plate no. 6605

Arch of Nero

oil, canvasRomanticismlandscaperuinslandscapearchitecturecloudsfigureshills

what to study here

It shows how one strong light direction, a near-black arch, and controlled edge variety can organize a deep ruined landscape into clear spatial zones.

Start with the light. It comes from the upper left and hits the arch and tower directly, so the lit masonry reads warm (browns and ochres) while shadow stone and vegetation go cool blue-green. The arch opening is the darkest dark, near black, and it reads as a clean silhouette. Squint and the sunlit arch separates from the darker landscape behind it, while the tower crown pops against the cumulus sky. Notice the three spatial zones: ruined masonry in the foreground, the arch and tower in the middle ground, and distant green hills receding left. Study the edge handling. Stone gets crisp edges where light meets shadow. Foliage and vines are broken and dry-brushed. The sky is blended smooth. In shadow, the brushwork follows the weathered stone contours rather than smoothing them. The palette is restrained earth tones with cooler notes for distance. Small figures sit in the foreground and middle distance and give scale.

key decision

Cole concentrated the darkest darks in the arch opening and set it against the sunlit stone, so the arch reads as a crisp silhouette. Warm lit masonry against cool shadow and distance carries the depth.

From the record

Institution: The Newark Museum of Art
Location: The Newark Museum of Art
Inception: 1846
Materials: oil paint, canvas

Arch of Nero
ruins

Wikipedia article Wikidata item Q19899756

from the sources

Arch of Nero is an oil on canvas painting by Thomas Cole made in 1846. en.wikipedia.org
“Arch of Nero is an 1846 oil on canvas painting by the American artist Thomas Cole.”
The painting was sold at a Sotheby auction on May 19, 2021, for $998,000 plus fees to a private foundation run by collectors Thomas H. and Diane DeMell Jacobsen. en.wikipedia.org
“The painting was sold on May 19, 2021, for $998,000 plus fees at a Sotheby auction, to a private foundation operated by the Florida-based collectors Thomas H. and Diane DeMell Jacobsen.”
The painting had been on display at the Newark Museum of Art before being sold to the Philadelphia Museum of Art and placed on loan at the Mint Museum. en.wikipedia.org
“It was on display at The Newark Museum of Art, but, as of July 2, 2021, was sold to the Philadelphia Museum of Art, and is currently on loan at the Mint Museum.”
Seventy curators and scholars wrote to the Newark Museum of Art describing the painting as an important and urgent address of American republicanism. en.wikipedia.org
“Seventy "top art curators and scholars" sent an open letter to the Newark Museum of Art stating that the Arch of Nero "is an important and urgent address of America’s republicanism.”
The open letter says Cole linked the decline of the Roman republic to America's present by dressing his figures in red, white, and blue. en.wikipedia.org
“Cole made explicit his links between the corruption, decline, and fall of the Roman republic, and America’s present by clothing his figures in red, white, and blue.”

recreation guide

Arch of Nero (1846) is an oil on canvas painting by Thomas Cole, a foundational figure of the Hudson River School and American Romanticism. The work is historically significant not merely as a landscape, but as a political allegory addressing the state of American republicanism. Cole explicitly linked the decline of the Roman Republic to contemporary American issues, specifically criticizing the influence of the Southern slavocracy on the federal government (Source 1). To convey this moral urgency, Cole clothed the figures in the painting in red, white, and blue, creating a stark visual link between ancient Rome and the United States (Source 1). The painting reflects Cole’s ‘untutored eye’ and his sensitivity to the vibrancy of color, developed after emigrating from the industrial landscapes of Lancashire, England, to the American wilderness (Source 1).

