plate no. 7537
O'er Snow Clad Pastures, When the Sky Grew Red
recreation guide
This recreation guide addresses Joseph Farquharson’s 'O'er Snow Clad Pastures, When the Sky Grew Red,' a work situated within the tradition of British landscape painting that emphasizes atmospheric conditions and the spiritual or emotional resonance of nature (Source 3, Source 4). Farquharson is historically noted for his focus on winter landscapes and scenes of dawn or dusk, where the interplay of light and shadow is paramount (Source 3). The title suggests a specific chromatic challenge: rendering the cool tones of snow against the warm, intense hues of a red sky, likely at twilight. The artwork belongs to the Realism genre but operates within a Romantic sensibility that values the 'heroic status' of natural phenomena and weather effects (Source 4, Source 5).
estimated time
20-30 hours over 5-7 sessions, allowing for drying times between glaze layers
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Yellow Ochre/Chrome Yellow, Vermilion/Cadmium Red) | Primary pigments for the grisaille underpainting and subsequent glazing | — |
| Oil of Copavia (or modern stand oil/linseed oil) | Medium for the initial underpainting layers as described by Reynolds | Stand oil or refined linseed oil |
| Varnish | Mixed with oil for later glazing stages to increase transparency and depth | Artist's resin varnish or damar varnish |
| Canvas or Panel | Support for the oil painting | Linen canvas primed with gesso |
preparation
surface prep
Prepare a standard oil painting ground. While specific preparation for Farquharson is not detailed in the sources, the technique described involves a 'grisaille' (monochrome underpainting) which requires a stable, dry surface to accept subsequent glazes (Source 1). Ensure the ground is smooth to facilitate the transparent layering required for the sky and snow effects.
underdrawing
The sources do not specify Farquharson’s underdrawing method. However, given the emphasis on tonal gradation and the 'grisaille' technique, a light charcoal or thinned oil sketch focusing on value structure rather than fine detail is recommended. The goal is to establish the 'chiaro-scuro' (light-dark contrast) before introducing color (Source 2).
underpainting
Execute a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia (Source 1). This step involves 'mentally extracting the red and yellow colours' to establish the underlying tonal structure of the snow and sky (Source 1). This layer must be allowed to dry completely before proceeding.
color palette
Ultramarine
Pure ultramarine
Part of the initial grisaille underpainting to establish cool shadows and sky tones (Source 1)
White
Lead white or Titanium white
Highlights in the grisaille and mixing for scumbling snow textures (Source 1)
Black
Ivory black or Lamp black
Deep shadows in the grisaille underpainting (Source 1)
Red Tones
Vermilion, Cadmium Red, or Alizarin Crimson
Glazing over the sky to create the 'red' effect mentioned in the title, applied as transparent coats (Source 1)
Yellow Tones
Yellow Ochre, Chrome Yellow, or Cadmium Yellow
Glazing and scumbling to introduce warmth to the snow and sky, mimicking the 'yellow and red tones as they occur' in nature (Source 1)
composition
The composition likely features a wide view of natural scenery, consistent with the landscape genre where the sky is almost always included and weather is an element of the composition (Source 3). The title implies a strong contrast between the 'snow clad pastures' (low tone/cool color) and the 'red sky' (high tone/warm color). The artist likely utilized the principle of simultaneous contrast, where the juxtaposition of the red sky and white snow enhances the perceived intensity of both tones (Source 2). The layout should prioritize the atmospheric effect over topographical precision, aligning with the Romantic tradition of depicting 'wilder landscapes' and atmospheric conditions (Source 4, Source 5).
step by step
underpainting→drying→refining→glazing→scumbling
underpainting
step 01
Mix black, ultramarine, and white with oil of copavia to create a monochrome grisaille. Paint the entire composition, focusing on the tonal values of the snow and sky without using red or yellow pigments.
Tip — Mentally extract red and yellow colors; imagine what is left in nature if these colors were not present (Source 1).
Grisaille Underpainting
drying
step 02
Allow the grisaille layer to dry completely. This is critical for the subsequent glazing steps to adhere properly and remain transparent.
Tip — Do not rush this step; wet glazing will muddy the underpainting.
Drying
refining
step 05
As mastery is gained, mix varnish with oil for subsequent glazing layers to increase depth and luminosity. Adjust the contrast between the red sky and white snow, ensuring the 'true gradation of light' is achieved through juxtaposition.
Tip — Be aware of simultaneous contrast; the red sky may make the snow appear cooler, and the snow may make the sky appear more intense (Source 2).
Varnish Glazing
glazing
step 03
Apply transparent coats of red and yellow tones over the dried grisaille. Use oil as a medium initially. This mimics tinting an engraving with watercolors, allowing the underlying tonal structure to show through.
Tip — Glazing is a transparent coat of color; it should not obscure the underpainting but enhance it (Source 1).
Glazing
scumbling
step 04
Use semi-opaque paint (scumbling) to add texture and coldness to the snow. Scumbling over a darker ground can produce a 'grey bloom' or cold effect suitable for snow shadows.
Tip — Scumbling is semi-opaque; the underlying painting should still make itself felt (Source 1).
Scumbling
critical techniques
Glazing and Scumbling
Glazing involves applying transparent coats of color over a dry underpainting, while scumbling involves semi-opaque painting. This method was practiced by old masters and allows for complex color interactions without muddying the palette (Source 1).
Simultaneous Contrast
Understanding that juxtaposed colors affect each other's appearance. The red sky and white snow will influence each other's perceived tone and hue, requiring the artist to adjust mixtures to achieve the desired visual effect (Source 2).
Grisaille Underpainting
Establishing the composition in monochrome (black, ultramarine, white) before adding color. This separates the problem of value from the problem of hue, allowing for greater control over the final luminosity (Source 1).
common pitfalls
- →Applying glazes before the underpainting is completely dry, which will result in a muddy, opaque finish rather than a transparent glow (Source 1).
- →Ignoring the effects of simultaneous contrast, leading to colors that appear dull or incorrect when placed next to each other (Source 2).
- →Overworking the paint with opaque layers instead of using transparent glazes, which defeats the purpose of the 'old master' technique described (Source 1).
- →Attempting to mix all colors wet-on-wet, which contradicts the layered approach recommended for this style (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 brush types or sizes used by Farquharson are not mentioned in the sources.
- ·The exact ratio of varnish to oil for the final glazing stages is not specified, requiring artist experimentation.
- ·The specific pigments available to Farquharson in his era are not detailed, though modern equivalents are suggested.
- ·The exact composition of the 'snow clad pastures' (e.g., presence of trees, fences, animals) is not described in the sources, so the artist must rely on general landscape conventions or reference images.
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↗
- 6. Put beside each other two flat tints... — applied to Understanding tonal contrast and color interaction
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Contextualizing the genre and subject matter
Wikipedia: Romanticism↗
- Romanticism — part 22 — applied to Understanding the artistic sensibility and focus on atmosphere
Read more about the corpus on the sources page and how the guides are built on the methods page.
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