plate no. 8726
The Sun Had Closed the Winter Day
what to study here
It shows how a warm, softly handled animal mass can anchor a cold snow scene between crisp dark trees and a glowing sky.
The main lesson here is how three value zones are organized: a dark tree armature at the edges, a bright snow field, and a luminous warm sky. The sheep sit between them as a mid-value bridge. Study how the herd is handled as one warm mass. The vision analysis describes loose, warm dabs with soft edges and gaps where snow shows between animals, rather than individually rendered sheep. Compare that with the trees, where branches are sharp, deliberate linear strokes. The left trees are heavier and more opaque, the right thinner and more transparent, which leaves openings for the sunset. Note the temperature split in the snow: a warmer, light-struck snow in the foreground and middle distance, and a cooler, bluer snow in shadow under the left canopy. Snow strokes are broad and flat, following the ground plane, with visible brushwork. The eye enters at the sunset glow, drops to the herd, then recedes toward a small cottage smoke plume and figure. Copy the sequence of attention, not just the colors.
key decision
The painter treated the sheep as a single warm, soft-edged mass of loose dabs rather than individual animals, setting it against crisp, dark tree structure and cool snow.
recreation guide
Joseph Farquharson’s 'The Sun Had Closed the Winter Day' is a landscape painting executed in oil, adhering to the Realist tradition. As a landscape work, it likely depicts natural scenery such as mountains, valleys, or forests, with the sky and weather conditions serving as integral elements of the composition (Source 4). Farquharson’s practice, consistent with 19th-century landscape traditions, emphasizes the depiction of atmospheric conditions and the surface of the Earth, potentially focusing on the specific lighting effects of a winter day closing (Source 5). The artwork relies on the expressive capacity of oil paint, utilizing layering techniques to achieve depth and texture, characteristic of the medium’s ability to hold brushstrokes and adjust translucency (Source 1).
estimated time
20-30 hours over 5-7 sessions, allowing for drying time between layers
materials
8 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (artist grade) | Primary medium for color application | — |
| Linseed oil | Medium to thin paint and increase oil content for 'fat over lean' layering | — |
| Mineral spirits or turpentine | Solvent to thin paint for underdrawing/underpainting and clean brushes | — |
| Canvas | Support surface | — |
| Charcoal or thinned paint | Initial sketching of the subject | — |
| Paintbrushes | Primary tool for transferring paint | — |
| Palette knives | Alternative application tool or for scraping off wet paint if corrections are needed | — |
| Rags | Cleaning brushes or removing wet paint layers | — |
preparation
surface prep
The canvas should be prepared according to traditional oil painting standards. While specific priming details for this exact work are not provided, standard practice involves ensuring a stable ground to support the oil layers. The artist likely used a standard canvas preparation suitable for oil absorption and layering.
underdrawing
Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint (Source 1). For this landscape, the artist would likely sketch the major forms of the terrain, sky, and any atmospheric elements using charcoal or a thin wash of paint to establish the composition before applying opaque layers.
underpainting
The artist may have employed a monochrome underpainting (grisaille) to establish values before adding color. Source 3 describes a method where a grisaille is created by mentally extracting red and yellow colors, leaving the underlying structure in neutral tones. Once dry, this layer serves as a foundation for glazing and scumbling with oil colors (Source 3). This technique allows for precise control over light and shadow before introducing hue.
color palette
Neutral Grays/Browns
Black, white, and earth tones
Underpainting (grisaille) to establish value structure without color interference (Source 3)
Winter Sky Tones
Ultramarine, white, and potentially lead white or zinc white
Depicting the sky and atmospheric conditions, consistent with landscape painting conventions (Source 4)
Winter Landscape Tones
Earth tones, whites, and cool grays
Depicting the ground, snow, or bare trees, reflecting the 'winter day' subject matter
Warm Accents
Yellow and red ochres
Glazing and scumbling to add warmth and light effects, as described in the glazing process (Source 3)
composition
The composition likely organizes natural scenery into a coherent view, with the sky included as a significant element (Source 4). Farquharson’s landscapes often focus on atmospheric conditions, suggesting the composition balances the horizon line to emphasize the weather and lighting of the 'closing winter day'. The arrangement of elements follows general landscape principles, where the main subject is a wide view with elements arranged to create depth and spatial coherence (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the landscape composition onto the canvas using charcoal or thinned paint. Focus on the major forms of the terrain, sky, and atmospheric elements.
Tip — Ensure the sketch is light enough to be covered by subsequent layers but clear enough to guide the underpainting.
