plate no. 8956

Thomas Sandys

oilBaroqueportraitportraitfigurerobehairdraperycolumn

what to study here

It shows clearly how selective hard and lost edges, plus a strict three-value structure, keep a dark-ground portrait readable and focused on the face.

This portrait is a study in holding a figure together with three value zones: a near-black ground, a mid-value robe, and a pale face as the lightest area. Light comes from the upper left. The face is modeled with soft, blended edges, and shadows are resolved by tone shift rather than line. Look at how the warm tan of the face separates from the dark ground at the jaw and collar, where the edge is sharp, while on the right side the figure dissolves into shadow. The white collar is the second bright accent and sits just below the jaw. The burnt-orange robe is handled differently from the face. Strokes follow the fold direction, with crisp edges where light meets deep shadow and lost edges where folds recede. The lit side is bright orange-tan and the shadow side is deep rust. The dark wavy hair is built with distinct dark strokes over lighter underpainting. A faint column or architectural shape sits behind the figure on the right and barely registers. Squint at the image to check the value structure, then compare how edge control changes from face to robe to hair.

key decision

The painter kept the face as the lightest, softest-modeled area against a near-black ground, with a sharp edge at the jaw and collar. The robe was left at mid-value and given more visible, directional brushwork.

recreation guide

Nicolaes Maes’s portrait of Thomas Sandys represents the artist’s mature period, likely influenced by the Flemish style of Anthony van Dyck, which Maes adopted in the 1660s (Source 4). Unlike his earlier austere portraits against dark backgrounds, this work likely features staging and accessories characteristic of Flemish portraiture, potentially placing the sitter in a lighter setting or emphasizing elegant gestures and clothing (Source 4). Maes is known for applying Rembrandt’s stylistic characteristics, such as expressive brushwork and chiaroscuro, to his subjects, endowing them with solemn dignity even in mundane or domestic contexts (Source 3). The painting would have been executed in oil, adhering to the traditional 'fat over lean' rule to ensure the stability of the paint film (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (artist grade)	Primary medium for the portrait	—
Linseed oil	Medium to mix with paint for transparency and binding	Stand oil or refined linseed oil
Mineral spirits or turpentine	Solvent to thin paint for underpainting and cleaning brushes	Odorless mineral spirits (OMS)
Canvas	Support surface	Linen or cotton canvas, primed
Charcoal or thinned paint	For initial sketching of the subject	Vine charcoal or graphite
Palette knives and rags	For application, scraping, and adjusting texture	—

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, traditional oil painting techniques involve preparing the surface to accept the oil medium (Source 1). Maes’s later portraits often featured lighter tones and garden settings, suggesting a lighter ground may have been used compared to his earlier dark-background works (Source 4).

underdrawing

Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint (Source 1). Maes, being a student of Rembrandt, likely employed a loose, expressive underdrawing to establish the pose and chiaroscuro before applying color (Source 3).

underpainting

Maes likely employed a monochrome underpainting (grisaille) to establish values and form. The practice of coloring a monochrome involves mentally extracting red and yellow colors to translate what would be left in nature, creating a foundation for subsequent glazing (Source 2). This technique allows for the adjustment of translucency and sheen in later layers (Source 1).

color palette

Limited palette derived from Rembrandt

Earth tones, ochres, umbers, and blacks

General use in Maes’s early to mid-period works, providing solemn dignity through light and shadow (Source 3)

Lighter tones

Whites, light blues, and greens

Later portraits (1670s) featuring elegant gardens and light spirits (Source 4)

Red and Yellow tones

Transparent reds and yellows for glazing

Glazing over the dry grisaille to add warmth and color, similar to tinting an engraving (Source 2)

composition

Maes’s mature portraits from the 1660s onwards employed staging and accessories often seen in Flemish portraiture, such as props like columns, fountains, or rocks, and settings like terraces or gardens against sunset skies (Source 4). The composition likely emphasizes gestures, poses, and the details of clothes and hairstyles, reflecting the influence of van Dyck (Source 4). Unlike his earlier austere portraits, this work likely avoids a plain dark background in favor of a more elaborate setting (Source 4).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the subject onto the canvas using charcoal or thinned paint to establish the pose and proportions.
Tip — Ensure the pose reflects the elegant gestures characteristic of Maes’s later style (Source 4).
Initial sketching

