plate no. 7173

Portrait of a Young Woman

oilBaroqueportraitportraitwomanpearlsdresshairjewelry

recreation guide

Nicolaes Maes’s 'Portrait of a Young Woman' (1665) represents a pivotal moment in the artist’s career, marking his transition from the austere, dark-background portraits of his early period to a mature style influenced by Flemish portraiture, particularly that of Anthony van Dyck (Source 1). During the 1660s, Maes began employing staging and accessories characteristic of Flemish tradition, moving away from the severe presentation of his earlier works (Source 1). This specific work likely reflects this shift, potentially featuring a half-length or three-quarter-length figure, as these were the two standardized formats Maes predominantly used during his mature period (Source 1). The portrait aims not merely at literal likeness but at capturing the 'inner essence' or character of the subject, consistent with the broader goals of portrait painting which prioritize moral quality and expression over fleeting accidents (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, Earth tones, Red/Yellow ochres)	Primary medium for underpainting and glazing	High-quality tube oils; Ultramarine blue, Lead White (or Titanium/Zinc mix for safety), Ivory Black, Raw Sienna, Yellow Ochre, Vermilion
Canvas (Small rectangular or larger format)	Support for the painting; Maes used standardized formats	Linen canvas, primed
Oil of Copavia (or modern substitute like Odorless Mineral Spirits + Linseed Oil)	Medium for the first and second paintings, as noted in historical practice	Liquin or a mix of linseed oil and solvent
Varnish	Used in later glazing stages to mix with oil for transparency	Dammar varnish or modern resin varnish

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While specific ground recipes for Maes are not detailed in the sources, the practice of the period involved preparing a surface that could support the layering of glazes. The artist must ensure the surface is sound, as the technique relies on the interaction between the underpainting and subsequent transparent layers (Source 8).

underdrawing

Sources do not explicitly describe Maes’s specific underdrawing method for this portrait. However, given the emphasis on 'staging and accessories' and the influence of Van Dyck, a careful initial drawing to establish the pose and the 'inner significance' of the subject would be essential (Source 1, Source 3). The artist should avoid being 'too tied down to the outline,' as advised in general practice for achieving a naturalistic yet expressive result (Source 7).

underpainting

A monochrome underpainting (grisaille) is recommended, consistent with the historical practice of 'old masters' described in the sources. This involves extracting red and yellow colors to establish the tonal structure using black, ultramarine, and white (Source 2). This layer serves as the foundation for the subsequent glazing of warm tones. Sir Joshua Reynolds’ method, cited as representative of this approach, uses oil of copavia with black, ultramarine, and white for the first and second paintings (Source 2).

color palette

Ultramarine

Pure ultramarine blue

Underpainting and shadows; part of the standard grisaille mix

White

Lead white or equivalent

Highlights and mixing with ultramarine/black for the underpainting

Black

Ivory black or lamp black

Shadows and defining forms in the underpainting

Red and Yellow tones

Vermilion, Red Ochre, Yellow Ochre

Glazing and scumbling over the dry grisaille to introduce flesh tones and warmth, as these colors were 'extracted' from the underpainting

composition

Maes’s mature portraits from the 1660s often featured a half-length figure within a painted oval or a three-quarter-length figure leaning against a prop such as a column, fountain, or rock (Source 1). The setting might include a terrace or garden against a sunset sky, reflecting the lighter spirit of the times and Flemish influence (Source 1). The composition should aim to reveal the 'inner essence' of the subject, with expression conveyed primarily through the eyes and eyebrows, as the mouth is typically neutral or serious (Source 3).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the composition lightly, focusing on the pose and the 'inner significance' of the subject. Ensure the figure is positioned according to Maes’s standard formats (half-length or three-quarter-length).
Tip — Avoid being too rigid with the outline; allow for adjustment during the painting process.
Preparatory drawing

underpainting

step 02
Create a grisaille underpainting using black, ultramarine, and white mixed with oil of copavia (or a modern equivalent). This layer should establish the tonal values, mentally extracting red and yellow colors.
Tip — Ensure this layer is completely dry before proceeding to glazing.
Grisaille

first pass

step 03
Begin glazing and scumbling with oil (and later varnish mixed with oil) to introduce red and yellow tones. Apply these transparent layers over the dry grisaille, similar to tinting an engraving with watercolors.
Tip — Glazing is a transparent coat of color; scumbling is semi-opaque. Use glazing for depth and scumbling for texture or lighter tones.
Glazing and Scumbling

refining

step 04
Refine the facial expression, focusing on the eyes and eyebrows to convey character and moral quality. The mouth should remain relatively neutral, with subtle emotions expressed through the eyes.
Tip — Remember that 'the eyes are the place one looks for the most complete, reliable, and pertinent information' about the subject.
Expressive detail

finishing

step 05
Add final details to the clothing and accessories, ensuring they reflect the Flemish influence of staging and elegance. Check the harmony of colors, considering the law of simultaneous contrast to ensure colors appear as intended.
Tip — Be aware that contiguous colors affect each other; the lightest tone will be lowered and the darkest heightened.
Color harmony

critical techniques

Glazing

A transparent coat of color applied over a dry underpainting to build up depth and richness. This was a common practice among old masters, including Maes’s contemporaries and influences.

Scumbling

A semi-opaque painting technique used over the underpainting to modify tones and textures. It allows the underlying painting to show through, creating complex color interactions.

Simultaneous Contrast

Understanding that colors affect each other when placed side-by-side. The painter must perceive and imitate these modifications to achieve accurate color representation.

common pitfalls

→Over-modeling or being too tied down to the initial outline, which can result in a stiff, unnatural appearance (Source 7).
→Ignoring the law of simultaneous contrast, leading to inaccurate color perception and application (Source 5).
→Attempting to achieve photographic realism at the expense of the 'inner essence' or character of the subject, which is the true goal of portraiture (Source 3).
→Applying glazes before the underpainting is completely dry, which can muddy the colors and ruin the transparency (Source 2).

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 young woman’s clothing, jewelry, or accessories are not described in the sources, so these must be inferred from general knowledge of 1660s Dutch fashion or left to the artist’s discretion within the style.
·The exact dimensions of the canvas for this specific portrait are not provided, though Maes used standardized formats.
·Maes’s specific pigment recipes are not detailed, so general period-appropriate pigments are recommended.
·The specific background (dark vs. garden/terrace) for this 1665 work is not explicitly stated, though the 1660s mark a transition towards lighter, Flemish-influenced settings.

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, glazing, scumbling, and materials
- ON COPYING — applied to Advice on avoiding over-modeling and rigid outlines
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of medium and avoiding mere deception

cross-referenced from

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

Wikipedia bio — Nicolaes Maes↗
- Portrait painting — applied to Overview, composition notes, and stylistic evolution
Wikipedia: Portrait painting↗
- Portrait painting — part 2 — applied to Expression, character, and facial features

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

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