plate no. 8620
Through the Crisp Air
Joseph Farquharson, 1902
recreation guide
Joseph Farquharson’s 'Through the Crisp Air' (1902) is a landscape painting executed in oil, characterized by a realist approach to natural scenery. As a member of the Scottish Colourists' precursor generation, Farquharson’s work often emphasizes the atmospheric conditions of the Scottish Highlands, particularly the interplay of light and weather. The painting likely depicts a wide view with elements such as trees, sky, and terrain arranged into a coherent composition, consistent with the definition of landscape art where weather is an integral element (Source 3). The realism style suggests a focus on accurately capturing the modifications of light on the model, requiring the artist to perceive and imitate the subtle shifts in tone and color caused by contiguous objects (Source 2).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, Black, White, Yellow ochre, Red ochre, Vermilion) | Primary pigments for grisaille underpainting and subsequent glazing/scumbling layers. | — |
| Linseed oil or Oil of Copavia | Medium for mixing paints, particularly for the initial oil layers as recommended by Reynolds for establishing method (Source 1). | Stand oil or pure linseed oil |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparent coats (Source 1). | Dammar varnish or synthetic resin varnish |
| Canvas or linen support | Standard support for oil painting; linen is historically common (Source 8). | Primed linen canvas |
| Palette knife and brushes | For applying opaque underpainting and semi-opaque scumbles. | — |
preparation
surface prep
Prepare a linen or canvas support with a traditional oil ground. While specific preparation for this exact canvas is not detailed in the sources, Farquharson’s era and medium imply a standard oil-primed surface to support the layering techniques of glazing and scumbling described in Source 1. Ensure the ground is smooth enough to allow for the 'transparent coat of colour' (glazing) to sit evenly without absorbing too much medium.
underdrawing
Sources do not explicitly describe Farquharson’s underdrawing method for this specific work. However, consistent with realist landscape practices of the period, a light charcoal or thinned oil sketch is likely used to establish the 'coherent composition' of the wide view, including the placement of sky, trees, and terrain (Source 3). Avoid heavy drawing that might show through the transparent glazes.
underpainting
Execute a grisaille (monochrome) underpainting using black, ultramarine, and white, mixed with oil of copavia or linseed oil (Source 1). This step involves 'mentally extracting the red and yellow colours' to translate what would be left in nature if those colors were absent (Source 1). This establishes the value structure and form before color is introduced. Allow this layer to dry completely before proceeding.
color palette
Ultramarine/Black/White
Ultramarine, Ivory Black, Lead White (or Titanium White)
Grisaille underpainting to establish values and forms (Source 1).
Yellow tones
Yellow Ochre, Cadmium Yellow, or Lead-Tin Yellow (historical)
Glazing and scumbling to reintroduce yellow tones extracted in the grisaille stage (Source 1).
Red tones
Red Ochre, Vermilion, or Alizarin Crimson
Glazing and scumbling to reintroduce red tones extracted in the grisaille stage (Source 1).
Grey/Neutral tones
Mix of complements or diluted black/white
Creating 'grey bloom' effects through scumbling over darker grounds to suggest atmospheric coldness (Source 1).
composition
The composition likely features a wide view with the sky included as a significant element, as is almost always the case in landscape painting (Source 3). The arrangement of elements such as trees and terrain should form a coherent composition. Farquharson’s realist style suggests an attention to the 'modifications of the light on the model,' meaning the composition should reflect how contiguous colors influence each other through simultaneous contrast (Source 2). Avoid arbitrary placement; ensure the visual path leads the eye through the landscape naturally.
step by step
underpainting→first pass→refining→finishing
underpainting
step 01
Mix ultramarine, black, and white with oil of copavia or linseed oil. Paint the entire composition in monochrome (grisaille), focusing on values and forms while mentally excluding red and yellow hues.
Tip — Ensure the underpainting is fully dry before proceeding to prevent muddying the glazes.
Grisaille
first pass
step 02
Begin glazing with transparent coats of yellow and red tones over the dry grisaille. Apply these colors much like tinting an engraving with watercolors, allowing the underlying monochrome to show through.
Tip — Use a medium of oil and varnish mix for better flow and transparency, as suggested for gaining mastery (Source 1).
Glazing
refining
step 03
Apply semi-opaque scumbles, particularly grey or cool tones, over darker areas to create a 'grey bloom' effect. This technique tends to coldness and is useful for depicting atmospheric effects like crisp air or mist.
Tip — Scumbling over a darker ground enhances the coldness, which is appropriate for the title 'Through the Crisp Air'.
Scumbling
step 04
Adjust colors based on the law of simultaneous contrast. Observe how adjacent colors affect each other; for example, if a yellow area is next to a blue, the yellow may appear more orange. Correct these perceptions to ensure accurate representation of light modifications.
Tip — Be aware that the eye may see the complementary of a previously viewed color, leading to inaccuracies. Step back frequently to reset visual perception (Source 2).
Simultaneous Contrast
finishing
step 05
Finalize the painting by ensuring harmonization of colors inherent to the nature of the objects. Check that the lightest tones are not lowered and darkest tones are not heightened incorrectly due to contrast effects.
Tip — Verify that the 'modifications of tone and of colour' are accurately imitated from the model or reference (Source 2).
Color Harmonization
critical techniques
Glazing
Applying a transparent coat of color over a dry underpainting to build up luminosity and color depth without obscuring the underlying forms. Essential for reintroducing red and yellow tones extracted in the grisaille stage (Source 1).
Scumbling
Applying a semi-opaque layer of paint, often grey or cool tones, over a darker ground to create atmospheric effects like 'grey bloom' and coldness. This technique allows the underlying painting to make itself felt while modifying the surface color (Source 1).
Simultaneous Contrast
Accounting for the optical phenomenon where adjacent colors influence each other’s appearance. The painter must perceive and imitate these modifications to accurately represent the light on the model (Source 2).
common pitfalls
- →Applying glazes before the grisaille underpainting is completely dry, which can lead to muddying and loss of transparency (Source 1).
- →Ignoring the effects of simultaneous contrast, resulting in colors that appear inaccurate due to the influence of adjacent hues (Source 2).
- →Using black to darken colors, which can cause undesirable hue shifts (e.g., yellows shifting toward green). Instead, use complementary colors to neutralize and darken without shifting hue (Source 6).
- →Overworking the paint, which can destroy the delicate 'grey bloom' effect achieved through scumbling (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 details of the landscape in 'Through the Crisp Air' (e.g., exact tree species, terrain features) are not described in the sources, so the recreation must rely on general realist landscape conventions.
- ·Farquharson’s specific brushwork style (e.g., impasto vs. smooth) is not detailed in the provided sources, though glazing/scumbling implies a layered approach rather than heavy impasto.
- ·The exact proportions and composition of the painting are not provided, requiring the artist to create a coherent landscape composition based on general principles (Source 3).
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 Understanding simultaneous contrast and color harmonization.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Landscape painting↗
- part 1 — applied to General composition and inclusion of sky/weather elements.
Wikipedia: Color theory↗
- part 6 — applied to Avoiding hue shifts when darkening colors.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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