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

7 in sequence

materials

item	purpose	modern equivalent
Oil paints (pigments)	Primary medium for color application	High-quality artist-grade oil paints
Drying oil (Linseed or Poppy)	Binder for pigments; allows for layering and rich color density	Stand oil or refined linseed oil
Turpentine	Thinner for initial washes and cleaning brushes	Odorless mineral spirits or pure gum turpentine
Canvas	Support surface	Linen or cotton canvas, primed
Varnish (optional/resin-based)	Protection and texture; historically mixed with oil for glazes	Dammar varnish or synthetic resin varnish
Red, White, and Blue pigments	Specifically required for the allegorical clothing of figures	Cadmium red, Titanium white, Ultramarine blue

preparation

surface prep

The painting is executed on canvas, which was a common support for oil painting by the mid-19th century (Source 3). While specific priming details for this exact work are not detailed in the sources, standard practice for the period involved preparing the canvas with a ground to receive the oil layers. The artist should ensure the surface is stable to support the 'richer and denser color' and 'layers' characteristic of oil painting (Source 3).

underdrawing

Sources do not explicitly describe Cole’s underdrawing method for Arch of Nero. However, given Cole’s background as an engraver and his ‘untutored eye’ which relied on direct observation and sensitivity to light and color (Source 1), a light, flexible underdrawing in charcoal or thinned oil is likely. The focus should be on establishing the composition of the ruins and the placement of the allegorical figures rather than rigid linear definition.

underpainting

The sources suggest a technique involving layering. Source 2 describes a method of creating a grisaille (monochrome underpainting) and then glazing and scumbling color over it. While not explicitly confirmed for Cole, this ‘old master’ technique was widely practiced and aligns with the ‘use of layers’ advantage of oil paint (Source 3). The artist may begin with a neutral underpainting to establish values before applying the vibrant red, white, and blue tones.

color palette

Red

Vermilion or Cadmium Red

Clothing of figures to symbolize American republicanism (Source 1)

White

Lead White or Titanium White

Clothing of figures and highlights in the landscape (Source 1)

Blue

Ultramarine or Cobalt Blue

Clothing of figures and sky elements (Source 1)

Earth Tones (Greys/Browns)

Umber, Ochre, Black

Roman ruins and landscape background, providing contrast to the vibrant figures

Green

Verdigris or mixed greens

Vegetation in the landscape, reflecting Cole’s sensitivity to the ‘vibrancy of American landscapes’ (Source 1)

composition

The composition features Roman ruins, specifically the Arch of Nero, set within a landscape. Cole’s figures are clothed in red, white, and blue to explicitly link the Roman decline to American political corruption (Source 1). The landscape serves as a backdrop for this allegory, utilizing Cole’s characteristic sensitivity to color and light derived from his experience with the American wilderness (Source 1). The arrangement likely emphasizes the grandeur of the ruins while integrating the human figures as moral commentators.

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Lightly sketch the composition of the arch and surrounding landscape on the primed canvas. Place the figures strategically to ensure their red, white, and blue clothing will stand out against the background.
Tip — Focus on the structural integrity of the ruins and the placement of allegorical figures.
Direct drawing

underpainting

step 02
Apply a monochrome underpainting (grisaille) to establish values and forms. This allows for the ‘mental extraction’ of color to focus on light and shadow first.
Tip — Ensure the underpainting is dry before proceeding to color layers.
Grisaille

first pass

step 03
Begin applying color layers. Use oil paints thinned with turpentine for initial washes. Focus on the landscape’s earth tones and the sky.
Tip — Utilize the ‘greater flexibility’ and ‘wider range from light to dark’ of oil paint (Source 3).
Wet-on-dry or wet-in-wet

refining

step 04
Apply the red, white, and blue pigments to the figures. These colors are critical for the painting’s political message (Source 1). Use glazing techniques to achieve depth and richness.
Tip — Glazing involves applying a transparent coat of color over a dry layer to deepen tone without losing luminosity (Source 2).
Glazing
step 05
Use scumbling (semi-opaque painting) to add texture and highlights, particularly in the foliage and stone textures. This technique allows the underlying painting to show through, creating complex visual effects.
Tip — Scumbling over darker grounds can create a ‘grey bloom’ or coldness, useful for atmospheric effects (Source 2).
Scumbling

