plate no. 2916
Herding Sheep in a Winter Landscape at Sunset
recreation guide
Joseph Farquharson is renowned for his Scottish winter landscapes, often featuring sheep and depicting dawn or dusk lighting conditions (Source 5). This artwork, titled 'Herding Sheep in a Winter Landscape at Sunset,' aligns with his trademark subject matter of snow scenes and rural labor (Source 5). The painting likely employs a realistic style characteristic of the genre, focusing on the atmospheric effects of light on snow and the forms of the animals. Farquharson’s work is noted for its dramatic landscapes and frequent inclusion of human figures engaged in everyday labors, such as herding (Source 5).
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 (Ultramarine, Black, White, Yellow ochre, Red ochre, Vermilion) | Primary pigments for grisaille and glazing | — |
| Linseed oil | Drying oil medium for paint consistency and glazing | Refined linseed oil |
| Oil of Copavia (or modern damar resin substitute) | Historical medium mentioned by Reynolds for initial layers; provides gloss and flow | Damar varnish or Galkyd |
| Canvas or linen support | Standard support for oil painting | Primed linen canvas |
| Lead White (historical) or Titanium/Zinc White (modern) | Lightening colors and highlights; historically dominant white pigment | Titanium White |
preparation
surface prep
Prepare a linen or canvas support with a traditional oil ground. While specific preparation for this exact canvas is not detailed, Farquharson worked in oils during a period where standard priming was essential for the glazing techniques described in the sources (Source 3). Ensure the surface is smooth to allow for the transparent glazing layers.
underdrawing
No specific details on Farquharson’s underdrawing method are provided in the sources. However, given the realistic style and the use of grisaille, a light charcoal or thinned oil sketch is likely to establish the composition of the sheep and landscape before applying the monochrome layer.
underpainting
Create a grisaille (monochrome underpainting) using black, ultramarine, and white. This step involves mentally extracting red and yellow colors to establish the tonal values of the scene (Source 1). This layer should be allowed to dry completely before proceeding to glazing.
color palette
Ultramarine
Pure pigment
Part of the initial grisaille layer for shadows and cool tones (Source 1)
Black
Pure pigment
Part of the initial grisaille layer for deep shadows (Source 1)
White
Lead white historically; Titanium white modern
Part of the initial grisaille layer for highlights and snow areas (Source 1, Source 3)
Yellow tones
Yellow ochre, raw sienna, or lead-tin yellow historically
Glazing over the grisaille to introduce sunset warmth and light modifications (Source 1)
Red tones
Red ochre, vermilion, or alizarin crimson
Glazing over the grisaille to introduce sunset warmth and atmospheric depth (Source 1)
composition
Farquharson characteristically depicted dramatic landscapes with sheep and often included human figures engaged in labor (Source 5). The composition likely balances the dark forms of the sheep and herder against the bright, reflective snow, utilizing the contrast of light and shadow typical of sunset scenes. Specific compositional arrangements are not detailed in the sources, but the inclusion of sheep and a winter setting is consistent with his 'Frozen Mutton' nickname and trademark snow scenes (Source 5).
step by step
underpainting→first pass→drying→refining→finishing
underpainting
step 01
Mix black, ultramarine, and white with oil of copavia (or a suitable modern resin medium) to create a grisaille. Paint the entire composition in monochrome, focusing on tonal values rather than color.
Tip — Mentally extract red and yellow colors, visualizing what would remain in nature if these colors were absent (Source 1).
Grisaille
first pass
step 03
Begin glazing with transparent coats of yellow and red tones over the dried grisaille. Use oil as a medium initially.
Tip — Apply thin, transparent layers similar to tinting an engraving with watercolors (Source 1).
Glazing
drying
step 02
Allow the grisaille layer to dry completely. This is crucial before applying glazes to prevent muddying the underlying tones.
Tip — Ensure the surface is hard to the touch to avoid lifting the underpainting.
Layer drying
refining
step 04
Use scumbling (semi-opaque painting) over darker grounds to create coldness or grey blooms, particularly in shadowed snow areas.
Tip — Observe how the underlying painting shows through the semi-opaque layer to achieve atmospheric effects (Source 1).
Scumbling
finishing
step 05
Refine the sunset effects by adjusting the intensity of red and yellow glazes. Consider using varnish mixed with oil for subsequent glaze layers once mastery is gained.
Tip — Be aware of simultaneous contrast; adjacent colors will influence each other's appearance, so adjust tones accordingly (Source 2).
Glazing with varnish/oil mix
critical techniques
Glazing
Applying transparent coats of color over a dry monochrome underpainting to build up luminosity and color depth without mixing pigments directly on the palette.
Scumbling
Applying semi-opaque paint over a darker ground to create coldness or grey blooms, allowing the underlying layer to influence the final appearance.
Simultaneous Contrast
Understanding that adjacent colors affect each other's perception; the painter must account for this when mixing and placing colors to ensure accurate representation of light modifications.
common pitfalls
- →Applying glazes before the grisaille is completely dry, which can ruin the underpainting.
- →Mixing colors directly on the palette instead of using glazing techniques, which can lead to muddy colors and loss of luminosity.
- →Ignoring simultaneous contrast, leading to inaccurate color perception and application.
- →Using linseed oil for white pigments if historical accuracy is desired, as it yellows; however, modern titanium white is less prone to this issue.
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 brush types or sizes used by Farquharson.
- ·Exact pigment formulations for the red and yellow glazes.
- ·Detailed compositional layout of the sheep and herder in this specific painting.
- ·Whether Farquharson used lead white or other historical whites in this specific work.
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 Grisaille technique, glazing, and scumbling instructions
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding simultaneous contrast and color perception
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 pigment information
Wikipedia bio — Joseph Farquharson↗
- part 1 — applied to Artist's style, subject matter, and historical context
Read more about the corpus on the sources page and how the guides are built on the methods page.
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