Initial Sketching
underpainting
step 02
Apply a monochrome underpainting (grisaille) using neutral tones. This layer establishes the value structure of the painting, mentally extracting red and yellow colors to focus on light and shadow.
Tip — Allow this layer to dry completely before proceeding to color application to ensure proper adhesion and prevent cracking.
Grisaille
first pass
step 03
Begin applying color using glazing and scumbling techniques. Glaze with transparent coats of color, particularly yellow and red tones, to add warmth and light effects. Scumble with semi-opaque paint to create texture and coldness where needed.
Tip — Follow the 'fat over lean' rule: ensure each additional layer contains more oil than the layer below to prevent cracking and peeling.
Glazing and Scumbling
refining
step 04
Refine the atmospheric conditions and lighting effects. Use brushes or palette knives to adjust the texture and form of the landscape elements. Oil paint remains wet longer than other materials, allowing for adjustments to color and texture.
Tip — If corrections are needed while the paint is wet, use a rag and turpentine to remove layers. If the paint has hardened, scrape it off with a palette knife.
Wet-on-Wet Adjustment
finishing
step 05
Complete the painting by ensuring all layers are dry. Oil paint dries by oxidation, typically within two weeks, though some colors may dry faster. Check for any areas needing final adjustments to value or color harmony.
Tip — Allow sufficient drying time between sessions to avoid disturbing underlying layers.
Oxidation Drying
varnishing
step 06
Apply a varnish to protect the painting and enhance the sheen and depth of the colors. This step is optional but recommended for long-term preservation and visual richness.
Tip — Ensure the painting is completely dry before applying varnish to prevent trapping solvents.
Varnishing
critical techniques
Fat over Lean
A basic rule of oil paint application where each additional layer contains more oil than the layer below. This ensures proper drying and prevents cracking and peeling. Essential for building up the landscape’s depth and texture.
Glazing
Applying a transparent coat of color over a dry underpainting. Used to add warmth and light effects, particularly with yellow and red tones, as described in the grisaille method.
Scumbling
Applying semi-opaque paint over a darker ground to create texture and coldness. Useful for depicting winter atmospheres and snow effects.
Simultaneous Contrast
Understanding how adjacent colors affect each other’s perception. Important for harmonizing the colors of the landscape, especially the sky and terrain, to create realistic light modifications.
common pitfalls
- →Applying lean layers over fat layers, which can lead to cracking and peeling of the paint film (Source 1).
- →Failing to allow sufficient drying time between layers, especially when using glazing techniques, which can result in muddied colors or physical instability (Source 1).
- →Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and harmony in the landscape (Source 7).
- →Overworking wet paint without considering the drying time, which can disrupt the underlying layers and texture (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 pigments used by Farquharson for this particular painting are not detailed in the sources.
- ·The exact dimensions and canvas type are not provided.
- ·Detailed visual description of the specific landscape elements (e.g., presence of trees, mountains, or water) is not available in the sources, so general landscape conventions are applied.
- ·Farquharson’s specific brushwork style for this piece is not described, so general oil painting techniques are recommended.
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.
Laws of Contrast of Colour↗
- 315-318 — applied to Color theory and simultaneous contrast for harmonizing landscape colors.
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 General oil painting techniques, including underdrawing, fat over lean rule, drying times, and tools.
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Definition and elements of landscape painting, including sky and weather.
- Landscape painting — part 13 — applied to Farquharson’s focus on atmospheric conditions and landscape types.
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 label6 dominant colors, measured
what the eye sees
A winter sunset floods the composition from the left-center background, casting long warm orange and gold light across snow-covered ground toward the viewer. A flock of sheep dominates the foreground right-of-center, their warm golden-brown wool contrasting sharply against white snow. Bare, dark trees frame both sides—heavier and more opaque on the left, thinner and more transparent on the right—while a distant cottage smoke plume and small figure emphasize depth. The eye enters at the sunset's warm glow, then drops to the sheep herd, which acts as an anchor mass before receding into the middle distance.
value structure
The darkest darks are the tree trunks and branches (almost black-brown), concentrated left and right edges. The lightest values are the snow-covered ground and sky above the sunset line. The sheep create a critical mid-dark-to-mid-tone bridge between the snowy ground and the sky. Squint: you should see three distinct zones—dark tree armature, bright snow field, and luminous warm sky—with the sheep herd as a unifying middle value.