underpainting

step 02
Apply a monochrome underpainting (grisaille) using black, ultramarine, and white, mixed with oil of copavia or linseed oil, to establish values and form.
Tip — Mentally extract red and yellow colors to focus on value structure (Source 2).
Grisaille

first pass

step 03
Once the grisaille is dry, begin glazing and scumbling with oil. Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) to introduce red and yellow tones.
Tip — Glazing adds transparency, while scumbling allows the underlying painting to show through, creating depth (Source 2).
Glazing and Scumbling

refining

step 04
Apply subsequent layers of paint, ensuring each layer contains more oil than the previous one ('fat over lean') to prevent cracking.
Tip — Use palette knives or rags to adjust texture and remove paint if necessary while wet (Source 1).
Fat over Lean

finishing

step 05
Refine the details of the clothing, accessories, and facial expression, emphasizing the solemn dignity and character of the sitter.
Tip — Focus on the eyes and eyebrows to convey expression, as the mouth is likely neutral (Source 8).
Detailing

varnishing

step 06
Allow the painting to dry completely (up to two weeks) before applying a varnish to protect the surface and enhance the sheen.
Tip — Oil paint dries by oxidation, not evaporation, so patience is required (Source 1).
Varnishing

critical techniques

Glazing and Scumbling

Used to build up color and transparency over a dry monochrome underpainting, a method practiced by old masters including Maes (Source 2).

Fat over Lean

A basic rule of oil paint application where each additional layer contains more oil than the layer below to ensure proper drying and prevent cracking (Source 1).

Chiaroscuro

Maes applied Rembrandt’s stylistic characteristics, including the play of light and shadow, to endow his subjects with solemn dignity (Source 3).

common pitfalls

→Applying layers with less oil than the previous layer, which can cause the painting to crack and peel (Source 1).
→Over-modeling or being too tied down to the outline, which can result in a smallness that detracts from the expressive quality (Source 7).
→Ignoring the importance of the eyes and eyebrows in conveying expression, as the mouth is typically neutral in historical portraits (Source 8).

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 pigments used by Maes for this particular portrait are not detailed in the sources.
·The exact dimensions and format of the 'Thomas Sandys' portrait are not provided, though Maes used standardized formats (Source 4).
·Specific details of the sitter's clothing, accessories, or background are not described in the sources, so these must be inferred from general stylistic trends or omitted.
·The precise year of creation is not available, making it difficult to pinpoint the exact stylistic phase (early vs. late mature) without further art-historical context.

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 Glazing and scumbling techniques over a grisaille underpainting (Source 2).

cross-referenced from

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

Wikipedia: Oil painting↗
- part 2 — applied to General oil painting techniques, fat over lean rule, drying times, and tools (Source 1).
Wikipedia bio — Nicolaes Maes↗
- part 3 — applied to Maes’s use of Rembrandt’s chiaroscuro and brushwork, and his thematic focus on dignity (Source 3).
- part 4 — applied to Maes’s mature portrait style, influence of van Dyck, and use of staging/accessories (Source 4).
Wikipedia: Portrait painting↗
- part 2 — applied to Expression through eyes and eyebrows in historical portraiture (Source 8).

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

A three-quarter-length portrait of a man illuminated from the upper left, his face and body emerging from an almost-black background. The eye is drawn immediately to the pale, carefully modeled face—its warm tan tone and subtle cheekbone definition stand out against the dark ground. The robe, a rich burnt-orange anchored in deep rust shadows, dominates the composition with complex folds that catch light across the front and left side. Behind and to the right, the faint silhouette of a column or architectural element recedes into shadow, while a white collar at the neck acts as a sharp light anchor below the jaw.

value structure

The painting uses extreme value separation: near-black background (except subtle warm undertones) against the illuminated figure. The face is the lightest area overall, with the white collar providing a secondary bright accent. The robe occupies the middle-value range, split decisively by light—brilliant orange-tan on the lit side, deep burnt-sienna shadows on the right and folds. Squinting reveals three dominant value zones: deep dark ground, mid-tone robe mass, and pale face emerging from it.

