plate no. 3377
The Sun Had Closed the Winter's Day
Joseph Farquharson, 1904
recreation guide
Joseph Farquharson’s *The Sun Had Closed the Winter's Day* (1904) is a quintessential example of his trademark 'snow scenes,' which earned him the nickname 'Frozen Mutton' Farquharson (Source 3). The work is distinctive for its realistic depiction of Scottish winter landscapes, likely featuring sheep or cattle, rendered with the 'richly handled paint' characteristic of his post-Paris training under Carolus-Duran (Source 4). Farquharson’s style is defined by a tension between realism and dramatic lighting, particularly in capturing the warmth of twilight or dawn against cold snow (Source 4). The painting reflects his practice of working *en plein air* using a specialized mobile painting hut to observe natural light conditions directly, ensuring the 'remarkable realism' noted by critic Sickert (Source 4).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Titanium White, Ultramarine, Yellow Ochre, Cadmium Red, Burnt Umber) | Primary pigments for underpainting and glazing. White is essential for snow; Ultramarine and White for the grisaille underpainting as per Reynolds/Farquharson tradition. | — |
| Linseed Oil | Medium for mixing paints and glazing. Farquharson’s teacher Carolus-Duran emphasized thinking in terms of form and color, requiring fluid handling. | Stand oil or refined linseed oil |
| Canvas or Panel | Support for the oil painting. | Linen canvas primed with gesso |
| Solvent (Turpentine or Odorless Mineral Spirits) | Thinning paint for initial layers and cleaning brushes. | Gamsol or Odorless Mineral Spirits |
| Hog Hair Brushes (various sizes) | For applying thick, richly handled paint as described in Farquharson’s style. | — |
preparation
surface prep
Prepare a standard oil-primed canvas. While specific ground preparation for this exact 1904 work is not detailed in the sources, Farquharson’s training under Peter Graham and Carolus-Duran suggests a traditional approach. The sources note that old masters and Reynolds used a method involving a monochrome underpainting (grisaille) before applying color (Source 1). Therefore, the surface should be prepared to accept a dry grisaille layer, likely a neutral white or light grey ground to facilitate the 'glazing and scumbling' technique described in Source 1.
underdrawing
Farquharson’s teacher Carolus-Duran taught students to 'use the brush straight away and think in terms of form and colour' (Source 4). This suggests that Farquharson likely did not rely on heavy, detailed contour drawings visible in the final work. Instead, the underdrawing would be minimal, perhaps just loose blocking of forms to establish composition, consistent with the 'richly handled paint' and direct painting style attributed to him (Source 4). Contour drawing techniques emphasize mass and volume over detail (Source 8), which aligns with the realistic but painterly approach required.
underpainting
The sources describe a method of 'colouring a monochrome' where a grisaille (monochrome underpainting) is applied first, using black, ultramarine, and white (Source 1). This technique, attributed to Sir Joshua Reynolds and practiced by old masters, involves mentally extracting red and yellow colors to establish values and forms (Source 1). For this winter scene, the grisaille would establish the contrast between the bright snow and the dark figures/landscapes. Once dry, this layer serves as the foundation for glazing and scumbling the final colors (Source 1).
color palette
White/Grey
Lead White (historically) or Titanium White mixed with Ultramarine and Black
Snow and sky. Farquharson is famous for snowy winter landscapes (Source 3). The grisaille underpainting uses white, black, and ultramarine (Source 1).
Warm Yellows/Oranges
Yellow Ochre, Cadmium Yellow, mixed with Red tones
Capturing the 'warmth and light of sun rises and twilight' (Source 4). These colors are glazed over the grisaille to create the effect of the sun closing the winter's day.
Cool Blues/Greys
Ultramarine, White, and Black
Shadows in the snow and distant landscapes. The 'grey bloom' obtainable through scumbling over a darker ground (Source 1) is ideal for cold winter shadows.
