plate no. 5814

Self Portrait

oilRealismself-portraitportraitmanclothingfacemustachefigure

what to study here

It shows how a simple three-zone value plan and restrained, soft-edged brushwork can carry a convincing, direct likeness with very few light accents.

Start with the value structure. The painting reads in three zones: a near-black background, a dominant warm mid-tone mass of skin and jacket, and a small set of lights on the face and white shirt front. Squint and the bright face emerges from a dark surround. Light comes from the upper left and rakes across the forehead and cheekbone, so the planes of the face are built by value, not by outline. Edges are soft and feathered between face and shadow and between jacket and background. The one deliberate hard note is the mustache, painted with slightly stiff horizontal marks that work as a dark tonal bar. Study how little is spent on edges and how the brushwork stays restrained. The palette is warm and narrow: umbers, sienna, and ochre, with lights kept to the forehead, cheekbone, nose bridge, and shirt. Note that the forehead gets the strongest light, the cheekbone is secondary, and the shirt is the lightest accent. Copy the hierarchy of lights before any detail.

key decision

The painter compressed the picture into a near-black background, a warm mid-tone mass, and a few concentrated lights on the face and shirt. Form is built from value relationships rather than edge articulation.

recreation guide

Joseph Farquharson’s 1885 Self Portrait is a work of Realism created during a transitional period in his career, shortly after his first major portrait exhibition in 1884 (Source 6). While Farquharson is best known for his snowy winter landscapes and depictions of rural Scottish life, this self-portrait adheres to the conventions of 19th-century portraiture, which prioritized the expression of character and moral quality over fleeting or accidental features (Source 4). The artwork likely employs traditional oil painting techniques consistent with his training at the Trustees' Academy and the Royal Scottish Academy, where he studied under Peter Graham (Source 6). The execution would involve a rigorous adherence to the 'fat over lean' principle to ensure the stability of the paint film, a fundamental rule of oil painting that prevents cracking and peeling (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (artist grade)	Primary medium for color application and modeling form.	—
Linseed oil	Medium to thin paint and increase oil content in upper layers, adhering to the 'fat over lean' rule.	Stand oil or refined linseed oil
Mineral spirits or turpentine	Solvent for thinning initial layers (lean layers) and cleaning brushes.	Odorless mineral spirits (OMS)
Charcoal or thinned paint	For sketching the initial composition onto the canvas.	—
Canvas	Support surface for the oil painting.	Linen or cotton canvas, primed
Paintbrushes and/or palette knives	Application of paint; knives can be used for scraping or applying thick impasto.	—

preparation

surface prep

The canvas should be properly primed to accept oil paint. While specific priming details for this exact 1885 work are not detailed in the sources, traditional oil painting practice involves preparing a stable ground to prevent the oil from sinking into the canvas fibers. The artist likely used a standard white or neutral ground typical of the period to allow for full color range.

underdrawing

Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint (Source 1). Given Farquharson's training as a 'sound craftsman' who understood the 'alphabet of our art' (Source 3), a precise underdrawing would be essential to establish the likeness and composition before applying paint. The drawing should focus on the 'inner essence' of the subject rather than just literal likeness, aiming for a representative portrayal of character (Source 4).

underpainting

It is likely that a monochrome underpainting (grisaille) was used, as this was a common practice among old masters and realist painters to establish values before adding color (Source 2). This method allows the artist to 'mentally extract' colors and focus on form and light. The underpainting should be allowed to dry completely before glazing or scumbling colors over it (Source 2).

color palette

Earth tones and neutrals

Umbers, ochres, blacks, whites

General use in establishing form and shadow in a realist portrait.

Flesh tones

Reds, yellows, whites, and subtle blues/greens for shadows

Modeling the face and hands, focusing on the eyes and eyebrows to convey expression.

Clothing colors

Dependent on historical attire, likely dark blues, blacks, or browns

Contrasting with the face to draw attention to the subject's expression.