observed palette and mixes
#242118
Burnt umber + ultramarine blue, touch of black
Tree trunks and major branch shadows; darkest accents throughout
#e2ddb6
Titanium white + yellow ochre + touch of ultramarine blue
Snow field, especially in foreground and middle distance where warm light hits
#c2c09f
Titanium white + yellow ochre + ultramarine blue, more blue than above
Snow in shadow, especially lower-left and under tree canopy; cool shadow snow
#908a6b
Burnt umber + yellow ochre + titanium white
Sheep wool; the warm tan-brown herd mass
#635940
Burnt umber + ultramarine blue + yellow ochre
Mid-tone branches, fence detail, distant landscape recession
#f5a857
Cadmium orange + yellow ochre + titanium white
Sunset glow in the sky; warm luminous area left-center background
edges and brushwork
The tree branches are rendered with sharp, deliberate strokes—dark linear marks that read as individual limbs rather than soft masses. Snow surfaces are worked with broader, flatter strokes that follow the ground plane, leaving visible brushwork that suggests texture without harsh detail. The sheep are suggested with warm, loose dabs of color that group them as a herd rather than rendering each animal distinctly; soft edges dominate their forms, contrast to the crisp tree structure.
a working sequence
- 01
Establish the sky and sunset glow
Block in the upper two-thirds of the canvas with pale cream-yellow. In the left-center, paint a warm orange-gold rectangle (cadmium orange + yellow ochre + white) representing the sunset's core. Keep edges soft by blending while wet. The sky should transition from warmer tones near the horizon to cooler, paler tones near the top.
- 02
Lay in the snow ground
Cover the lower half with a warm off-white (titanium white + yellow ochre + minimal ultramarine blue). Apply thickly in the immediate foreground where light hits directly. Preserve some canvas texture; don't overblend. The snow should feel luminous, not flat.
- 03
Block in the tree structure—darks
Using burnt umber + ultramarine blue, paint the major tree trunks and branches as dark linear forms. Work left and right edges first—the left side should have heavier, more clustered branches creating a visual wall. The right side branches are thinner and more open. Leave gaps where the sunset glows through. Work while the snow is still damp to soften base edges slightly.
- 04
Plant the sheep herd
Mix burnt umber + yellow ochre + white to a warm tan. Apply this as a loose grouped mass in the foreground-right, roughly centered but asymmetrical. Don't define individual sheep—use soft, irregular dabs that suggest wool texture and mass. Leave gaps where snow shows between animals. The herd should feel warm and solid against the cool snow.
- 05
Refine snow shadows and recession
Use a cooler snow mix (titanium white + yellow ochre + more ultramarine blue) to define shadow areas under tree canopy (left side especially) and in the middle distance behind the sheep. These cool tones recede and create depth. Apply with slightly stiffer brushwork than the lit snow, creating subtle texture variation.
- 06
Strengthen the sunset and atmospheric glow
Deepen the orange-gold in the sky's core (cadmium orange + yellow ochre). Let this warm tone reflect faintly into the upper snow edges. Paint the distant smoke plume and cottage silhouette in dark, cool tones (burnt umber + ultramarine). This detail should be small and understated—it measures distance, not prominence.
- 07
Add mid-tone branches and detail
Using the medium brown (#635940 equivalent: burnt umber + ultramarine + yellow ochre), add secondary branches and fence line detail in the foreground left. Keep these strokes sharp but not overstated. A few broken fence rails ground the composition and suggest human presence. Work carefully so branches read as structure, not decoration.
- 08
Final warm and cool passes
Step back and assess: the sheep should read as the warmest mass. If they've gone dull, glaze a thin layer of warm tan (burnt umber + ochre + white) over them. Add a few final highlights to the snow where sunset light hits strongest (pure white + touch of cadmium orange). The overall effect should balance warm and cool, with the herd and sunset as warm anchors against cool tree and shadow snow.
where studies of this painting go wrong
- Treating the sheep as individuals instead of a unified warm-colored mass—step back frequently to see them as one herd shape, not separate animals.
- Overblending the snow, which kills the luminous quality; leave visible brushwork and texture, especially in foreground where light is strongest.
- Making the sunset too uniform orange—the sky needs gradation and cooler tones at the edges to feel atmospheric; the warmth should concentrate in the lower-left where the sun sits.
- Sharpening tree branches too uniformly; vary edge quality—some branches are crisp against the sky, others soften where they pass in front of snow or other trees.
measured difficulty
- beginner friendliness
- value contrast
- palette complexity
- compositional simplicity
- brushwork visibility
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