plate no. 1618

And the Sun Peeped O'er Yon Southland Hills

oilRealismlandscapelandscapesnowhillssheeptreessky

recreation guide

Joseph Farquharson’s 'And the Sun Peeped O'er Yon Southland Hills' is a landscape painting executed in oil, characterized by a realist style that seeks to express the vitality of nature rather than merely deceive the eye with photographic illusion (Source 4). The work likely employs a methodical approach to color and light, consistent with the practices of old masters who utilized glazing and scumbling to achieve depth and atmospheric effects (Source 1). The composition adheres to traditional landscape conventions, organizing natural elements such as hills and sky into a coherent structure where weather and light play significant roles (Source 2). Farquharson’s approach emphasizes the 'painted symbols' of nature, ensuring the viewer remains aware of the medium’s material qualities while appreciating the emotional resonance of the scene (Source 4).

estimated time

20-30 hours over 5-7 sessions, allowing for drying times between glaze layers

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Black, Ultramarine, White)	For the initial monochrome underpainting (grisaille) as per Reynolds' method cited in sources	Standard tube oils: Ivory Black, Ultramarine Blue, Titanium White
Oil of Copavia (or modern substitute like Odorless Mineral Spirits + Linseed Oil)	Medium for the first and second paintings to ensure transparency and flow	Galkyd or a mix of Linseed Oil and Odorless Mineral Spirits
Red and Yellow pigments	For glazing and scumbling to introduce color tones after the monochrome base is dry	Cadmium Red, Cadmium Yellow, or Alizarin Crimson and Yellow Ochre
Varnish	Mixed with oil for later glazing stages to gain mastery over transparent coats	Dammar Varnish or Synthetic Resin Varnish
Canvas or Panel	Support for the oil painting	Primed linen or cotton canvas

preparation

surface prep

The surface should be prepared to accept oil paint, likely with a traditional ground. While specific priming details for this exact work are not in the sources, the practice of oil painting implies a stable, non-absorbent surface to allow for the glazing techniques described (Source 1).

underdrawing

The sources do not explicitly describe Farquharson’s underdrawing method for this specific piece. However, general advice suggests that a sound craftsman must master the 'alphabet of our art' before copying or creating (Source 8). It is likely that a loose, structural underdrawing was used to establish the 'coherent composition' of the landscape elements (Source 2), but specific lines are not detailed in the provided texts.

underpainting

The process likely begins with a monochrome underpainting (grisaille). The artist mentally extracts red and yellow colors, painting the scene in black, ultramarine, and white to establish values and forms without color distraction (Source 1). This aligns with Sir Joshua Reynolds’ method of using oil of copavia with black, ultramarine, and white for the first and second paintings (Source 1).

color palette

Black, Ultramarine, White

Pure pigments

Initial monochrome underpainting (grisaille) to establish form and value

Red Tones

Transparent red glazes

Glazing over the dry grisaille to introduce warmth and local color, particularly in sunlit areas

Yellow Tones

Transparent yellow glazes

Glazing to capture the light of the sun peeping over the hills, mimicking the effect of light in nature

Grey/Blue Tones

Scumbled semi-opaque mixtures

Creating coldness and atmospheric depth in shadows or distant hills, utilizing the 'grey bloom' effect

composition

The composition organizes natural scenery—specifically hills and sky—into a coherent structure (Source 2). The sky is almost always included, and weather/light is an element of the composition (Source 2). The arrangement likely uses line and shape to guide the eye through the landscape, emphasizing the 'wide view' typical of the genre (Source 2). Specific details of the hill shapes or sun position are not described in the sources, so the composition is treated as a general landscape structure.

step by step

underpainting→first pass→refining→finishing→varnishing

underpainting

step 01
Prepare the grisaille using black, ultramarine, and white with oil of copavia (or substitute). Paint the entire scene focusing on value and form, mentally excluding red and yellow hues.
Tip — Ensure the grisaille is quite dry before proceeding to avoid muddying the subsequent glazes.
Monochrome Underpainting

first pass

step 02
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as the medium initially.
Tip — Think of this as tinting an engraving with watercolors; the underlying painting should show through.
Glazing

refining

step 03
Use scumbling (semi-opaque painting) to adjust tones, particularly over darker grounds to create coldness or a 'grey bloom' in shadows or atmospheric areas.
Tip — Watch for the underlying painting making itself felt through the semi-opaque layer.
Scumbling

finishing

step 04
Refine color harmonies by considering simultaneous contrast. Ensure that colors inherent to the landscape (sky, hills) are balanced with chosen accents.
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast; step back frequently to assess true tones.
Color Harmony

varnishing

step 05
If further mastery is needed, mix varnish with oil for final glazing touches to enhance depth and luminosity.
Tip — Ensure previous layers are fully dry to prevent cracking or lifting.
Varnish Glazing

critical techniques

Glazing

Applying a transparent coat of color over a dry underpainting to build up luminosity and depth, as practiced by old masters and described in Reynolds' method.

Scumbling

Using semi-opaque paint over a darker ground to create coldness or atmospheric effects, allowing the underlying layer to influence the final appearance.

Simultaneous Contrast

Adjusting colors based on how adjacent hues affect each other, ensuring that the inherent colors of the landscape are harmonized correctly.

common pitfalls

→Attempting to deceive the eye completely into thinking it is looking at real nature, rather than expressing feeling through painted symbols (Source 4).
→Over-modeling or becoming too tied to outlines, which can lead to a 'smallness' in the work (Source 8).
→Ignoring the drying time of the grisaille, which can ruin the transparency of subsequent glazes (Source 1).
→Failing to account for simultaneous contrast, leading to inaccurate color perception and disharmony (Source 6).

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 the hills, sun position, or atmospheric conditions in 'And the Sun Peeped O'er Yon Southland Hills' are not described in the sources.
·Farquharson’s specific brushwork or stroke style is not detailed; the guide relies on general oil painting techniques from the provided texts.
·The exact year of creation is not available, so period-specific material nuances are inferred from general 'old master' practices cited in the sources.

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 Underpainting, glazing, and scumbling techniques
- ON COPYING — applied to General craftsmanship and avoiding pitfalls
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium and expression
Laws of Contrast of Colour↗
- 315-324 — applied to Color harmony and contrast adjustments