plate no. 2415
The Sun Fast Sinks in the West
recreation guide
Joseph Farquharson’s 'The Sun Fast Sinks in the West' is a landscape painting executed in oil, adhering to the Realist style. While specific visual details of this particular composition are not described in the provided sources, Farquharson’s work generally falls within the tradition of Western landscape painting, which depicts natural scenery such as mountains, valleys, rivers, trees, and forests, often including the sky and weather as integral elements of the composition (Source 3). The artwork likely emphasizes the depiction of atmospheric conditions and the surface of the Earth, consistent with the genre's focus on coherent composition and the arrangement of natural elements (Source 3, Source 4). The painting process for this work would historically align with methods that prioritize the accurate imitation of light modifications and color harmonies inherent to nature (Source 2). Farquharson’s practice, like that of many old masters, likely involved a structured approach to color application, potentially utilizing glazing and scumbling techniques to achieve depth and luminosity, rather than relying solely on opaque mixing (Source 1). The realism of the piece depends on the artist's ability to perceive and imitate the subtle modifications of tone and color caused by simultaneous contrast, ensuring that the hues reflect the true interaction of light on the model rather than isolated pigment properties (Source 2).
estimated time
40-60 hours over 8-12 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, Black, White, Yellow, Red tones) | Primary pigments for underpainting and glazing | High-quality artist-grade oil paints |
| Linseed oil or Oil of Copavia | Medium for mixing paints and glazing | Stand oil or refined linseed oil |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparency | Dammar varnish or synthetic resin varnish |
| Canvas or linen support | Surface for oil painting | Primed linen or cotton canvas |
| Brushes (various sizes) | Application of underpainting, glazing, and scumbling | Hog bristle and sable brushes |
preparation
surface prep
The surface should be prepared with a ground suitable for oil painting. While specific priming instructions for Farquharson are not detailed in the sources, traditional oil painting practices of the period often involved a white or neutral ground to facilitate the glazing techniques described. The ground must be dry before any painting begins to ensure proper adhesion and drying of subsequent layers (Source 8).
underdrawing
The sources do not specify Farquharson’s underdrawing method. However, contour drawing is noted as an essential foundation for painting, emphasizing mass and volume rather than minor details (Source 7). It is likely that a light underdrawing was used to establish the composition’s structure, focusing on the arrangement of landscape elements like trees, sky, and terrain, consistent with the genre’s requirement for coherent composition (Source 3, Source 5).
underpainting
The underpainting likely follows the grisaille method described in Source 1. This involves creating a monochrome base by mentally extracting red and yellow colors, translating what would remain in nature if these colors were absent. This step establishes the values and forms without the complexity of color, allowing for precise control over light and shadow. The grisaille should be allowed to dry completely before proceeding to color application (Source 1).
color palette
Ultramarine
Pure ultramarine pigment
Underpainting and cool tones, as part of the initial black, ultramarine, and white mixture (Source 1)
Black
Pure black pigment
Underpainting and darkening values, used in the initial grisaille stage (Source 1)
White
Lead white or modern titanium white
Underpainting and lightening values, used in the initial grisaille stage (Source 1)
Yellow tones
Yellow ochre, cadmium yellow, or similar
Glazing and scumbling to introduce warmth and light, applied over the dry grisaille (Source 1)
Red tones
Vermilion, cadmium red, or similar
Glazing and scumbling to introduce warmth and light, applied over the dry grisaille (Source 1)
composition
The composition likely organizes natural scenery into a coherent whole, with the sky almost always included as an element of the view (Source 3). The arrangement of elements such as trees, valleys, or rivers would be structured to guide the viewer’s eye through the piece, utilizing line, shape, and value to create depth and form (Source 5). The specific placement of these elements is not detailed in the sources, but the general principle of landscape painting involves depicting a wide view with elements arranged for visual harmony (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the basic composition on the prepared surface, focusing on the mass and volume of landscape elements like trees, sky, and terrain. Use light lines to establish the structure without detailing minor features.
Tip — Focus on the overall form and spatial relationships rather than intricate details.
Contour drawing
underpainting
step 02
Create a grisaille underpainting using only black, ultramarine, and white mixed with oil of copavia or linseed oil. Mentally extract red and yellow colors to establish the values and forms as they would appear without these hues.
Tip — Ensure the grisaille is quite dry before proceeding to avoid muddying the subsequent color layers.
Grisaille
first pass
step 03
Begin glazing and scumbling with oil. Apply transparent coats of yellow and red tones over the dry grisaille, similar to tinting an engraving with watercolors. Use glazing for transparent color and scumbling for semi-opaque effects where the underlying painting shows through.
Tip — Start with oil as a medium; once mastery is gained, you may mix varnish with oil for later stages.
Glazing and Scumbling
refining
step 04
Adjust colors to account for simultaneous contrast. Observe how contiguous colors affect each other, ensuring that the lightest tones are not lowered and the darkest tones are not heightened incorrectly. Correct any hue shifts that occur when lightening or darkening colors.
Tip — Be aware that the eye may perceive colors inaccurately due to mixed contrast; verify colors against the model frequently.
Simultaneous Contrast
finishing
step 05
Finalize the painting by refining the atmospheric conditions and weather elements, ensuring the sky and landscape harmonize. Check for any areas where the glazing or scumbling needs adjustment to achieve the desired realism.
Tip — Ensure that the modifications of light on the model are promptly and surely imitated.
Realism
varnishing
step 06
Apply a final varnish to protect the painting and enhance the depth of the glazes. This step is consistent with traditional oil painting practices to preserve the work.
Tip — Allow the painting to dry completely before varnishing to prevent trapping solvents.
Varnishing
critical techniques
Glazing
A transparent coat of color applied over a dry underpainting to build up luminosity and depth. Used to introduce yellow and red tones without obscuring the underlying grisaille.
Scumbling
A semi-opaque painting technique where the underlying painting makes itself felt. Used to create coldness or grey blooms over darker grounds, adding texture and atmospheric effect.
Simultaneous Contrast
Understanding that colors appear different when viewed next to each other. The painter must perceive and imitate these modifications to achieve accurate color representation in the landscape.
common pitfalls
- →Applying color before the grisaille is completely dry, which can lead to muddying and loss of clarity (Source 1).
- →Ignoring simultaneous contrast, resulting in inaccurate color perception and imitation of the model (Source 2).
- →Darkening colors by adding black, which can cause hue shifts toward greenish or bluish tones, especially in yellows, oranges, and reds (Source 6).
- →Lightening colors by adding white, which can cause a shift towards blue in reds and oranges, requiring correction with adjacent colors (Source 6).
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 Sun Fast Sinks in the West' such as the exact landscape features, time of day, or weather conditions are not described in the sources.
- ·Farquharson’s specific palette preferences beyond the general old master techniques are not detailed.
- ·The exact dimensions and aspect ratio of the painting are not provided.
- ·Specific brushwork styles or stroke patterns characteristic of Farquharson are not described.
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 (grisaille), glazing, and scumbling techniques
Laws of Contrast of Colour↗
- 315-318 — applied to Color accuracy, simultaneous contrast, and refining steps
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 Genre definition, composition elements, and atmospheric inclusion
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 1 — applied to General compositional principles
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Color mixing pitfalls and hue shifts
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing approach
Wikipedia: Oil painting↗
- Oil painting — part 4 — applied to Materials and varnishing
Read more about the corpus on the sources page and how the guides are built on the methods page.
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