	For mixing with oil in later glaze stages to increase transparency and depth	Dammar varnish or painting varnish

preparation

surface prep

The surface should be prepared with a white sizing or ground. Historical texts advise that the sizing of the canvas or panels should be white so that tones have the same effect on the support as they do on the palette, ensuring correct judgment of color transparency (Source 8). Maes' later works often feature light-toned backgrounds, suggesting a lighter ground may have been beneficial to achieve the 'lighter spirit' of the 1670s style (Source 4).

underdrawing

The outline may be executed in oil or watercolors. If using watercolors on a sized surface, a coat of painting varnish should be applied over the sketch before oil painting begins, a method attributed to Paul Veronese and recommended for oil execution (Source 8). Maes' precise rendering of gestures and clothing suggests a careful initial layout, though specific preparatory sketches for this portrait are not described in the sources.

underpainting

A grisaille (monochrome underpainting) is recommended. The artist should mentally extract red and yellow colors, painting the forms in neutral tones (likely using black, ultramarine, and white as per Reynolds' method cited in Source 2). This establishes the tonal structure before color is introduced. This technique allows for the subsequent application of transparent glazes to build up the final hues (Source 2).

color palette

White

Lead White or Titanium White

Highlights, drapery, and mixing with glazes; used in the initial monochrome stage

Ultramarine

Lapis Lazuli pigment

Shadows and cool tones in the underpainting; potentially for blue drapery if present

Black

Ivory Black or Lamp Black

Deep shadows and defining contours in the grisaille

Red/Yellow Earth Tones

Red Ochre, Yellow Ochre, Sienna

Glazing over the grisaille to create flesh tones and warm highlights, consistent with the 'orange' or 'rosy' complexions discussed in color theory sources

Green/Blue

Verdigris, Azurite

Complementary glazes to heighten complexion contrast, if drapery or background elements require it

composition

Maes' mature portraits from the 1670s often feature sitters in elegant gardens or against sunset skies, with a free brushstroke and emphasis on gestures and poses (Source 4). The composition likely utilizes a standardized format, either a half-length figure in an oval or a three-quarter-length figure leaning against a prop like a column or rock (Source 4). The background is likely lighter than his earlier works, reflecting the influence of Flemish and French portraiture (Source 4). Specific details of the sitter's clothing or jewelry are not described in the sources, so the recreation should focus on the general elegance and period-appropriate attire typical of Maes' 1670s portraits.

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the composition on the prepared white ground using charcoal or thinned oil paint. Ensure the pose and gestures align with Maes' emphasis on elegance and movement.
Tip — If using watercolor, apply a coat of painting varnish over the sketch before proceeding to oil layers (Source 8).
Outline in oil or watercolor

underpainting

step 02
Create a grisaille using black, ultramarine, and white. Establish the tonal values of the figure and background, ignoring local color. This monochrome layer should be completely dry before proceeding.
Tip — Mentally extract red and yellow colors to focus on form and light (Source 2).
Grisaille

first pass

step 03
Begin glazing and scumbling with oil. Apply transparent coats of red and yellow tones over the grisaille to build up the flesh tones and warm highlights. Use a medium such as oil of copavia or linseed oil.
Tip — Glazing involves applying a transparent coat of color. Scumbling involves semi-opaque painting where the underlying layer shows through (Source 2).
Glazing

refining

step 04
Refine the complexion and drapery colors. Use complementary colors to heighten or lower tints as needed. For example, a green drapery might heighten a rosy complexion, or a blue drapery might heighten an orange complexion (Source 1).
Tip — Juxtaposition of colors has a more positive effect than reflection (Source 1).
Color Contrast

finishing

step 05
Add final details to the clothing, hair, and background. Ensure the brushwork is free and expressive, consistent with Maes' 1670s style. Check for proper drying between layers to avoid cracking.
Tip — Follow the 'fat over lean' rule: each additional layer should contain more oil than the previous one (Source 7).
Free Brushstroke

varnishing

step 06
Once the painting is completely dry, apply a final varnish to protect the surface and unify the gloss.
Tip — Ensure the painting is fully cured to prevent trapping solvents.
Varnishing

critical techniques

Glazing and Scumbling

Used to build up color and depth over a monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture. This method was widely practiced by old masters (Source 2).

Color Contrast

Using complementary colors in drapery or background to enhance the complexion. For instance, green drapery can heighten a rosy complexion, while blue can heighten an orange one (Source 1).

Fat over Lean

Ensuring each successive layer of paint has a higher oil content than the previous one to prevent cracking and ensure proper drying (Source 7).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to mixing and muddiness.
→Violating the 'fat over lean' rule, causing the paint film to crack and peel (Source 7).
→Ignoring the contrast effects of juxtaposed colors, which can flatten the appearance of the complexion (Source 1).
→Using a dark ground for a 1670s Maes portrait, which contradicts his shift toward lighter, garden-like settings (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 sitter's clothing, jewelry, or facial features are not described in the sources, so the recreation must rely on general period conventions and Maes' typical style.
·The exact dimensions and format (oval vs. rectangular) of this specific portrait are not confirmed in the sources, though Maes used standardized formats.
·The specific pigments used by Maes in 1675 are not listed, so modern equivalents are suggested based on general oil painting practices.

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
Laws of Contrast of Colour↗
- Results applicable to Portrait painting — applied to Color contrast and complexion enhancement
The Science of Painting↗
- CHAPTER IX. OUTLINE AND EXECUTION OF A PICTURE IN OILS — applied to Surface preparation and underdrawing methods

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 and compositional habits
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to General oil painting techniques and 'fat over lean' rule

Read more about the corpus on the sources page and how the guides are built on the methods page.

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