plate no. 2282
Now Came Still Evening On
Joseph Farquharson, 1905
what to study here
It shows how a few large, well-separated value shapes and soft edges can produce a convincing backlit evening scene.
The lesson here is how little the painting needs to hold a strong evening effect. The vision analysis reads it as three value zones: near-black tree masses on both sides taking up almost half the canvas, a mid-brown path, and a pale cream-yellow glow at the far end. Squint and those three shapes carry the whole image. The path's linear perspective pulls the eye straight to the glow, and the shepherd and flock sit in the middle ground as dark silhouettes, so they read as one mass and not as separate animals. Study how the foreground stays dark so the distant light looks brighter by contrast. Note the edges: the vision guide describes them as soft and blended throughout, with trunks dissolving into the glow and almost no visible brushwork, apart from some broken strokes suggesting rutted earth in the foreground. The observed palette is narrow: umbers, raw sienna, yellow ochre, and a white-ochre mix for the light. A good exercise is a small value study in three tones before any color, checking that the glow still reads as the lightest light.
key decision
The painter kept the trees, path, and glow as three clearly separated value zones, with a very dark foreground against a pale distant glow. Soft, blended edges let the trunks dissolve into that light.
From the record
- Dimensions
- 165 cm high × 121 cm wide
- Institution
- Towneley Hall Art Gallery And Museum
- Location
- Towneley Hall Art Gallery And Museum
- Inception
- 1905
- Materials
- oil paint, canvas
recreation guide
Joseph Farquharson’s 'Now Came Still Evening On' (1905) is a quintessential example of his celebrated Scottish landscape style, characterized by dramatic atmospheric effects and a focus on rural life. Farquharson, often nicknamed 'The Painting Laird,' was renowned for his snowy winter scenes and depictions of dawn or dusk, frequently incorporating sheep and human figures engaged in everyday labor (Source 5). This work likely reflects his trademark ability to capture the specific mood of the Scottish Highlands, blending realism with a romanticized sense of place. The painting serves as a topographical view that emphasizes the spiritual and emotional resonance of the landscape, a tendency that became prominent in Western art with the rise of Romanticism (Source 3, Source 4).
estimated time
20-30 hours over 5-7 sessions (allowing for drying time between layers)
materials
8 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (artist grade) | Primary medium for the painting | — |
| Linseed oil | Medium to thin paint and increase oil content for 'fat over lean' layering | Refined linseed oil |
| Mineral spirits or turpentine | Solvent for thinning initial layers, cleaning brushes, and removing wet paint if necessary | Odorless mineral spirits |
| Canvas | Support surface | Linen or cotton canvas, primed |
| Charcoal or thinned paint | Initial sketching of the composition | Vine charcoal or diluted oil paint |
| Paintbrushes | Application of paint | Hog bristle and sable brushes |
| Palette knives | Alternative application method or scraping off paint | Standard palette knives |
| Rags | Wiping away wet paint or blending | Lint-free cotton rags |
preparation
surface prep
The canvas should be prepared with a traditional ground suitable for oil painting. While specific priming methods for this exact 1905 work are not detailed in the sources, traditional oil painting practices of the period involved preparing a stable surface to ensure the paint film remains strong and does not crack or peel (Source 1).
underdrawing
Begin by sketching the subject onto the canvas using charcoal or thinned paint. This initial step allows the artist to establish the composition, including the placement of landscape elements such as trees, sky, and any figures or animals, before applying opaque color (Source 1).
underpainting
Consider using a monochrome underpainting (grisaille) to establish values and forms. This technique involves painting in a single color or limited palette to define light and shadow before adding color glazes. This method was practiced by old masters and helps in mentally extracting specific colors to translate the scene accurately (Source 2).
color palette
Cool blues and greys
Ultramarine, white, black
Shadows, sky, and distant atmospheric effects, consistent with the 'evening' title and Farquharson's atmospheric style
Warm yellows and reds
Yellow ochre, cadmium yellow, vermilion
Glazing and scumbling to add warmth to the evening light, as suggested by glazing techniques (Source 2)
Whites and off-whites
Titanium white, lead white (historical)
Highlights, snow, or cloud formations, reflecting Farquharson's fame for snowy and luminous scenes (Source 5)
Earth tones
Burnt umber, raw sienna
Ground, trees, and figures, providing contrast to the sky and atmospheric elements
composition
The composition likely features a wide view of natural scenery, possibly including mountains, valleys, or forests, arranged into a coherent whole. The sky is almost always included in such landscape views, and weather or atmospheric conditions are key elements of the composition (Source 3). Farquharson often included human figures or animals, such as sheep, to provide scale and narrative interest, depicting them in dramatic landscapes (Source 5).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the composition on the canvas using charcoal or thinned paint. Define the horizon line, placement of trees, sky, and any figures or animals.