Earth Tones (Browns/Reds)
Burnt Umber, Raw Sienna, Cadmium Red
Animals (sheep/cattle) and human figures. Farquharson’s works often feature sheep and men/women in dramatic landscapes (Source 3).
composition
Farquharson’s compositions often feature animals (sheep/cattle) and human figures in dramatic Scottish landscapes (Source 3). While the specific layout of *The Sun Had Closed the Winter's Day* is not detailed in the text, his works are characterized by a focus on the interaction of light with the landscape, particularly at dawn or dusk (Source 3). The composition likely balances the 'positive' space of the animals/figures with the 'negative' space of the snow and sky, using line and value to guide the eye (Source 6). The 'richly handled paint' suggests a dynamic, textured surface rather than a flat, smooth finish (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Lightly sketch the main forms of the landscape, animals, and any human figures using a thin wash of paint or charcoal. Focus on mass and volume rather than fine detail, consistent with contour drawing principles (Source 8).
Tip — Keep lines loose to allow for the 'richly handled paint' application later.
Contour Drawing
underpainting
step 02
Apply a grisaille underpainting using only black, ultramarine, and white (Source 1). Establish the values of the snow, shadows, and figures. This step mentally extracts red and yellow colors to focus on form and light (Source 1).
Tip — Ensure this layer is completely dry before proceeding to avoid muddying the subsequent glazes.
Grisaille
first pass
step 03
Begin glazing and scumbling the yellow and red tones over the dry grisaille (Source 1). Use oil as a medium initially. Apply transparent coats of color (glazing) to build up the warmth of the twilight/sunrise (Source 4).
Tip — Think in terms of form and color, as taught by Carolus-Duran (Source 4).
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to create cold tones and 'grey blooms' in the shadows and snow highlights (Source 1). This technique allows the underlying grisaille to show through, creating depth.
Tip — Watch for the 'simultaneous contrast' of colors; ensure the warm light contrasts effectively with the cool snow shadows (Source 2).
Scumbling
finishing
step 05
Add final details to the animals and figures, ensuring they integrate with the landscape. Farquharson’s realism is achieved through careful observation, possibly aided by his use of 'imitation' sheep for positioning (Source 4).
Tip — Maintain the 'tension and realism' noted by Sickert (Source 4).
Realism
varnishing
step 06
Once the painting is fully dry, apply a varnish to protect the surface and enhance the depth of the glazes.
Tip — Ensure the painting is completely dry to prevent trapping solvents.
Varnishing
critical techniques
Glazing and Scumbling
Farquharson’s style, influenced by old masters and Reynolds, involves applying transparent glazes and semi-opaque scumbles over a monochrome underpainting to build color and depth (Source 1). This is crucial for achieving the luminous quality of his winter scenes.
Plein Air Observation
Farquharson worked *en plein air* using a mobile painting hut to capture the realistic effects of light and snow (Source 4). This direct observation is key to the 'remarkable realism' of his work.
Simultaneous Contrast
Understanding how adjacent colors affect each other is vital for realistic animal and landscape painting. The warm light of the sunset will appear more intense against the cool blue/grey snow shadows (Source 2).
common pitfalls
- →Muddying the colors by applying wet glazes over a wet underpainting. The grisaille must be completely dry (Source 1).
- →Over-modeling details too early. Farquharson’s teacher emphasized thinking in terms of form and color from the start, avoiding smallness (Source 4, Source 7).
- →Ignoring the effects of simultaneous contrast. The eye may perceive colors inaccurately due to fatigue or adjacent hues, leading to unrealistic color relationships (Source 2).
- →Using a palette that lacks the necessary warmth for the twilight effect. Farquharson was adept at capturing the warmth of sunrises and twilights (Source 4).
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.
- ·The specific composition of *The Sun Had Closed the Winter's Day* (e.g., exact placement of sheep, human figures, or landscape features) is not described in the sources.
- ·The exact pigment mixtures used by Farquharson in 1904 are not detailed, though general period practices are inferred.
- ·The specific dimensions of the artwork are not provided.
- ·The exact medium ratios (oil to pigment) used by Farquharson are not specified, though linseed oil is a standard assumption.
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 theory and simultaneous contrast in realistic painting.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Joseph Farquharson↗
- part 1 & part 2 — applied to Artist’s style, subject matter (snow scenes, sheep), training (Carolus-Duran), and plein air methods.
Wikipedia: Contour drawing↗
- part 1 — applied to Underdrawing approach 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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