plate no. 6488

Zomer te Latem

Gustave de Smet, 1936

oilExpressionismlandscapelandscapecloudsbuildingsfieldtreeschurch

recreation guide

Gustave de Smet’s *Zomer te Latem* (1936) is a quintessential example of Flemish Expressionism, a movement co-founded by de Smet alongside Constant Permeke and Frits Van den Berghe. The work reflects the group’s aim to innovate Belgian art by turning away from bourgeois conventions and drawing inspiration directly from nature and rural life, specifically in the Lys river area around Sint-Martens-Latem (Source 1). As a landscape painting, it likely depicts natural scenery such as trees, fields, or the river, arranged into a coherent composition where the sky and weather play significant roles (Source 2). The style is characterized by distorted forms, dynamic compositions, and a specific coloration that bears a stylistic relationship to German Expressionism, influenced by de Smet’s exile in the Netherlands where he encountered the Bergen School (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (pigment + drying oil)	Primary medium for the artwork	—
Linseed oil	General purpose drying oil for mixing paints; provides strong paint film	—
Safflower, walnut, or poppyseed oil	Mixing medium for lighter colors (like white) to prevent yellowing on drying	—
Canvas or linen support	Surface for painting; linen is historically common as it comes from the flax plant, same as linseed oil	—
Palette knives and brushes	Application of paint to achieve dynamic compositions and distorted forms	—

preparation

surface prep

Prepare a linen or canvas support. While specific priming methods for this exact 1936 work are not detailed in the sources, de Smet’s background as a decorative painter and his association with the Latem School suggest a robust preparation suitable for outdoor or vigorous application. Ensure the surface is sized and primed to accept oil paint without absorbing too much oil, maintaining the integrity of the paint film (Source 3).

underdrawing

De Smet preferred to work in nature without a teacher and aimed to draw inspiration directly from nature (Source 1). While specific underdrawing techniques for this piece are not recorded, Expressionist landscapes often involve loose, dynamic sketches to establish the 'distorted forms' and 'dynamic compositions' characteristic of the style (Source 1). Avoid overly rigid, topographical accuracy; instead, focus on the emotional idea and the 'painted symbols' true to nature but expressive of feeling (Source 6).

underpainting

Consider an underpainting to establish tonal values and color harmony. De Smet’s work is noted for its coloration and use of complementary colors to create visual tension (Source 1, Source 4). An underpainting in earth tones or a grisaille could help manage the 'simultaneous contrast of colours' where contiguous colors modify each other’s appearance (Source 7).

color palette

Vibrant Greens and Earth Tones

Viridian, Chrome Green, Ochre, Umber

Depicting the rural Lys river area, trees, and fields; consistent with the Latem School’s inspiration from nature (Source 1)

Blues and Whites

Ultramarine, Cobalt Blue, Lead White (historically) or Titanium White (modern)

Sky and weather elements; sky is almost always included in landscape views (Source 2). Use lighter oils like safflower for whites to prevent yellowing (Source 3).

Complementary Accents (Reds/Oranges)

Cadmium Red, Yellow Ochre

Creating visual tension and harmony through complementary color relationships, a key aspect of Expressionist coloration (Source 1, Source 4).

composition

The composition should reflect the 'dynamic compositions' and 'distorted forms' typical of Flemish Expressionism (Source 1). Avoid static, bourgeois arrangements. Instead, arrange elements like trees, sky, and land into a coherent but emotionally charged structure. The sky and weather should be prominent elements, contributing to the mood (Source 2). De Smet’s work often shows a sense of balance and synthesis, possibly influenced by Cubist elements (Source 1).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic forms of the landscape loosely, focusing on the dynamic arrangement of trees, sky, and land. Do not aim for topographical accuracy but for the emotional essence of the scene.
Tip — Remember that de Smet preferred working in nature and drawing inspiration from it directly (Source 1).
Loose sketching

underpainting

step 02
Apply a thin layer of paint to establish major tonal values and color relationships. Use complementary colors to create initial contrast and harmony.
Tip — Be aware of simultaneous contrast; colors will appear different when placed next to each other (Source 7).
Color underpainting

first pass

step 03
Build up the paint layers, focusing on the distorted forms and dynamic brushwork characteristic of Expressionism. Use linseed oil for general mixing and lighter oils for whites.
Tip — Ensure the paint film is strong; avoid over-diluting with slow-drying oils in areas needing structure (Source 3).
Impasto or dynamic brushwork

refining

step 04
Adjust color harmonies and contrasts. Enhance the visual tension using complementary colors. Refine the distorted forms to ensure they contribute to the overall emotional impact.
Tip — Check for visual fatigue; step back to assess the overall effect of the color interactions (Source 7).
Color harmony adjustment

finishing

step 05
Finalize details, ensuring the sky and weather elements are integrated into the composition. Add any final touches to the distorted forms to enhance the Expressionist style.
Tip — Remember that the goal is not to deceive the eye with illusion but to express feeling through painted symbols (Source 6).
Final detailing

critical techniques

Distorted Forms and Dynamic Composition

Central to Flemish Expressionism, used to convey emotional intensity rather than realistic representation. De Smet’s work shows this through its stylistic relationship to German Expressionism (Source 1).

Color Harmony and Contrast

Use of complementary colors to create visual tension and harmony. This is a key aspect of Expressionist coloration and is supported by color theory principles (Source 4, Source 7).

Direct Inspiration from Nature

De Smet and the Latem School drew inspiration from nature and rural life, aiming to innovate Belgian art by turning away from bourgeois conventions (Source 1).

common pitfalls

→Over-focusing on topographical accuracy, which is considered inferior to fine art landscapes in this context (Source 2).
→Ignoring the simultaneous contrast of colors, leading to inaccurate color perception and application (Source 7).
→Attempting to create a deceptive illusion of nature rather than expressing feeling through painted symbols (Source 6).
→Using linseed oil for white pigments, which may yellow on drying; use safflower, walnut, or poppyseed oil instead (Source 3).

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 underdrawing or underpainting techniques used by de Smet for this particular 1936 work are not detailed in the sources.
·Exact pigment formulations used by de Smet are not specified, though general oil painting practices are described.
·Specific compositional details of *Zomer te Latem* (e.g., exact placement of trees, figures, or buildings) are not described in the sources, so general Expressionist landscape conventions are applied.

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 application tips and pitfalls
The Practice and Science of Drawing↗
- Materials — applied to Philosophy of expression vs. illusion

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 Overview, style characteristics, and inspiration from nature
Wikipedia: Landscape painting↗
- General Landscape Painting — applied to Composition notes, sky/weather elements, and topographical vs. fine art distinction
Wikipedia: Oil painting↗
- Ingredients and Characteristics — applied to Materials list, oil selection, and paint film integrity
Wikipedia: Harmony (color)↗
- Color Harmony Principles — applied to Color palette and critical techniques