plate no. 5814
Self Portrait
Joseph Farquharson, 1885
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.
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