observed palette and mixes

#18191b
Ivory black with trace burnt umber—avoid pure black
Background, deepest shadows on right side of face and robe, hair
#302724
Burnt umber with slight ultramarine blue undertone
Midtone background, suggesting atmospheric depth
#977548
Raw sienna and burnt sienna, warm undertone for skin
Face midtones, neck, and hand shadows
#d4a574
Titanium white + raw sienna + touch of cadmium orange
Face highlights (forehead, left cheekbone), lit plane of neck
#c65a1e
Cadmium orange + burnt sienna, weighted toward orange
Robe highlights catching strong light, upper left chest
#7d5230
Burnt sienna + ultramarine blue + raw sienna
Robe shadows and fold depths, darkest drapery

edges and brushwork

The face is rendered with soft, blended edges that model form subtly—shadows are resolved through tone shift rather than line. The robe shows more visible, expressive brushwork: directional strokes follow the fold geometry, with crisp edges where light meets deep shadow and softer, lost edges where folds recede. The dark wavy hair is built with distinct dark strokes laid over lighter underpainting, creating rhythm and volume without overworking. Edges between the figure and background are selectively hard (sharp light-dark boundary at the face and collar) or soft (dissolving into shadow on the right).

a working sequence

01
Establish the ground and block masses
Thin burnt umber to a fluid consistency and lay in the background, mixing in a touch of ultramarine and raw sienna to create subtle warm-brown undertones—avoid a uniform black. While still wet, block in the head, robe, and visible hand as simplified geometric shapes. Let this dry to establish your value key.
02
Model the head and establish light direction
Mix a pale tan from titanium white, raw sienna, and a hint of cadmium orange. Block in the basic skull mass, then immediately establish the shadow side of the face—a cooler tan (add ultramarine to the mixture). Model the bone structure with subtle half-tones: cheekbones catch light on the left, the right temple and jaw edge fall into shadow. Keep edges soft; the face should emerge gradually from the background, not jump out.
03
Paint the robe in light and dark zones
Work the robe as two separate problems: the lit area and the shadow area. For highlights, mix cadmium orange with burnt sienna, skewed bright—apply this to the upper left chest and front fold catching full light. For shadows, use burnt sienna + ultramarine blue + a touch of raw sienna to create depth. Follow the fold direction with your strokes; let them suggest volume without outlining every fold.
04
Define facial features with restraint
Paint the eyes as dark shapes set deep in the skull—use ivory black softened with burnt sienna, place the catch-light as a single highlight. The nose is suggested by shadow on its left edge; the mouth is a line of soft shadow beneath the upper lip. Avoid rendering fine detail; rely on the overall light modeling to convey likeness. The expression should feel introspective, not scrutinized.
05
Render the dark wavy hair
Use ivory black mixed with burnt sienna. Over your initial blocking, paint distinct waves and curls as rhythmic dark strokes that follow the hair's flow. Vary the value slightly—some shadows within the hair should be slightly warmer (more burnt sienna) to avoid flatness. The hair should have volume and movement, not appear as a solid cap.
06
Establish the white collar and refine edges
Paint the white collar with titanium white, barely tinted with raw sienna to avoid chalkiness. This accent should be crisp against the dark background and the robe. Soften edges where the collar transitions to the robe and skin. Refine the outer boundary of the robe where it meets the background—keep some edges hard and others lost to suggest atmospheric recession.
07
Develop the column and background depth
Barely suggest the architectural element on the right with a slightly cooler, more bluish undertone than the background—enough to hint at receding forms without competing with the figure. Add subtle variation to the background to prevent flatness, but keep it subservient to the portrait.
08
Final value and edge adjustments
Step back and assess: Is the face luminous and sufficiently separated from the background? Are the robe folds believable and lit consistently? Strengthen any edges that need definition, soften any that feel harsh. Add final highlights to the face (forehead, left cheekbone) and refine the transition from light to shadow in the robe's upper folds.

where studies of this painting go wrong

Painting the background too green or olive—it's nearly black with warm undertones, not a greenish tone. Use burnt umber + ivory black, then add just enough raw sienna or ultramarine to suggest depth, not color.
Making the robe a flat, garish orange. The light side should have enough burnt sienna mixed in to maintain depth and richness, even where it's bright. The shadow side must be substantially darker and cooler.
Rendering the face too pink or ruddy. This portrait's skin tone is warm tan—dominated by raw sienna and ochre, with cool shadows but no blushing. Err toward ochre if uncertain.
Overworking or over-defining the hair. It should read as dark, wavy, and voluminous without becoming a tight, carved shape. Use confident strokes that suggest curls; let negative space work for you.
Making the white collar too bright or too pure white—a hint of raw sienna prevents it from looking like added later. It should sit naturally between skin and robe.
Losing the hand by making it too dark. It's mostly in shadow but still readable as a pale form; add just enough light to show it's there without emphasizing it.

measured difficulty