plate no. 4255

Vondelpark

Gustave de Smet, 1915

oilExpressionismlandscapeparktreesfigurespathfoliagelandscape

recreation guide

Gustave de Smet’s *Vondelpark* (1915) is a seminal work of Flemish Expressionism, created during the artist’s exile in the Netherlands during World War I. Unlike the realistic landscapes of the earlier Latem School, this period marks de Smet’s shift toward a more distorted, dynamic style influenced by the Bergen School and German Expressionism. The painting likely features the characteristic 'distorted forms' and 'dynamic compositions' associated with this movement, moving away from bourgeois naturalism to express emotional intensity through color and form (Source 1). As a landscape, it adheres to the tradition of depicting natural scenery—trees, sky, and weather—but interprets them through an expressionist lens rather than topographical accuracy (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 (Ultramarine, White, Black, plus red/yellow earth tones)	Primary medium for the expressionist idiom; ultramarine and white are noted in traditional underpainting methods relevant to the period's craft.	High-quality tube oils
Canvas or linen panel	Support for the oil painting.	Pre-primed linen canvas
Oil of Copavia or Linseed Oil	Medium for glazing and scumbling, as referenced in traditional oil painting practices of the era.	Stand oil or walnut oil
Varnish	For final glazing layers if employing the old master technique of glazing over a dry underpainting.	Dammar or synthetic resin varnish

preparation

surface prep

While specific preparation for *Vondelpark* is not detailed in the sources, de Smet was trained at the Royal Academy of Fine Arts in Ghent (Source 1). Standard practice for this period involved a white or neutral ground to allow for the 'chiaro-scuro' and tonal gradations essential to expressionist color contrast. The surface should be smooth enough to allow for the 'dynamic compositions' and potential glazing techniques described in traditional oil painting manuals (Source 5).

underdrawing

De Smet’s early training involved working in nature without a teacher, preferring direct engagement with the subject (Source 1). In the expressionist style, the underdrawing is likely loose and gestural, focusing on the 'mass and volume' rather than precise outline, consistent with contour drawing principles that emphasize form over minor details (Source 7). However, specific preparatory sketches for *Vondelpark* are not described in the provided texts.

underpainting

A grisaille (monochrome underpainting) is a likely technique, given the traditional methods described in *The Practice of Oil Painting* which were still influential in academic training. This involves painting in black, ultramarine, and white to establish tone before adding color (Source 5). This method allows the artist to 'mentally extract' red and yellow, focusing on the structural light and shadow before applying the expressionist color palette.

color palette

Ultramarine

Pure pigment

Underpainting and sky tones; noted as a primary color in traditional methods (Source 5).

White

Lead white or Zinc white

Highlighting and tonal adjustment in underpainting and final layers (Source 5).

Black

Ivory black or Lamp black

Establishing shadows and depth in the grisaille stage (Source 5).

Red/Yellow Earth Tones

Ochres, Siennas, Vermilion

Glazing and scumbling over the dry underpainting to introduce the 'expressionist idiom' and warm tones (Source 5).

composition

The composition likely exhibits 'dynamic compositions' and 'distorted forms' characteristic of Flemish Expressionism (Source 1). While specific layout details of *Vondelpark* are not in the text, the genre of landscape painting typically arranges elements like trees, sky, and weather into a 'coherent composition' (Source 2). De Smet’s work from this period shows a 'sense of balance, synthesis and construction' influenced by Cubist elements, suggesting a structured yet expressive arrangement of the park’s natural elements (Source 1).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic forms of the trees, sky, and park layout using loose, gestural lines. Focus on the mass and volume of the elements rather than fine details.
Tip — Avoid rigid outlines; let the lines suggest the dynamic movement of the expressionist style.
Contour drawing

underpainting

step 02
Create a grisaille using black, ultramarine, and white. Establish the light and shadow structure of the landscape.
Tip — Ensure this layer is completely dry before proceeding. This step 'mentally extracts' color to focus on tone.
Monochrome underpainting

first pass

step 03
Apply glazes and scumbles of red and yellow tones over the dry grisaille. Use oil or a mix of varnish and oil as a medium.
Tip — Glazing adds transparent color; scumbling adds semi-opaque texture. This builds the 'expressionist idiom' through layered color.
Glazing and Scumbling

refining

step 04
Adjust colors based on the law of simultaneous contrast. Ensure that adjacent colors enhance each other’s intensity, particularly in the sky and foliage.
Tip — Be aware that the eye may perceive colors inaccurately due to mixed contrast; adjust tones to achieve the desired emotional impact.
Simultaneous Contrast

finishing

step 05
Refine the distorted forms and dynamic lines to emphasize the expressionist character. Add final highlights and deep shadows.
Tip — Focus on the 'dynamic compositions' and 'distorted forms' that define de Smet’s post-1914 style.
Expressionist distortion

critical techniques

Simultaneous Contrast

Used to harmonize colors and enhance the emotional impact of the landscape. The artist must perceive how adjacent colors modify each other’s appearance.

Glazing and Scumbling

Traditional method for building color depth over a monochrome underpainting. Allows for the 'coldness' or 'grey bloom' effects often seen in older masters, adapted here for expressionist texture.

Distorted Forms

A hallmark of Flemish Expressionism, used to convey emotion rather than realistic representation. Influenced by the Bergen School and German Expressionism.

common pitfalls

→Failing to let the grisaille underpainting dry completely before glazing, which can lead to muddy colors and ruined layers (Source 5).
→Ignoring the law of simultaneous contrast, resulting in colors that appear dull or inaccurate due to the eye’s tendency to see complementary afterimages (Source 4).
→Over-modeling details, which contradicts the expressionist goal of dynamic, distorted forms and broad masses (Source 1, Source 8).
→Relying too heavily on outline, which can make the painting appear timid and less dynamic (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 visual details of *Vondelpark* (e.g., exact tree placement, sky color, presence of figures) are not described in the sources.
·De Smet’s exact palette for this specific painting is not listed; the palette is inferred from general expressionist practices and traditional oil painting methods.
·The specific preparatory sketches or studies for *Vondelpark* are not available in the provided texts.
·The exact ratio of oil to varnish used in de Smet’s glazing technique is not specified.

grounded in

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

Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color theory application for harmonizing and intensifying colors.
The Practice of Oil Painting↗
- Colouring a Monochrome — applied to Grisaille underpainting and glazing/scumbling techniques.

cross-referenced from

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

Wikipedia bio — Gustave de Smet↗
- Biography and Style — applied to Context of Flemish Expressionism, distorted forms, and exile in the Netherlands.
Wikipedia: Landscape painting↗
- Landscape painting techniques — applied to General composition of landscape elements (sky, trees, weather).
Wikipedia: Contour drawing↗
- Contour drawing techniques — applied to Underdrawing approach focusing on mass and volume.