composition

The composition likely follows standard portrait conventions, possibly a 'head and shoulders' or 'half-length' view (Source 4). The subject's head may be in a 'three-quarter view' to provide depth and character (Source 4). The expression is likely serious or neutral, with the mouth closed, as was common in 19th-century portraiture to convey dignity and moral quality (Source 4). The eyes and eyebrows are the focal points for conveying emotion, such as concentration or wistfulness (Source 4).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the composition onto the canvas using charcoal or thinned paint. Focus on accurate proportions and the placement of the eyes and eyebrows, which are crucial for expression.
Tip — Ensure the drawing captures the 'inner significance' of the subject, not just outward appearance.
Underdrawing

underpainting

step 02
Apply a monochrome underpainting (grisaille) using lean paint (mixed with more solvent than oil) to establish values and form. This layer should be thin and dry quickly.
Tip — Allow this layer to dry completely before proceeding to avoid muddying the colors.
Grisaille

first pass

step 03
Begin applying color using glazing and scumbling techniques. Glaze transparent colors over the dry underpainting to build up depth and richness. Scumble semi-opaque colors to adjust tones and textures.
Tip — Use the 'fat over lean' rule: each subsequent layer should contain more oil than the previous one to prevent cracking.
Glazing and Scumbling

refining

step 04
Refine the facial features, particularly the eyes and eyebrows, to convey the desired character and emotion. Use subtle variations in value and color to model the form.
Tip — Avoid over-modeling; keep the focus on the essential features that define the subject's character.
Modeling

finishing

step 05
Add final details and adjustments. Use a palette knife or rag to scrape off or adjust paint if necessary, while the paint is still wet.
Tip — Check the overall balance of the composition and ensure the expression is consistent with the intended character.
Adjustment

varnishing

step 06
Allow the painting to dry completely (up to two weeks or more) before applying a varnish to protect the surface and enhance the colors.
Tip — Ensure the painting is fully dry to prevent trapping solvents underneath the varnish.
Varnishing

critical techniques

Fat over Lean

Each layer of paint should contain more oil than the layer below to ensure proper drying and prevent cracking. This is a fundamental rule of oil painting.

Glazing and Scumbling

Glazing involves applying transparent coats of color over a dry underpainting to build depth. Scumbling involves applying semi-opaque paint to adjust tones and textures. These techniques were commonly used by old masters and realist painters.

Character Expression

Focus on the eyes and eyebrows to convey the subject's inner essence and moral quality, rather than just physical likeness. The mouth should generally be neutral or serious.

common pitfalls

→Applying lean paint over fat paint, which can lead to cracking and peeling of the paint film (Source 1).
→Over-modeling the facial features, which can detract from the overall character and expression of the subject (Source 3).
→Focusing too much on literal likeness rather than the inner significance and moral quality of the subject (Source 4).
→Attempting to deceive the eye with excessive naturalism, losing the vitality of the medium (Source 8).

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 details of the clothing, background, or props in the 1885 Self Portrait are not described in the sources.
·The exact pigments used by Farquharson in this specific work are not documented in the provided passages.
·The specific dimensions and aspect ratio of the canvas are not 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.
- ON COPYING — applied to Importance of drawing skills and avoiding over-modeling.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using the medium's vitality rather than just deception.

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 Underdrawing, fat over lean rule, drying times, and adjustment techniques.
Wikipedia: Portrait painting↗
- Portrait painting — part 2 — applied to Composition, expression, and focus on character over literal likeness.
Wikipedia bio — Joseph Farquharson↗
- Joseph Farquharson — part 1 — applied to Biographical context, training, and general style.

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 label

6 dominant colors, measured

what the eye sees

Light rakes across the sitter's face from the upper left, creating a strong modeling effect that sculpts the planes of the face, particularly the forehead and cheekbone. The figure occupies the right two-thirds of the composition, turning slightly toward the viewer's left, with the dark background compressed behind the shoulder and head. The eye is drawn first to the face—specifically the penetrating gaze and the emphatic horizontal bar of the mustache—which sits at a natural focal point against the warm brown jacket and dark void behind.

value structure

The painting operates in three distinct value zones: the near-black background (the darkest darks), the warm mid-tones of skin and jacket (the dominant mass), and a small population of lights concentrated on the face and white shirt front. The face is the brightest region overall, with the forehead receiving the most direct light. When you squint, you see a simple structure: dark surround, warm mid-tone bust, bright face emerging forward.

observed palette and mixes

#1f1f1b
Ivory black with a touch of raw umber
Background shadow, right side of composition, defining the silhouette of head and shoulder
#826443
Yellow ochre and burnt sienna with raw umber to gray it slightly
The jacket and outer clothing masses, warm mid-tone anchor of the composition
#5b452a
Raw umber with burnt sienna and a touch of cadmium red light, modified with white for transparency
Mid-value shadows on the face, the dark beard, the temple area, and transition zones
#403425
Raw umber with ivory black, warmed with a hint of burnt sienna
Dark accents in hair, under the mustache, eye sockets, and neck shadow
#c9a876
Titanium white with yellow ochre, cadmium red light, and a whisper of burnt sienna
Illuminated skin on forehead, cheekbone, bridge of nose, and upper lip—the face planes catching direct light
#e8dcc8
Titanium white with minimal yellow ochre
White shirt front below the jaw, providing the lightest accent and collar definition

edges and brushwork

Edges are soft and blended throughout, with no hard outlines; transitions between face and shadow, and between jacket and background, dissolve into feathered strokes. The mustache is rendered with deliberate, slightly stiff horizontal marks that create crisp definition—a tonal boundary rather than a line. Brushwork overall is restrained and economical; the artist doesn't fuss, letting form emerge from value relationships rather than edge articulation.

