The Man with the Bottle

surface prep

Prepare a standard oil-primed canvas. While De Smet’s specific ground preparation for this portrait is not detailed in the sources, the general practice of the era and the need for 'solid masses of paint' suggests a stable, slightly absorbent ground. If employing the grisaille technique described in general oil painting practice (Source 3), the surface should be prepared to accept a monochrome underlayer.

underdrawing

De Smet’s style involves 'simplified lines and shapes' (Source 5). The underdrawing should be loose and structural, focusing on the 'well-organized and balanced structure' (Source 5) rather than minute detail. As noted in general drawing theory, the drawing should convey 'emotional significance' rather than 'scientific accuracy' (Source 8). Avoid tight, academic outlining; instead, use broad gestures to define the 'solid masses' of the figure and background.

underpainting

Consider using a grisaille (monochrome underpainting) as a base. Source 3 describes a method where the painter creates a preparation 'mentally extracting the red and yellow colours' to establish form and tone before applying color. This aligns with the 'chiaroscuro effects' De Smet employed (Source 5). Once dry, this layer serves as the structural foundation for the subsequent glazes and scumbles.

Broad Brushwork

De Smet applied paint in 'broad brushstrokes' to create 'solid masses,' moving away from detailed modeling (Source 5).

Glazing and Scumbling

A traditional method where transparent and semi-opaque layers are applied over a dry underpainting to build depth and color complexity (Source 3).

Chiaroscuro

Used to enhance 'expressive ways of depicting' personal feelings, creating strong contrasts between light and dark (Source 5).