Tip — Ensure the proportions are correct before applying paint.
Initial sketching
underpainting
step 02
Apply a monochrome underpainting (grisaille) to establish the value structure of the painting. Use lean paint (mixed with more solvent) for this layer.
Tip — Allow this layer to dry completely before proceeding to avoid cracking.
Grisaille
first pass
step 03
Begin applying color using glazing and scumbling techniques. Glaze transparent coats of color over the dry underpainting to build up depth and luminosity.
Tip — Use 'fat over lean' principle: ensure each subsequent layer has more oil content than the previous one.
Glazing
refining
step 04
Refine details such as the texture of trees, the form of animals, and the atmospheric effects of the evening light. Use scumbling (semi-opaque painting) to add highlights and cool tones.
Tip — Observe simultaneous contrast of colors to ensure accurate color perception and harmony.
Scumbling
finishing
step 05
Make final adjustments to color and texture. Oil paint remains wet longer than other media, allowing for changes to color, texture, or form. Use rags or palette knives if necessary to adjust areas.
Tip — Be cautious not to overwork the paint; allow layers to dry properly.
Wet-on-wet adjustment
varnishing
step 06
Once the painting is completely dry (usually within two weeks, though some colors may take longer), apply a varnish to protect the surface and enhance the sheen.
Tip — Ensure the painting is fully dry to prevent trapping solvents.
Varnishing
critical techniques
Fat over Lean
A basic rule of oil painting where each additional layer contains more oil than the layer below to prevent cracking and peeling. This is crucial for the longevity of the painting.
Glazing
Applying transparent coats of color over a dry underpainting to build up depth and luminosity. This technique was used by old masters and is effective for capturing the subtle light effects in landscapes.
Scumbling
Applying semi-opaque paint over a darker ground to create cool tones or highlights. This can help in achieving the atmospheric effects typical of Farquharson's evening scenes.
Simultaneous Contrast
Understanding how adjacent colors affect each other's perception. This helps in accurately mixing and applying colors to achieve harmony and realistic light modifications.
common pitfalls
- →Violating the 'fat over lean' rule, which can lead to cracking and peeling of the paint film (Source 1).
- →Applying glazes before the underpainting is completely dry, which can result in muddy colors and poor adhesion (Source 2).
- →Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and disharmonious compositions (Source 6).
- →Overworking the paint while it is still wet, which can destroy the texture and form of the landscape elements (Source 1).
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 pigment palette used by Farquharson in 1905 is not detailed in the sources.
- ·Exact compositional layout of 'Now Came Still Evening On' is not described in the sources, so general landscape conventions are used.
- ·Specific brushwork techniques unique to Farquharson are not detailed, though general oil painting methods are provided.
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 underpainting, glazing, and scumbling techniques
Laws of Contrast of Colour↗
- 315. As to the advantages the painter will find in it — applied to Color contrast and harmony principles
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to General oil painting techniques, fat over lean rule, glazing, and drying times
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Landscape composition elements, sky, and weather
- Landscape painting — part 7 — applied to Romanticism and atmospheric landscape traditions
Wikipedia bio — Joseph Farquharson↗
- Joseph Farquharson — part 1 — applied to Artist's style, subject matter (snow, sheep, dawn/dusk), and biographical context
Read more about the corpus on the sources page and how the guides are built on the methods page.
read from the painting
observed from the image, not the label6 dominant colors, measured
what the eye sees
A woodland path recedes steeply into the distance, flanked by tall, dark tree masses that create a tunnel effect. Strong backlighting from behind the distant treeline floods the far path with pale golden-yellow light, making that distant glow the dominant focal point. A shepherd with a flock of sheep occupies the middle ground on the path, rendered as dark silhouettes. The eye travels forward along the path's linear perspective, drawn magnetically toward the bright opening in the trees. The entire composition reads as a moment of still, golden late-day light penetrating a deep forest.
value structure
The darkest darks—deep brown-blacks—occupy nearly half the canvas as the massed tree foliage and trunks on both sides, creating a solid frame. The sky-glow in the distance is the lightest light, a pale cream-yellow that reads almost luminous against the surrounding darkness. The path ground transitions from very dark in the foreground through medium browns in the middle ground. Value shifts are dramatic and few; squint and you see three major zones: the near-black trees, the mid-brown path, and the pale distant glow.