a working sequence

01
Establish the darkest darks and composition anchor
Mix your near-black (ivory black + raw umber) and block in the entire background and the deep shadows within the hair, beard, and eye sockets. This dark envelope will make everything else sing. Don't over-render yet—just establish value contrast so you know where the light is falling.
02
Lay the warm jacket foundation
Using your burnt sienna and yellow ochre mix, paint the shoulder and jacket mass. Keep it as a unified warm mid-tone at this stage. Notice how the jacket's right edge (viewer's left) dissolves softly into the dark background; leave that edge rough.
03
Establish the basic face value and proportion
Block in the overall face tone using your mid-value skin mix (yellow ochre + white + a touch of cadmium red). Keep the value relatively even across the face plane—don't chase highlights yet. Pay attention to the oval's tilt: the head tips slightly to the figure's left, and the chin is narrower than the forehead.
04
Model the face with shadow and form
Now introduce the warmer, darker tones (raw umber + burnt sienna + a hint of cadmium red) into the shadow plane of the face—the right side of the face (viewer's right), under the cheekbone, along the jaw, and around the eye sockets. Notice the temple area is quite dark; the shadow shapes are distinct and geometric, not soft blurs. Keep the transition between light and shadow on the face gradual but clear.
05
Define the mustache and mouth area
The mustache is a bold horizontal feature. Use a mix of raw umber and ivory black with very little white—make it slightly cooler and darker than the surrounding face. Paint it with firm, directional strokes that follow the hair growth, and leave a thin highlight line on top where light catches the curl. The upper lip beneath it should be warm and recessive.
06
Strike the light on the forehead and cheekbone
Mix a warm, bright light tone (titanium white + yellow ochre + a touch of cadmium red light) and apply it where the light is strongest: the center of the forehead, the top of the cheekbone, the bridge of the nose, and the brow ridge. These are the peaks of the form. Keep these strokes loose and faceted—don't smooth them into oblivion. The forehead receives the most dramatic light; the cheekbone is secondary.
07
Render the eyes and create focus
The eyes are not large, but they carry the psychological weight. Darken the eye sockets with shadow color, then place a small bright accent of your lightest flesh tone on the upper eyelid near the inner corner. The iris and pupil should be very dark (almost black) and small; don't overstate them. The eyebrow line is subtle but present, shadowed slightly. The gaze should feel direct and slightly weighted to the viewer's left.
08
Soften and unify, then add the white shirt accent
Step back and blend any harsh transitions on the face using a soft, dry brush or a rag. The face should feel modeled and three-dimensional, but not photographic. Finally, paint the white shirt front at the neck—use your lightest mix (titanium white with the barest touch of yellow ochre). This bright accent grounds the composition and provides the visual "exit" for the eye. Keep its edges soft where it meets skin and jacket.
09
Final refinements and atmospheric touches
Review the background—it should feel like a unified, recessed dark. If any part reads too light or too purple, deepen it with another glaze of your black-umber mix. Ensure the jacket doesn't fight the face for attention; it should be warm but subordinate. The ear (visible on the left side of the head) should be warm and fleshy but not overworked. Make one final pass: soften any edges that feel too hard, especially where jaw meets neck and where the jacket meets the background. The painting should have a quiet, introspective quality—restraint is the goal.

where studies of this painting go wrong

Overworking the face into a flat, blended pincushion. The Realist tradition here demands faceted planes that hold their geometry; blend strategically at transitions, but leave evidence of the brush and form structure.
Making the background too light or too colorful. This dark envelope must stay deep and neutral to keep the figure forward. Resist the urge to add atmosphere or texture; let it recede through value alone.
Rendering the mustache too delicately or too soft. It is a bold, almost heraldic feature in this portrait—it reads as a dark horizontal bar with intentional character. The hair direction matters; paint it with purpose, not fussiness.
Losing the integrity of the white shirt front by overblending it into the flesh. That accent reads as white fabric, not skin. Keep it crisp at the collar and throat, and let it remain lighter and cooler than the face.

measured difficulty