plate no. 0047
The Hour of Prayer
Joseph Farquharson, 1868
recreation guide
Joseph Farquharson’s 'The Hour of Prayer' (1868) is a cityscape executed in oil, situated within the Realist tradition. While the specific visual narrative of this particular 1868 work is not detailed in the provided sources, Farquharson is historically associated with atmospheric landscape and cityscape painting that emphasizes light and mood. The recreation of this work relies on established 19th-century oil painting practices, particularly the use of monochrome underpainting (grisaille) to establish form and value before applying color. This method allows the artist to mentally extract specific hues to focus on structural integrity, a technique noted in contemporary treatises on oil painting practice (Source 1). The composition likely adheres to principles of visual balance, avoiding exact bisections and utilizing contrast to guide the viewer’s eye, consistent with general compositional theory of the era (Source 5).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
4 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Black, Ultramarine, White) | For the initial grisaille underpainting to establish values and forms without color distraction. | Modern tube oils: Ivory Black, Ultramarine Blue, Titanium White. |
| Oil of Copavia (or modern linseed/walnut oil) | Medium for the first and second paintings to ensure proper flow and drying characteristics. | Stand linseed oil or walnut oil. |
| Transparent glazing colors (Reds, Yellows) | To apply color in transparent layers over the dry grisaille, simulating the effect of light and atmospheric tone. | Alizarin Crimson, Cadmium Yellow Light, or similar transparent/semi-transparent pigments. |
| Varnish | Mixed with oil for later glazing stages to increase transparency and depth. | Dammar varnish or modern synthetic resin varnish. |
| Canvas or Panel | Support for the oil painting. | Linen canvas primed with gesso or oil ground. |
preparation
surface prep
The surface should be prepared to accept oil paint. While specific priming methods for Farquharson are not detailed in the sources, the referenced practice involves painting with oil of copavia, suggesting a traditional oil ground or a well-sized canvas that allows for the fluidity of the medium described in Sir Joshua Reynolds’ method (Source 1).
underdrawing
The sources do not explicitly describe Farquharson’s underdrawing method for this specific work. However, general practice for realism and the referenced 'outline basis' suggests that initial forms may be established lightly. The focus in the referenced technique is on the monochrome underpainting rather than a detailed linear underdrawing (Source 7).
underpainting
A grisaille (monochrome) underpainting is essential. The artist should paint the entire composition using only black, ultramarine, and white, mixed with oil of copavia. This step involves mentally extracting red and yellow colors to focus on the structural values and forms as they would appear if those hues were absent (Source 1). This establishes the 'chiaroscuro' or light and shade foundation (Source 7).
color palette
Black
Ivory Black or Lamp Black
Grisaille underpainting for shadows and dark values.
Ultramarine
Ultramarine Blue
Grisaille underpainting for mid-tones and cool shadows, mixed with white and black.
White
Lead White (historical) or Titanium White (modern)
Grisaille underpainting for highlights and light values.
Red/Yellow Tones
Transparent reds and yellows (e.g., Vermilion, Yellow Ochre, or modern equivalents)
Glazing and scumbling over the dry grisaille to introduce color, particularly in areas where light interacts with surfaces.
composition
While the specific layout of 'The Hour of Prayer' is not described in the sources, general compositional principles for this genre suggest avoiding exact bisections of the picture space and ensuring the horizon line is positioned to emphasize either the sky or the ground, rather than dividing the artwork equally (Source 5). The composition should have a center of interest to prevent it from becoming a mere pattern, with the viewer's eye led around the elements before exiting the picture (Source 5). Contrast between detailed areas and 'rest' areas is important to guide the eye (Source 5).
step by step
underpainting→first pass→refining→finishing
underpainting
step 01
Mix black, ultramarine, and white with oil of copavia. Paint the entire composition in monochrome (grisaille), focusing on accurate values and forms. Mentally exclude red and yellow hues to concentrate on the structural light and shadow.
Tip — Ensure the grisaille is quite dry before proceeding to color application.
Grisaille
first pass
step 02
Once the grisaille is dry, begin glazing and scumbling with oil. Apply transparent coats of red and yellow tones where they occur in the natural scene, similar to tinting an engraving with watercolors.
Tip — Glazing involves a transparent coat of color; scumbling is semi-opaque, allowing the underlying painting to show through.
Glazing
refining
step 03
As mastery is gained, mix varnish with oil for subsequent glazing layers. This increases the transparency and depth of the color, enhancing the realistic effect.
Tip — Be aware that scumbling over a darker ground can tend toward coldness, potentially creating a grey bloom.
Varnish Glazing
finishing
step 04
Adjust colors based on the law of simultaneous contrast. Recognize that adjacent colors will influence each other; the lightest tone will be lowered and the darkest heightened. Ensure harmonization of colors inherent to the objects.
Tip — The eye may be fatigued or deceived by mixed contrast; verify colors by looking at them separately or using a mirror to check accuracy.
Simultaneous Contrast
critical techniques
Grisaille Underpainting
Used to establish form and value without the distraction of color. The artist paints with black, ultramarine, and white, mentally extracting red and yellow hues. This method was practiced by old masters and is recommended for achieving mastery in oil painting.
Glazing and Scumbling
Glazing applies transparent color over the dry underpainting, while scumbling applies semi-opaque color. These techniques allow for the modulation of tone and the creation of atmospheric effects, such as a grey bloom when scumbling over dark grounds.
Simultaneous Contrast
Understanding that adjacent colors affect each other's appearance. The artist must account for this to accurately perceive and imitate the modifications of light and color on the model, ensuring harmonization of the composition.
common pitfalls
- →Applying color before the grisaille is completely dry, which can muddy the underpainting and prevent proper glazing effects (Source 1).
- →Ignoring the law of simultaneous contrast, leading to inaccurate color perception and disharmonious compositions (Source 3).
- →Over-modeling or becoming too tied to outlines, which can result in a stiff appearance. Copying works like Reynolds’ 'Portraits of Two Gentlemen' can help correct this tendency (Source 2).
- →Creating exact bisections in the composition, which can make the artwork appear static and unbalanced (Source 5).
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 visual details of 'The Hour of Prayer' (e.g., exact subject matter, specific buildings, figures) are not described in the sources, so the guide focuses on general technique rather than specific iconography.
- ·Farquharson’s specific palette preferences beyond the general realism tradition are not detailed in the provided sources.
- ·The exact dimensions and support material (canvas vs. panel) for this specific 1868 work 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 technique, glazing, and scumbling methods.
- ON COPYING — applied to Advice on correcting tendencies like over-modeling or being too tied to outlines.
Laws of Contrast of Colour↗
- 315-318 — applied to Color theory, simultaneous contrast, and accurate color perception.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 6 — applied to General compositional principles such as avoiding bisections and managing detail.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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