In Deep Mid Winter

surface prep

The canvas should be primed with a traditional ground suitable for oil painting. While specific priming methods for this exact work are not detailed, Farquharson’s training at the Trustees' Academy and Royal Scottish Academy would have instilled standard 19th-century practices of preparing a stable, absorbent surface to receive oil layers (Source 7). Ensure the ground is fully dry before beginning.

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint (Source 3). Farquharson’s commitment to realism and plein air observation suggests a careful initial layout of the landscape elements, such as the horizon, snowdrifts, and any figures or animals (Source 8). If painting from a reference or memory of a specific scene, ensure the proportions of the landscape and any included figures are accurate to the observed reality.

underpainting

Consider using a grisaille (monochrome underpainting) to establish values and forms before applying color. This technique, discussed in traditional oil painting practices, involves painting in neutral tones (often black, white, and ultramarine) to define the light and shadow structure (Source 4). This is particularly useful for winter scenes where the contrast between bright snow and dark shadows is critical. Allow this layer to dry completely before proceeding.

Fat over lean

A fundamental rule in oil painting where each layer contains more oil than the one below to prevent cracking. Essential for building up the complex layers of a winter landscape.

Glazing and Scumbling

Glazing adds transparent color layers, while scumbling adds semi-opaque layers. These techniques are crucial for achieving the subtle atmospheric effects and cold tones characteristic of Farquharson’s snow scenes.

Plein Air Observation

Farquharson painted outdoors using a mobile hut to capture realistic light and weather conditions. This approach informs the authenticity of the atmospheric perspective and lighting in the painting.