plate no. 0094
Blinking in the Sun
Ralph Hedley, 1881
recreation guide
Ralph Hedley (1848–1913) was a realist painter and woodcarver known for depicting scenes of everyday life in the North East of England, often focusing on animal subjects and local character (Source 6). While the specific visual details of 'Blinking in the Sun' (1881) are not described in the provided sources, Hedley’s work is characterized by a realistic style that likely employed traditional oil painting methods common to the late 19th century. The recreation of this work would involve the disciplined observation of light and color contrasts, consistent with the realist tradition, and potentially the use of glazing and scumbling techniques to achieve depth and tonal variation, as these were standard practices among old masters and respected painters of the era (Source 1).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil | Primary drying oil for mixing paints and glazing | Refined linseed oil |
| Oil paints (pigments) | Color application | Standard tube oil paints |
| Varnish | Mixed with oil for glazing once mastery is gained | Dammar or mastic varnish |
| Canvas or linen support | Surface for painting | Primed linen canvas |
| Palette knives and brushes | Application of paint | Hog bristle and sable brushes |
| Solvent (turpentine or odorless mineral spirits) | Thinning and cleaning | Odorless mineral spirits |
preparation
surface prep
The surface should be prepared with a ground suitable for oil painting. While specific preparation for this 1881 work is not detailed, traditional practice involves a stable, absorbent ground. Hedley’s background in woodcarving suggests a respect for material integrity, but for oil painting, a standard oil-primed linen or canvas would be appropriate for the period.
underdrawing
Contour drawing is an essential foundation for painting, emphasizing mass and volume rather than minor details (Source 7). Hedley likely employed a careful underdrawing to establish the forms of the animal subjects, ensuring accurate proportions and spatial relationships before applying paint. The underdrawing should focus on the outline and major structural lines, serving as a guide for the subsequent layers of paint.
underpainting
A grisaille (monochrome underpainting) is recommended, as it allows the artist to establish values and forms without the distraction of color. This technique involves mentally extracting red and yellow colors to translate what would be left in nature if these colors were not present (Source 1). The grisaille should be allowed to dry completely before proceeding to glazing and scumbling.
color palette
White
Lead white or titanium white
General use in this artist's palette; historically lead white was dominant for its opacity and fast drying time (Source 3)
Ultramarine
Ultramarine pigment
General use in this artist's palette; cited by Reynolds as a primary color in his method (Source 1)
Black
Ivory black or lamp black
General use in this artist's palette; cited by Reynolds as a primary color in his method (Source 1)
Yellow and Red tones
Various yellow and red pigments
Glazing and scumbling to add color over the grisaille, mimicking the effect of tinting an engraving (Source 1)
composition
The composition of 'Blinking in the Sun' likely emphasizes the central visual element of the animal subject, using line, shape, and value to guide the viewer's eye (Source 5). Hedley’s realist style suggests a focus on accurate representation of the subject within its environment, with careful attention to the interplay of light and shadow. The composition would aim to harmonize the colors inherent to the nature of the objects depicted, considering the law of simultaneous contrast to ensure accurate color perception (Source 2).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the main forms of the animal and background using charcoal or thin paint, focusing on contour and mass rather than detail.
Tip — Ensure accurate proportions and spatial relationships.
Contour drawing
underpainting
step 02
Apply a grisaille layer using black, ultramarine, and white to establish values and forms. Mentally extract red and yellow colors to focus on the underlying structure.
Tip — Allow the grisaille to dry completely before proceeding.
Grisaille
first pass
step 03
Begin glazing and scumbling with oil to add yellow and red tones over the dried grisaille. Use transparent coats of color for glazing and semi-opaque layers for scumbling.
Tip — Observe how the underlying painting affects the appearance of the glaze, especially over darker grounds.
Glazing and Scumbling
refining
step 04
Continue to build up layers, paying attention to the law of simultaneous contrast. Adjust colors based on their interaction with adjacent hues to achieve realistic modifications of light and tone.
Tip — Be aware of eye fatigue and the tendency to see complementary colors after prolonged observation of a single hue.
Simultaneous Contrast
finishing
step 05
Refine details and adjust values as needed. Use a mixture of varnish and oil for final glazes if sufficient mastery has been gained, to enhance depth and luminosity.
Tip — Ensure each layer is dry before applying the next to prevent muddiness.
Varnish Glazing
varnishing
step 06
Apply a final varnish to protect the painting and unify the surface. Allow adequate drying time between layers.
Tip — Use a varnish appropriate for oil paintings to ensure longevity.
Varnishing
critical techniques
Glazing
Applying a transparent coat of color over a dried underpainting to modify hue and value without obscuring the underlying forms. This technique was widely practiced by old masters and is essential for achieving depth and luminosity in realist painting.
Scumbling
Applying a semi-opaque layer of paint over a dried underpainting, allowing the underlying colors to show through. This technique can create a grey bloom or coldness when used over darker grounds, adding texture and complexity to the surface.
Simultaneous Contrast
Understanding that colors appear different when placed next to each other due to the influence of their complementary hues. This knowledge helps the painter accurately perceive and imitate the modifications of light and color on the model.
common pitfalls
- →Over-modeling or becoming too tied down to the outline, which can result in a stiff and unnatural appearance. Hedley’s realist style requires a balance between detail and overall form.
- →Ignoring the law of simultaneous contrast, leading to inaccurate color representation. The eye’s susceptibility to fatigue and the influence of adjacent colors can distort perception.
- →Applying glazes before the underpainting is completely dry, which can cause muddiness and ruin the clarity of the layers.
- →Using black to darken colors, which can cause undesirable hue shifts. It is better to use complementary colors to neutralize and darken without shifting the hue.
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 'Blinking in the Sun' such as the exact pose of the animal, background elements, and lighting conditions are not described in the sources.
- ·Hedley’s specific palette choices for this particular painting are not documented in the provided sources.
- ·The exact sequence of layers and drying times for this specific work are not known, though general period practices are inferred.
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
Laws of Contrast of Colour↗
- 315-318 — applied to Color perception and simultaneous contrast
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- part 4 — applied to Materials and pigments
Wikipedia: Color theory↗
- part 6 — applied to Color mixing and hue shifts
Wikipedia: Composition (visual arts)↗
- part 1 — applied to Compositional elements
Wikipedia bio — Ralph Hedley↗
- part 1 — applied to Artist background and style
Wikipedia: Contour drawing↗
- part 1 — applied to Underdrawing technique
Read more about the corpus on the sources page and how the guides are built on the methods page.
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