plate no. 1025
The Fox Hunt
Winslow Homer, 1893
recreation guide
The Fox Hunt (1893) is Winslow Homer’s largest single work, described as his greatest Darwinian painting, depicting a fox foraging in deep snow while menaced by hungry crows (Source 1). The composition features sprigs of red berries breaching the snow on the left, with a distant coastline and ocean beneath a deep blue sky (Source 1). Homer painted this work in his studio at Prouts Neck, Maine, during the winter of 1893, utilizing a combination of studio props and field studies to achieve accuracy (Source 1). The painting reflects Homer’s mature style, characterized by a sober palette and deliberate execution, moving away from the spontaneity of his earlier watercolors toward a more monumental and unsentimental realism (Source 6).
estimated time
40-60 hours over 8-12 sessions
materials
6 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Titanium White, Lead White, Ultramarine Blue, Cadmium Red, Burnt Umber, Raw Umber) | Primary medium for the painting | — |
| Linseed oil | Medium to thin paint and ensure 'fat over lean' layering | Refined linseed oil |
| Mineral spirits or turpentine | Solvent for thinning initial layers and cleaning brushes | Odorless mineral spirits |
| Canvas | Support surface | Linen or cotton canvas, primed |
| Charcoal or thinned paint | For initial sketching on the canvas | Vine charcoal or diluted oil paint |
| Palette knives and rags | For scraping, applying paint, and adjusting texture | — |
preparation
surface prep
Prepare a standard oil-primed canvas. While specific priming details for this exact work are not recorded, Homer was a sound craftsman who understood the capacities of his medium (Source 3). Ensure the surface is stable to support the density of oil paint he exploited in his major studio works (Source 7).
underdrawing
Begin by sketching the subject onto the canvas with charcoal or thinned paint, as was traditional for oil painting techniques of the period (Source 4). Homer likely used preliminary sketches; for the crows, he specifically sketched birds on telegraph blanks after observing them in the field (Source 1). Use contour drawing principles to establish the mass and volume of the fox and crows, focusing on the outlined shape rather than minor details initially (Source 8).
underpainting
Apply a lean initial layer using thinned paint. Follow the 'fat over lean' rule, ensuring each subsequent layer contains more oil than the one below to prevent cracking (Source 4). Homer’s practice involved building up density and weight in his oil works (Source 7).
color palette
Deep Blue
Ultramarine Blue mixed with White and possibly a touch of Burnt Umber for depth
The sky in the distance (Source 1)
White/Grey
Lead White or Titanium White mixed with cool greys
The deep snow covering the ground (Source 1)
Red
Cadmium Red or Vermilion
The sprigs of berries breaching the snow on the left (Source 1)
Orange/Brown
Burnt Sienna, Raw Umber, and White
The fox’s fur, recorded for color harmonies using a pelt (Source 1)
Black/Dark Grey
Ivory Black mixed with Burnt Umber
The crows, which were repainted after initial attempts failed (Source 1)
composition
The composition places the fox centrally, running in deep snow, menaced by crows (Source 1). On the left, red berries breach the snow, providing a focal point of color contrast (Source 1). In the distance, the coastline and ocean are visible beneath a deep blue sky, establishing the setting at Prouts Neck, Maine (Source 1). The arrangement emphasizes the tension between the predator (crows) and prey (fox), consistent with Homer’s unsentimental rendering of nature (Source 6).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the basic forms of the fox, crows, and landscape using charcoal or thinned paint.
Tip — Focus on the mass and volume of the subjects rather than fine details (Source 8).
Contour drawing
underpainting
step 02
Apply a lean wash of paint to establish the general tones of the snow, sky, and figures.
Tip — Ensure this layer is thin and dries properly before adding thicker layers (Source 4).
Fat over lean
first pass
step 03
Paint the background elements: the deep blue sky, distant coastline, and ocean.
Tip — Use the deep blue sky to contrast with the white snow (Source 1).
Background establishment
refining
step 04
Paint the snow and the red berries on the left side.
Tip — Use the red berries to breach the monotony of the white snow (Source 1).
Color harmony
step 05
Paint the fox, referencing a pelt or accurate color studies for harmonies.
Tip — Homer used a fox pelt draped over a barrel to accurately record color harmonies (Source 1).
Reference study
step 06
Paint the crows. If the initial attempt lacks vitality, scrape off and repaint using field sketches.
Tip — Homer had to repaint the crows after a critic noted they didn't look like crows; he used sketches made from observing live birds (Source 1).
Correction and repainting
finishing
step 07
Adjust textures and details using palette knives or rags if necessary.
Tip — Palette knives can scrape off paint or apply it to adjust density and brushstroke concealment (Source 4).
Texture adjustment
critical techniques
Fat over Lean
Each additional layer of paint should contain more oil than the layer below to allow proper drying and prevent cracking (Source 4).
Field Sketching for Accuracy
Homer sketched crows on telegraph blanks after observing them in the field to correct inaccurate studio paintings (Source 1).
Use of Props for Color Harmony
Homer used a fox pelt draped over a barrel in the snow to accurately record color harmonies (Source 1).
common pitfalls
- →Painting the crows without accurate reference, leading to stiff or unconvincing forms (Homer had to repaint them after criticism) (Source 1).
- →Violating the 'fat over lean' rule, causing the paint film to crack and peel (Source 4).
- →Over-modeling or getting too tied down to outlines, which can make the work appear timid (Source 3).
- →Ignoring the need for accurate color harmonies in the fox's fur, which Homer addressed by using a physical pelt (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 used by Homer for this painting are not detailed in the sources.
- ·The exact ground preparation (gesso type) for this specific canvas is not recorded.
- ·The precise mixing ratios for the 'deep blue sky' are not provided, only the visual description.
- ·The duration of drying time between specific layers in this large work is not specified.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- ON COPYING — applied to General advice on craftsmanship and avoiding over-modeling
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: The Fox Hunt (painting)↗
- Painting — applied to Composition details, use of props, and the need to repaint crows
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Fat over lean technique, use of solvents, and palette knives
Wikipedia bio — Winslow Homer↗
- part 6 — applied to Context of Homer's sober palette and deliberate execution
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing technique focusing on mass and volume
Read more about the corpus on the sources page and how the guides are built on the methods page.
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