finishing

step 06
Adjust color contrasts and ensure the allegorical figures are distinct. Check that the red, white, and blue are vivid enough to convey the intended political commentary.
Tip — Be mindful of hue shifts when lightening or darkening colors; use complements to neutralize if necessary (Source 5).
Color correction

varnishing

step 07
Once the painting is completely dry, apply a varnish to protect the surface and unify the sheen. Historically, varnishes were made by boiling oil with resin.
Tip — Ensure the paint is fully cured to avoid trapping solvents.
Varnishing

critical techniques

Glazing

Applying transparent coats of color to build depth and richness. This was a common practice among old masters and allows for the ‘richer and denser color’ associated with oil painting (Source 2, Source 3).

Scumbling

Using semi-opaque paint to create texture and atmospheric effects, allowing the underlayer to influence the final appearance (Source 2).

Allegorical Color Symbolism

Using specific colors (red, white, blue) to convey political meaning, linking the Roman subject to American republicanism (Source 1).

common pitfalls

→Over-mixing colors, which can lead to a loss of chroma and a muddy appearance. When mixing pigments, the resulting color is always darker and lower in saturation (Source 5).
→Adding black to darken colors, which can cause unwanted hue shifts (e.g., yellows shifting greenish). Use complementary colors to darken instead (Source 5).
→Ignoring the drying time of oil layers, which can lead to cracking or muddiness. Oil painting relies on the ‘use of layers’ (Source 3).
→Failing to emphasize the red, white, and blue of the figures, which undermines the painting’s core political message (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 pigment recipes used by Thomas Cole for this painting are not provided in the sources.
·The exact dimensions of the canvas are not specified in the provided passages.
·Detailed information on Cole’s specific brushwork or stroke style for this particular work is absent.
·The specific type of ground or primer used on the canvas is not detailed.

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 Glazing and scumbling techniques, grisaille underpainting

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Arch of Nero (painting)↗
- Arch of Nero (painting) — part 1 — applied to Political context, allegorical use of red/white/blue, Cole’s background
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Properties of oil paint, layering, varnishing
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Mixing pigments, avoiding hue shifts

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 label

6 dominant colors, measured

what the eye sees

Light pours from the upper left, striking the massive stone arch and tower directly, creating a strong warm-to-cool temperature shift across the composition. The eye lands first on the illuminated arch opening and the tower crown, which sit slightly right of center and command the middle distance. A deep valley landscape recedes leftward, while foreground ruins anchor the viewer low and close, establishing spatial depth through three distinct zones: ruined masonry at your feet, the monumental arch-and-tower mid-ground, and distant green hills under a dramatic cumulus sky.

value structure

The darkest darks are concentrated in the shadowed arch opening and deep crevices of the stone—near black. The lightest lights are the sun-struck upper surfaces of the tower and arch, plus the brilliant clouds above. The middle tones organize into two groups: warm browns and ochres on illuminated stone, and cool blue-greens in shadow and vegetation. Squint to see the arch reads as a bright silhouette against the darker landscape beyond, and the tower crown pops forward against the sky.

observed palette and mixes

#251510
Burnt umber + ultramarine (heavy), touch of white
Deepest shadows inside the arch opening and crevices
#3f2e1a
Burnt umber + ultramarine, less white
Dark soil, shadowed foreground stones, tree foliage masses
#674522
Burnt umber + yellow ochre + white
Mid-tone warm stone on the illuminated faces of the arch and tower
#837d75
Ultramarine + burnt umber + white, warmed with ochre
Cool-toned shadowed stone, distant hill slopes
#b3a997
Yellow ochre + white + touch of ultramarine
Light-struck upper portions of tower and arch, sunlit soil
#d8cba6
Titanium white + yellow ochre + hint of ultramarine
Brightest cloud tops, highlights on tower crenellations, lit foreground earth

edges and brushwork

Cole handles stone surfaces with crisp, deliberate edges where light meets shadow—the arch opening is a clean dark silhouette. Foliage and creeping vines use softer, broken edges created by dry-brush dabbing and layering. The sky is blended smoothly, while the foreground stones show a mix: sharp definition on sunlit edges, but rougher texture in shadow where the brush follows the weathered surface contours rather than smoothing them.

