plate no. 8837
Three Flowers in a Vase
recreation guide
This recreation guide addresses Gustave de Smet’s *Three Flowers in a Vase*, an oil painting executed in the Impressionist style. While the specific visual details of this particular composition are not described in the provided sources, the artist is historically documented as a founder of Flemish Expressionism, known for distorted forms, dynamic compositions, and a synthesis of Cubist balance with Expressionist coloration (Source 3). The painting likely reflects his transition from the Latem School’s naturalism toward a more constructed, expressive idiom influenced by the Bergen School and German Expressionism (Source 3). The work treats the floral subject not merely as botanical documentation but as a vehicle for exploring line, space, and color harmony, consistent with the principle that flower compositions serve as valuable subjects for elementary composition exercises focusing on line-schemes and notan variations (Source 1).
estimated time
20-30 hours over 5-7 sessions
materials
7 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (pigment + drying oil) | Primary medium for the painting | Modern tube oils mixed with linseed, walnut, or poppyseed oil |
| Linseed oil | General purpose drying oil for mixing paints and glazing | Refined linseed oil |
| Walnut or Poppyseed oil | Mixing lighter colors like white to prevent yellowing | Walnut oil or Poppyseed oil |
| Varnish | Used in conjunction with oil for glazing techniques | Dammar or synthetic resin varnish |
| Canvas or linen support | Surface for oil application | Primed linen or cotton canvas |
| Pencil or charcoal | For initial trial arrangements and underdrawing | Graphite pencils or vine charcoal |
| Thin Japanese paper | For tracing refined line compositions before painting | Tracing paper or lightweight drafting paper |
preparation
surface prep
The surface should be prepared with a ground suitable for oil painting. While specific priming methods for this exact work are not detailed, de Smet’s background in decorative painting and his association with the Latem School suggest a robust preparation capable of supporting expressive brushwork. The use of linen is consistent with the period’s standards for oil painting (Source 8).
underdrawing
De Smet’s practice, influenced by his desire to work in nature and his decorative background, likely involved a focus on line and form. The sources suggest that for flower compositions, one should avoid confusing detail and give character simply (Source 1). The artist may have made trial arrangements with pencil or charcoal, refining the line-scheme on thin paper before transferring to the canvas (Source 1). This aligns with the principle that composition is the organization of visual elements, distinct from the subject itself (Source 2).
underpainting
A grisaille (monochrome underpainting) is recommended, consistent with historical practices cited in the sources. The artist would establish the tonal values first, mentally extracting red and yellow colors to focus on form and light (Source 7). This method allows for the subsequent application of glazes and scumbles to build color depth and harmony (Source 7).
color palette
White
Lead white (historical) or Titanium/Zinc white (modern)
Highlights and mixing lighter tones; historically valued for opacity and fast drying
Ultramarine
Ultramarine blue
Shadows and cool tones; cited as a key color in Reynolds’ method for initial paintings
Black
Ivory black or Lamp black
Deep shadows and tonal contrast in the grisaille stage
Red and Yellow tones
Vermilion, Cadmium Red, Yellow Ochre, etc.
Glazing and scumbling over the grisaille to introduce color and warmth
composition
The composition should prioritize the arrangement of lines and spaces over botanical correctness (Source 1). The main lines must cut the space, creating a relationship between all lines and areas to form a beautiful whole (Source 1). De Smet’s style is characterized by dynamic compositions and a sense of balance and construction, possibly showing Cubist elements (Source 3). The arrangement should be an irregular pattern of lines and spaces, rather than a mere depiction of flowers (Source 1).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Make several trial arrangements of the flowers and vase using pencil or charcoal on paper. Focus on the line-scheme and the cutting of space, avoiding botanical detail.
Tip — Ensure all lines and areas are related to one another to form a cohesive whole.
Line composition
step 02
Select the best arrangement and refine it by tracing with brush and ink on thin Japanese paper.
Tip — Concentrate effort on the arrangement, not on the accuracy of the flower forms.
Tracing refinement
underpainting
step 03
Transfer the line scheme to the canvas. Create a grisaille underpainting using black, ultramarine, and white to establish tonal values and form.
Tip — Mentally extract red and yellow colors to focus on the structure of light and shadow.
Grisaille
first pass
step 04
Allow the grisaille to dry completely. Begin applying color through glazing and scumbling techniques.
Tip — Use oil at first, then potentially varnish and oil mixed, to tint the underlying monochrome.
Glazing and Scumbling
refining
step 05
Apply red and yellow tones as they occur in the composition, similar to tinting an engraving with watercolors. Use scumbling over darker grounds to create coldness or grey blooms if desired.
Tip — Be aware that scumbling over darker grounds tends to coldness.
Scumbling
finishing
step 06
Adjust color harmonies by considering simultaneous contrast. Ensure that contiguous colors do not distort the intended hue due to optical effects.
Tip — Perceive and imitate modifications of tone and color received from contiguous colors.
Simultaneous Contrast
critical techniques
Glazing
A transparent coat of color applied over a dry underpainting to build depth and luminosity. Historically practiced by old masters and recommended for integrating color with form.
Scumbling
Semi-opaque painting applied over an underlayer, allowing the underlying painting to show through. Used to modify tone and create textural effects like grey blooms.
Simultaneous Contrast
Understanding that adjacent colors affect each other’s appearance. The painter must account for this to accurately depict the true color of objects and their modifications.
Line Composition
Focusing on the arrangement of lines and spaces to create a harmonious whole, rather than prioritizing realistic detail. Essential for flower compositions.
common pitfalls
- →Focusing too much on botanical correctness rather than the compositional arrangement of lines and spaces (Source 1).
- →Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and application (Source 6).
- →Applying glazes before the underpainting is completely dry, which can ruin the tonal foundation (Source 7).
- →Using linseed oil for white pigments, which may cause yellowing over time; walnut or poppyseed oil is preferred for lighter colors (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.
- ·The specific color palette used in *Three Flowers in a Vase* is not described in the sources.
- ·The exact dimensions and aspect ratio of the painting are not provided.
- ·De Smet’s specific brushwork style for this particular period (Impressionist vs. later Expressionist) is not detailed in the sources, though general tendencies are noted.
- ·The specific type of vase and flowers depicted are not described, so the recreation must rely on general compositional principles rather than specific visual replication.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Composition — FLOWER COMPOSITIONS TWO VALUES↗
- EXERCISE — applied to Underdrawing and composition principles
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting, glazing, and scumbling techniques
Laws of Contrast of Colour↗
- Simultaneous contrast of colours — applied to Color harmony and application
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Gustave de Smet↗
- Biography — applied to Artist style and historical context
Wikipedia: Oil painting↗
- Materials — applied to Material selection and preparation
Read more about the corpus on the sources page and how the guides are built on the methods page.
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