plate no. 8621

The young captain

Gustave de Smet, 1927

oilExpressionismportraitfiguresbuildingswaterboatsportraitcityscape

recreation guide

Gustave de Smet’s *The Young Captain* (1927) is a quintessential example of Flemish Expressionism, a movement co-founded by De Smet alongside Constant Permeke and Frits Van den Berghe (Source 1). By 1927, De Smet had settled in Deurle, where his style reached a peak characterized by a synthesis of Expressionism and Cubism (Source 2). The work likely exhibits the 'distorted forms, coloration and dynamic compositions' associated with the group’s stylistic relationship to German Expressionism (Source 1). Unlike the meticulous realism of earlier Netherlandish portraiture, De Smet’s approach prioritizes 'pure expression' over visual imitation, utilizing simplified lines and shapes to convey personal feeling (Source 2). The painting would feature a 'well-organized and balanced structure' augmented by expressive qualities, reflecting the influence of Henri Le Fauconnier and the Bergen School (Source 2).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (warm autumnal tones, blacks, whites)	Primary medium for creating solid masses of paint and saturated palette	High-quality tube oils; use Titanium White or Zinc White to avoid yellowing if mimicking historical lead white properties
Linseed oil or Copal varnish	Medium for glazing and scumbling; historically, De Smet used oil of copavia (Source 3)	Stand oil or damar varnish mixed with odorless mineral spirits
Canvas or linen support	Traditional support for oil painting	Pre-primed linen canvas
Brushes (various sizes)	Applying broad brushstrokes for solid masses of paint	Hog bristle brushes for impasto, sable for finer details

preparation

surface prep

Prepare a standard oil-primed canvas. While specific priming methods for this exact 1927 work are not detailed, De Smet’s background in the Latem School and his training at the Royal Academy suggest a traditional preparation. The surface should be smooth enough to allow for the 'simplified lines and shapes' characteristic of his post-1914 style (Source 2).

underdrawing

De Smet’s later work emphasizes structure and balance, influenced by Cubism (Source 2). A light, structural underdrawing is recommended to establish the 'well-organized and balanced structure' mentioned in his biography (Source 2). Avoid overly detailed preliminary sketches; the focus should be on the geometric simplification of forms.

underpainting

Consider a grisaille (monochrome) underpainting. Source 3 describes a method where the artist mentally extracts red and yellow colors, leaving a neutral base. This aligns with the 'chiaroscuro effects' De Smet adopted from German Expressionism (Source 2). The underpainting should establish the light and shadow values before color is introduced.

color palette

Warm Autumnal Tones

Ochres, Umbers, Siennas

General palette; De Smet’s color palette changed to warm autumnal tones after 1914 (Source 2)

Black

Ivory Black or Mars Black

Creating solid masses of paint and chiaroscuro effects (Source 2)

White

Lead White (historically) or Titanium/Zinc White

Highlights and mixing; historically used with ultramarine and black in early stages (Source 3)

Ultramarine

Ultramarine Blue

Cool shadows and structural definition; mentioned in Reynolds’ method cited in Source 3

composition

The composition should reflect a 'sense of balance, synthesis and construction' derived from Cubist elements (Source 1). Avoid naturalistic perspective; instead, prioritize a 'well-organized and balanced structure' that augments expressive quality (Source 2). The figure should be rendered with 'simplified lines and shapes' rather than meticulous detail (Source 2).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic geometric forms of the captain’s figure and uniform. Focus on balance and structure rather than anatomical precision.
Tip — Ensure the composition feels 'well-organized' and balanced, consistent with De Smet’s Cubist-influenced period (Source 2).
Structural Simplification

underpainting

step 02
Apply a monochrome underpainting (grisaille) using black, white, and possibly ultramarine. Establish the chiaroscuro effects and light/shadow relationships.
Tip — This step extracts the color to focus on form and light, preparing for the expressive color layer (Source 3).
Grisaille Underpainting

first pass

step 03
Apply broad brushstrokes of warm autumnal tones and blacks. Create 'solid masses of paint' rather than blending smoothly.
Tip — De Smet’s style involves 'solid masses of paint on the canvas' (Source 2). Do not over-blend; let the brushwork remain visible.
Impasto/Broad Brushwork

refining

step 04
Glaze and scumble transparent and semi-opaque layers of color over the dry underpainting. Introduce red and yellow tones to modulate the warmth.
Tip — Glazing adds depth; scumbling adds texture. This technique allows the underlying structure to show through, enhancing the expressive quality (Source 3).
Glazing and Scumbling

finishing

step 05
Adjust the balance of warm and cool tones. Ensure the 'distorted forms' serve the expressive intent rather than realism.
Tip — Check that the work avoids 'visual imitation of nature' in favor of 'pure expression' (Source 2).
Expressive Distortion

critical techniques

Chiaroscuro

Used to focus on personal feelings and new expressive ways of depicting them, creating strong light/dark contrasts (Source 2).

Glazing and Scumbling

Applying transparent and semi-opaque layers to build color depth and texture, a method practiced by old masters and applicable to De Smet’s layered approach (Source 3).

Structural Simplification

Using simplified lines and shapes to create a balanced, Cubist-influenced composition (Source 2).

common pitfalls

→Over-blending the paint, which destroys the 'solid masses' and expressive brushwork characteristic of De Smet’s style (Source 2).
→Focusing too much on realistic likeness, which contradicts De Smet’s belief that 'visual imitation of nature stands in terrific opposition to pure expression' (Source 2).
→Using a cool, neutral palette instead of the 'warm autumnal tones and blacks' that defined his post-1914 work (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 captain’s uniform, facial features, or background objects are not described in the sources, so these must be inferred from general Expressionist conventions or left to the artist’s discretion.
·The exact ratio of glaze to scumble in De Smet’s specific 1927 technique is not detailed, though the general method is described in Source 3.
·The specific dimensions of the canvas are not provided.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting — COLOURING A MONOCHROME↗
- Glazing and Scumbling — applied to Underpainting and layering techniques (grisaille, glazing, scumbling).

cross-referenced from

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

Wikipedia bio — Gustave de Smet — part 2↗
- Biography — applied to Style description, palette (warm autumnal tones, blacks), structural influence (Cubism), and expressive intent.
Wikipedia bio — Gustave de Smet — part 1↗
- Introduction — applied to Context of Flemish Expressionism, distorted forms, and dynamic compositions.

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

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

chat about this artwork

in this vein