plate no. 7173

Portrait of a Young Woman

oilBaroqueportraitportraitwomanpearlsdresshairjewelry

what to study here

It shows how a convincing, luminous face can come from very small value shifts against a near-black ground, with soft edges and almost no visible brushwork.

The lesson here is restraint. Light comes from the upper left onto a three-quarter face turned slightly left, against a background of near-black (#27241d, #322e24). The face is the only bright note, yet the value shifts inside it are small: the forehead is a little lighter than the cheekbones, the nose carries one fine highlight, and the far cheek falls into gentle shadow. Study how little the shadow side drops from the lit side. Squint and the picture breaks into three groups: deep darks (background and dress), mids (shadowed face and hair), and lights (face and collar). The white collar is a middle value, slightly darkened and warm, so it supports the head and does not compete with it. The pearls and earrings pick up the same directional light. Edges between face and background are very soft, and the brushwork is nearly invisible, giving a smooth, porcelain-like surface. Copy the value relationships first, then the edge handling. The collar shows slightly more directional stroking along its folds, but it is still restrained.

key decision

Maes kept the face as the sole bright note against a near-black background while holding the value change within the face very small. He set the collar at a warm middle value so it anchors the head without competing.

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.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Light streams from the upper left, striking the face and creating a luminous focal point that immediately arrests the eye against the nearly black background. The young woman is positioned in a three-quarter view, turning slightly leftward, with her face receiving full illumination while her far side reads in cool shadow. The composition emphasizes the head as the primary visual mass; below it, a crisp white linen collar-and-shoulder area provides a structural anchor before the figure dissolves into the dark dress and shadowed lower composition. The pearl necklace and earrings catch this directional light, reinforcing the face's prominence.

value structure

This painting operates on a dramatic two-value story: an almost black background (#27241d, #322e24) against which the face reads as the sole bright note. Within that face, value transitions are extraordinarily subtle—the forehead is slightly lighter than the cheekbones, the nose catches a fine highlight, and the far cheek recedes into gentle shadow. The white collar occupies a distinct middle value; it's not pure white but slightly darkened with warm undertones so it integrates rather than shouts. Squint and you see three groups: deep darks (background and dress), mids (shadowed face and hair), and lights (the face and collar).

observed palette and mixes

#27241d
Ivory black + touch of burnt umber
The deepest background, especially upper corners and around the shoulders
#3c372a
Burnt umber + ivory black
Mid-dark background tones and shadow side of hair
#574c39
Burnt umber + yellow ochre
Hair color, shadow tones in folds of white collar, darkest parts of the dress
#d0bc9a
Titanium white + yellow ochre + touch of cadmium red light
The face (forehead, cheekbones, nose), the white collar, and highlights on hands
#e8dcc8
Titanium white + yellow ochre + tiny touch of cadmium red light
Brightest highlight on forehead and bridge of nose
#d98070
Cadmium red light + yellow ochre + white
Lips and warm cheek undertones

edges and brushwork

The edge between face and background is extraordinarily soft—achieved through glazing and careful blending rather than any drawn line. The brushwork is nearly invisible; the surface reads as seamlessly blended, creating an almost porcelain-like finish. The white collar shows slightly more definition and directional strokes that follow the folds, but even here the handling is restrained and refined. This is polished, technical painting where the virtuosity lies in what you cannot see.

a working sequence

01
Establish the dark foundation
Lay in the background using your darkest mixture (ivory black + burnt umber) in broad, even strokes. Work wet-on-wet to keep edges soft. The background should be nearly uniform, slightly warmer at the edges where it meets the figure. This dark serves as the stage; keep it from looking flat by varying the darkness imperceptibly.
02
Block the head shape and establish basic values
Using a mid-brown (burnt umber + touch of yellow ochre), loosely map the head's outline and the main shadow shapes on the face—the far cheek, the neck shadow, the underside of the jaw. Keep this very loose; you're creating a roadmap for the luminous modeling to come. Note how the shadowed side of the face is only slightly darker than the lit side; the value difference is subtle.
03
Paint the skin tones—lights
Begin building the lit areas of the face using your warm light mixture (white + yellow ochre + tiny touch of cadmium red). Start with the largest lit planes: forehead, the underside of the nose, the cheekbones. Apply thinly at first; you'll glaze and blend over this. Keep the entire lit side relatively uniform in value; the subtlety comes from blending edges and adding warm/cool shifts, not from big value jumps within the light.
04
Develop the face with shadow modeling
Using a slightly darker, cooler version of your skin tone (add a touch more umber and less yellow to your light mixture), model the shadow side of the face—the far cheek, around the eye socket, beneath the cheekbone, along the jaw. Blend these shadows into the lights with a soft brush; there should be no hard edge dividing light from shadow on the face itself. The transition happens through glazing and feathering.
05
Paint the facial features—eyes, nose, mouth
The eyes are small but crucial: use a dark brown for the iris, leaving a white highlight in the upper area of the pupil. The nose is defined more by the light it catches than by contour lines; a fine highlight down the bridge and a subtle shadow under the tip suffice. The lips are a warm coral-red (cadmium red light + yellow ochre + white), slightly darker than the surrounding skin, with the lower lip catching a subtle light. Keep all features understated; in Baroque portraiture, the face's form comes from value modeling, not sharp feature details.
06
Render the white collar and shoulder area
This white area is not pure white but a warm off-white (white + yellow ochre + tiny touch of red). Carefully render the folds using cooler shadows (grey made from white + touch of blue or purple) along the creases. The collar should read as crisp fabric but integrate smoothly with the face above and the dark dress below. Notice how the shadows in the folds have a subtle warmth; they're not cool greys.
07
Paint the hair and dark dress
The hair is a dark warm brown (burnt umber + touch of black), slightly warmer in the lit areas where it catches reflected light from the face. Follow the hair's direction and volume with your brushstrokes. The dress is nearly black but slightly warmer than the background; use ivory black + burnt umber. The key is maintaining the subtle value separation between the dress and background so the figure doesn't dissolve. Add the pearl necklace and earrings as small white-cream dots with warm undertones; they should glow faintly rather than pop.
08
Refine, glaze, and final integration
Step back and assess the overall values and how the face sits against the background. If the face feels too white or the background too harsh, apply a thin glaze of diluted background color around the face edges to soften the transition further. Glaze the face once more with a diluted warm light tone to unify the skin and create that luminous quality. Add the finest highlights—a touch of almost-pure white on the highest point of the forehead, a micro-highlight in each eye. The final painting should read as simple and serene, with the face glowing softly against deep shadow.

where studies of this painting go wrong

Overworking the face—the porcelain-like finish demands patience and restraint. Stop blending before it looks blended; the best transitions happen through thin glazes, not frantic brushwork.
Making the skin too yellow or too pink. The warm undertone is present but subtle; if your face reads as obviously yellow or coral, dial it back with a touch of cooler tone or wait for the glaze to harmonize it.
The white collar will look like a cutout if the values aren't managed—it must be slightly darker and warmer than pure white, and its shadow folds must be cool but not bluish, or it will look wrong in context.
Misjudging the hair value relative to the background. The hair is darker than the background but not by much. If it's too light, the head loses form; if it's too dark, it merges with the dress.
Making the lips too bright or too saturated. They're a warm coral-pink, but they sit on a very pale face, so they can easily read as garish if you're not careful—a restrained hand is essential.

measured difficulty