plate no. 2282
Now Came Still Evening On
Joseph Farquharson, 1905
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.
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