a working sequence

01
Establish the sky and atmospheric wash
Lay a light blue-white ground across the upper half using titanium white + ultramarine, lighter near the horizon. While still wet, block in the major cloud forms with thick, creamy white + ochre, keeping them most opaque on the left side. Let the blue show through their edges. The sky sets your light source and establishes the cool-warm temperature foundation the rest builds on.
02
Block distant hills and middle-ground landscape
Mix a cool green-brown (ultramarine + burnt umber + ochre + white) and place the far valley and hill masses. Keep these soft and slightly cooler than warm tones you'll add later. The distant hills should sit well below the cloud line. Note how the landscape on the far side of the arch opening is visible through it—establish that passage clearly so the arch reads as transparent architecture, not solid.
03
Underpainting the stone mass—warm mid-tones
Block in the arch and tower using burnt umber + yellow ochre + white, keeping this warm and mid-value. Don't worry about detail; you're establishing the lit side of the masonry. The tower should be slightly warmer and brighter than the arch base. This warm wash gives you a unified stone base to build shadow and light atop.
04
Carve out deep shadows and the arch opening
Mix burnt umber + ultramarine into a dark brown-black and paint the interior of the arch opening decisively. Shadow the right and underside of the tower, and darken the crevices and arched recesses within the structure. These dark values are what make the lit surfaces sing. Keep edges crisp where shadow meets direct light (especially the arch silhouette), but soften where shadow bleeds into mid-tone foliage.
05
Model the stone with light and warm highlights
Using yellow ochre + white + a hint of ultramarine, scumble and stipple the sunlit faces of the tower crenellations and the top curve of the arch. Follow the direction of the light from upper left. Keep these highlights warm and bright, but don't make them pure white—they should sing against the mid-tones but not look flat. Layer smaller dabs to suggest the weathered, blocky texture of masonry.
06
Paint foreground ruins and vegetation
In the immediate foreground, place broken stones and rubble using burnt umber + ultramarine for shadow sides, and ochre + white for lit surfaces. Add creeping vines and vegetation using dry brush with a dark green (ultramarine + ochre) applied loosely over the stone. This area should feel detailed and tactile—let your brushwork be visible and energetic, contrasting with the smoother distant landscape.
07
Introduce human and animal figures at small scale
Add tiny figures in warm red-brown (burnt umber + a warm hue) scattered across the foreground and middle distance—note a seated figure lower right, walking figures center-left, and others near the right arch passage. These should be painted with a fine round brush and kept loose and suggestive, not detailed. They anchor the scale and invite narrative into the ruin.
08
Refine edges and atmospheric depth
Go back through: sharpen the arch silhouette and tower outline against the sky. Soften distant hill edges to push them back. Add a few final cool-blue glazes (ultramarine + white, very thin) to shadow areas to increase atmospheric perspective. The tower crenellations should have slightly warmer, crisper edges than the hazy distant landscape. Step back often to assess the light direction consistency—every shadow should agree about where the sun is.

where studies of this painting go wrong

Making the arch opening too murky or flat—it must read as a dark passage through solid stone, so keep the shadow unified and cool, with the landscape visible beyond it slightly lighter and warmer
Overworking the foliage and vines until they look pasted-on rather than clinging naturally to the ruins; use loose, broken brushwork and let some stone show through
Losing the directional light—if you soften or brighten the shadow side of the tower, the whole dramatic three-dimensionality collapses; commit to the upper-left light source consistently
Painting the sky too vivid or saturated; Cole's sky is luminous but restrained, with soft transitions; avoid pure bright blue and let white and ochre do the work
Making the distant landscape as detailed or colorful as the foreground; distance must be cooler, softer, and less saturated to push it back convincingly

measured difficulty