plate no. 2554

Portrait of a Young Man, Possibly Simon van Alphen

oilBaroqueportraitportraitfigurelandscapetreeclothingsky

what to study here

It shows how to make a pale face dominate through value placement and soft edges, with hair and background deliberately kept close in tone.

This portrait is a lesson in how a restrained value structure holds a figure together. The vision analysis describes a narrow mid-to-dark range with two exceptions: the pale face and the white cravat. Squinted down, it reads as three masses. Background and hair are dark, the red-brown garment is medium, and the face is light. Study how the hair and background sit at nearly the same value, so the painter separates them with small edge shifts rather than a contrast in tone. Edges are mostly soft and blended; the jaw dissolves into shadow. The red fabric has more directional strokes that follow the folds. The sky is handled loosely, so the finished figure stands out against a sketchier setting. Note the golden-yellow layer between the red outer garment and the white cravat, which adds a warm accent. Copy the face's value placement before its features: it must stay the lightest note, with the cravat sitting just below it.

key decision

The painter kept hair, sky and tree at nearly the same dark value and let the pale face carry the only strong light, with the cravat held slightly below it. Edges are blended so the figure reads as one tonal structure.

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.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Light falls from the upper left, illuminating the young man's face and the left side of his rich red-brown outer garment, while his long dark hair catches slight highlights. The figure dominates the canvas in a three-quarter pose, positioned against a moody blue-gray sky with a dark tree mass bracketing the upper right. The eye lands first on the pale face—it reads immediately as the focal point because of extreme value contrast and clarity against both the dark hair and the receding background. The golden-yellow middle layer of the costume creates a warm accent between the red outer fabric and the white cravat.

value structure

This painting lives in a narrow mid-to-dark range with two dramatic exceptions: the pale face and the white cravat read as distinct light notes. The sky and background establish a unified dark envelope; the hair sits at nearly the same value, requiring subtle edge shifts to separate them. The red-brown fabric reads slightly lighter than the hair but darker than the face, creating a clear three-value progression. Squint and you see: dark mass (background + hair), medium mass (red fabric), light mass (face + white detail).

observed palette and mixes

#16171c
Ultramarine deep + burnt umber + black
Darkest background sky and tree shadow masses
#27201f
Burnt sienna + ultramarine + ivory black
Hair shadows and darkest folds of the red garment
#5d5c59
Raw sienna + ultramarine, warm gray
Mid-tone shadows on the face and neck
#373a40
Cerulean blue + raw umber + white
Sky mid-tones and background recession
c85a3a
Alizarin crimson + cadmium red light + raw sienna
Red-brown fabric dominant color
d4a860
Raw sienna + cadmium yellow light + white
Golden-yellow middle layer beneath the red robe
e8dcc8
Lead white + raw sienna + touch of ultramarine
Flesh tones on face and neck
f5f3f0
Lead white + tiny touch of raw sienna
White cravat and shirt front

edges and brushwork

Nearly all edges throughout the portrait are soft and fully blended—notice how the jaw dissolves into shadow with no hard line, and how the hair melts imperceptibly into the background except at the outer contour. The red fabric shows slightly more directional brushwork suggesting the weave and drape of costly silk or velvet, with strokes following the fold. The sky is loosely handled with horizontal softness, allowing the figure to read as polished and finished against a deliberately sketchy, atmospheric background.

a working sequence

01
Lay in the dark masses and composition
Block in the background sky and tree shadow with your darkest blues and browns. Establish the silhouette of the head and shoulders, then sketch the red-brown outer garment mass. Keep edges soft and approximate—this is framework. Pay attention to where the head sits in relation to the tree bracket; the dark foliage should frame, not overwhelm.
02
Build the hair as a coherent dark form
Lay in the hair as a single unified mid-dark mass with subtle internal modeling. Use burnt sienna + ultramarine to avoid flat black. Leave the face area unpainted for now. The hair should read as flowing volume, not as individual curls—let soft blending create the movement. Note how the hair catches a hint of lighter tone on the left side where light grazes it.
03
Establish facial proportions and block skin tone
Paint the entire face and neck with your base flesh tone—a warm cream made from lead white + raw sienna + touch of ultramarine. Work loosely; don't worry about features yet. The face should read as noticeably paler than everything around it. Compare its value to the red fabric and hair constantly.
04
Model the face with soft value transitions
Using your mid-tone gray (ultramarine + raw umber + white), gently introduce shadow on the right side of the face, under the cheekbone, and in the eye sockets. Blend everything into the base tone—there should be no visible brushstroke. The cheek should catch warm light; the temple should be cooler and slightly deeper in value. Step back frequently; the face should look alive but refined, not overworked.
05
Define the facial features with restraint
Carefully place the eyes (dark, but not pure black—add them with just enough definition to be readable from a distance), the mouth (subtle warmth, soft edge), and the nose (primarily value and edge rather than line). Use tiny touches of highlight in the eyes. The face wins through proportion and value harmony, not fine detail.
06
Paint the costume—golden layer first
Lay in the golden-yellow middle layer with raw sienna + cadmium yellow + white. This layer is visible in the central chest and front area. Keep edges soft where it meets the red outer robe. This is your warm accent between the cool background and the rich red.
07
Paint the red-brown outer garment
Apply the red-brown fabric (alizarin + cadmium red light + raw sienna) over and around the golden layer. Notice the fabric shows subtle folds and direction—use slightly directional strokes to suggest the weave and hang of expensive cloth. The left side catches more light; the right and back folds should be darker. Blend the edges where red meets the dark background so the garment sits naturally in space.
08
Add the white cravat and hand accents
Paint the white cravat and the shirt front at the neck with a pale cool white (lead white + touch of raw sienna). Note how this white sits in partial shadow—it is not the brightest light in the painting; it reads as subordinate to the face. Add the visible hand holding or resting against the fabric; it should be in soft light, with the same pale flesh tone as the face, but slightly more shadowed. Keep edges soft.
09
Refine the background and check overall harmony
Step back and assess value relationships across the whole painting. Soften any hard edges between the head and background. Ensure the sky is darker than the face, lighter than the hair, and subtly bluer in tone. Add any final atmospheric details—the distant landscape hint if needed. The entire painting should read as a unified tonal harmony with one clear focal point: the serene, pale face.

where studies of this painting go wrong

Making the face too yellow, too pink, or too saturated in color—it is pale and cool-neutral, allowing the red fabric to sing. The subtlety is the challenge.
Painting the hair as brown or as individual strands rather than as one coherent dark form. This hair is slick, unified, and almost sculptural in its smoothness—resist the urge to fiddle.
Losing the richness of the red fabric by making it too orange, too flat, or too dark. It must sit at a specific mid-value that allows the face to read lighter but the background to read darker.
Overworking the face with too much modeling or too many details. This is a study in subtlety and refinement—more blending, fewer brushstrokes visible.
Making the background too detailed or too light. It should recede as an atmospheric mass, not compete with the figure.
Placing the white cravat as the brightest note. It is pale, but subordinate to the face. The face is the true light.

measured difficulty