observed palette and mixes
#322717
Burnt umber + raw sienna, heavily weighted umber
Deepest tree trunk shadows and foliage masses on both sides
#58401e
Raw sienna + burnt umber, balanced
Mid-tone tree foliage and trunks catching subtle reflected light
#b89453
Yellow ochre + raw sienna + touch of white
Path ground, warm earth tones in foreground and middle ground
#7a5527
Raw sienna + burnt umber with more sienna
Transitional mid-tones on tree forms and path edges
#f5e6c8
Titanium white + yellow ochre + touch of raw sienna
Distant sky-glow and brightest highlights on the path
edges and brushwork
Edges are uniformly soft and blended throughout—no crisp lines anywhere. Tree trunks and foliage boundaries dissolve into one another, especially where they silhouette against the distant glow. The path transitions gradually rather than abruptly from dark to light. Brushwork is completely invisible; the finish is smooth and atmospheric. Only the foreground ground plane shows some textural variety, with rough broken strokes suggesting rutted earth, but even these are understated.
a working sequence
- 01
Establish the composition in thin burnt umber
Lightly sketch the two tree masses as vertical walls flanking the path center, the path as a strong receding line narrowing toward the distance. Mark the approximate position of the sheep-group in the middle ground and the bright focal point behind them. Use burnt umber diluted in linseed oil for this underpainting—keep it transparent and loose.
- 02
Block in the large darks
Mix a deep dark from burnt umber + raw sienna (umber-heavy) and block in the entire left and right tree masses as solid shapes. Don't attempt individual trees yet—think of them as two dark sculptural forms. Leave the path and sky areas bare canvas for now. Use flat brushes and work decisively.
- 03
Establish the glowing distant sky
Mix a pale yellow-cream from titanium white + yellow ochre + tiny touch of raw sienna. Paint this into the upper canvas center behind the trees, creating a soft halo that gradually warms toward deeper yellow-gold as it comes forward along the path centerline. Keep edges very soft and blended—this is the emotional heart of the painting, so don't rush it.
- 04
Model the path ground and middle values
Paint the path floor with raw sienna + yellow ochre, warmer and lighter toward the distant light, cooler and darker in the immediate foreground. Layer in darker browns (raw sienna + burnt umber) to suggest shadows from the trees and the sheep themselves. The path should show clear value gradation receding away from you.
- 05
Render the shepherd and sheep
Block in the flock and attending figure as a loose dark mass using burnt umber + raw sienna. Don't paint individual sheep—suggest them as a clustered group casting shadows on the path. Keep this area dark but not quite as black as the tree masses; the figures should sit between the tree darkness and the path brightness.
- 06
Refine tree trunk recession and light modeling
Add subtle tonal variations to the tree forms on both sides to suggest three-dimensionality and recession. Lighter browns on forward-facing edges of trunks, warmer ochre tones where side-lighting touches the bark. Use small round brushes to suggest individual tree trunks only where they're immediately adjacent to the glowing path center—elsewhere let them merge into the mass.
- 07
Soften and integrate all edges
Using a soft round brush loaded with medium value browns slightly warmed with ochre, gently blur and feather every edge in the painting—between trees and sky, between path and trees, around the sheep. This is a fully atmospheric work; there should be no sharp transitions anywhere. Step back frequently to check the overall glow and focal unity.
- 08
Final atmospheric glazes and highlights
Once the foundation is dry, glaze a thin layer of pale yellow ochre + white over the distant sky-glow to increase its luminosity. Add a few final light touches of pure white-ochre mix to the brightest center of the path receding into distance. Ensure the overall temperature reads as golden evening light, not neutral daylight.
where studies of this painting go wrong
- Making the distant glow too saturated or too yellow—it must read as pale, almost white light with warmth, not golden paint. Resist the urge to make it 'pretty' with rich yellows; understate it.
- Rendering the sheep and shepherd as individualized, detailed forms—they're silhouettes and should read as a unified dark mass, not a collection of separate animals. Keep this area loose and suggestive.
- Overworking the tree masses by trying to depict individual trees—the entire power of the composition rests on two solid dark vertical walls that frame the light tunnel. Break this unity and the painting falls apart.
- Losing the backlit effect by making the nearby foreground too light—the immediate ground plane should be quite dark to establish the extreme value drop-off as the path recedes, maintaining the sense of distant luminosity.
- Adding details or texture to the path that flatten the perspective—leave the ground relatively simple in the foreground and foreground-middle, saving tonal modulation for the receding plane.
measured difficulty
- beginner friendliness
- value contrast
- palette complexity
- compositional simplicity
- brushwork visibility
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