plate no. 1982
Bust of old man
recreation guide
This artwork, a bust portrait of an old man by Giovanni Battista Piranesi, represents a departure from his more famous architectural etchings, engaging with the Neoclassical tradition of portraiture. While Piranesi is best known for his 'Carceri' and views of Rome, which utilized dramatic lighting and monumental scale to evoke the grandeur of antiquity (Source 7), this oil painting likely adheres to the period's emphasis on capturing the 'inner essence' and character of the subject rather than mere physical likeness (Source 6). The work reflects the Neoclassical interest in the past, potentially drawing on the artist's deep engagement with Roman antiquities and the intellectual climate of 18th-century Rome (Source 7). As an oil painting, it would have been executed using traditional layering techniques, possibly involving a monochrome underpainting to establish form before applying transparent glazes, a method consistent with the practices of old masters and the Italian schools described in the sources (Source 2, Source 3).
estimated time
20-30 hours over 5-7 sessions
materials
8 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Canvas or panel | Support for the painting | Linen canvas primed with gesso or wooden panel |
| Charcoal or thinned paint | Initial sketching of the subject | Vine charcoal or raw umber thinned with solvent |
| Linseed oil | Medium to mix with pigments for binding and drying control | Refined linseed oil |
| Mineral spirits or turpentine | Solvent to thin paint for underpainting and clean brushes | Odorless mineral spirits or gum turpentine |
| Oil paints (Black, White, Ultramarine, Earth tones) | Primary pigments for grisaille/monochrome underpainting and final color | Artist-grade oil paints |
| Varnish (e.g., Copal or Dammar) | To adjust sheen and potentially mix with oil for glazing | Artist-grade retouching varnish or medium |
| Paintbrushes and Palette Knives | Application and manipulation of paint layers | Hog bristle and synthetic brushes, flexible palette knives |
| Rags | Wiping away wet paint or blending | Lint-free cotton rags |
preparation
surface prep
The surface should be prepared with a ground that allows for the traditional layering techniques. While Italian schools sometimes used a white gesso ground to keep lights passive (Source 3), a neutral or slightly toned ground is often preferred for oil portraits to facilitate the 'fat over lean' rule. The ground must be stable to prevent cracking, as the quality of the oil and ground leads to a strong paint film (Source 1).
underdrawing
Begin by sketching the subject onto the prepared surface using charcoal or thinned paint (Source 1). Given the genre is a portrait, focus on the construction of the human figure, ensuring a clear knowledge of the bony structure and muscle attachment to render the form with success (Source 5). The drawing should establish the 'three-quarter view' or specific head position typical of bust portraits, aiming to capture the character and moral quality of the subject rather than fleeting expressions (Source 6).
underpainting
Prepare a monochrome underpainting, likely a grisaille or brown/black mixture, to establish the values and forms. This technique involves extracting red and yellow colors mentally to translate what remains in nature without them (Source 2). The darks may be applied thickly, while lights are kept thinner or reserved, depending on the specific school influence (Source 3). This layer must be completely dry before proceeding to color glazes (Source 2).
color palette
Black
Ivory black or lamp black
Underpainting and dark shadows in the monochrome stage
White
Lead white or titanium white
Highlights and mixing for the monochrome underpainting
Ultramarine
Natural ultramarine
Cool shadows and underpainting, as noted in Reynolds' method (Source 2)
Earth Tones (Umbers/Ochres)
Raw umber, burnt sienna
General flesh tones and drapery, applied via glazing
Red/Yellow Tones
Vermilion, yellow ochre
Glazing over the dry monochrome to introduce warmth and color (Source 2)
composition
The composition is a 'bust' or 'head and shoulders' portrait (Source 6). The subject likely exhibits a serious, closed-lip stare, as was historically common in portraiture to convey character rather than temporary emotion (Source 6). The expression is conveyed primarily through the eyes and eyebrows, which can register subtle emotions like concentration or wistfulness (Source 6). The lighting may reflect Piranesi's 'broad and scientific distribution of light and shade' seen in his engravings, creating a striking effect (Source 8).
step by step
underdrawing→underpainting→first pass→drying→refining→finishing→varnishing
underdrawing
step 01
Sketch the bust of the old man using charcoal or thinned paint, focusing on the structural anatomy of the head and shoulders.
Tip — Ensure the proportions reflect the 'construction' of the human figure to avoid superficial rendering (Source 5).
Initial Sketch
underpainting
step 02
Apply a monochrome layer (grisaille) using black, white, and possibly ultramarine. Establish the full range of values from dark shadows to bright highlights.
Tip — Keep this layer 'lean' (less oil) to ensure proper drying and adhesion for subsequent layers (Source 1).
Grisaille
first pass
step 04
Begin glazing with transparent coats of color, introducing red and yellow tones. Use oil or a mix of varnish and oil as a medium.
Tip — Apply thin, transparent layers to allow the underlying monochrome values to show through, similar to tinting an engraving (Source 2).
Glazing
drying
step 03
Allow the monochrome underpainting to dry completely. Oil paint dries by oxidation, typically within two weeks, though some colors may dry faster.
Tip — Do not proceed to glazing until the underlayer is hard to the touch to prevent mixing and muddiness.
Oxidation Drying
refining
step 05
Use scumbling (semi-opaque painting) over darker areas if needed to adjust tones or create a 'grey bloom'. Adjust the translucency and sheen using resins or varnishes.
Tip — Be cautious when scumbling over dark grounds as it can tend toward coldness (Source 2).
Scumbling
finishing
step 06
Refine the facial features, particularly the eyes and eyebrows, to convey the subject's character. Ensure each additional layer contains more oil than the previous one ('fat over lean').
Tip — Violating this rule can cause the final painting to crack and peel (Source 1).
Fat over Lean
varnishing
step 07
Apply a final varnish to protect the painting and unify the sheen, if not already integrated into the glazing medium.
Tip — Ensure the painting is fully cured before applying final varnish to avoid trapping solvents.
Varnishing
critical techniques
Fat over Lean
A fundamental rule where each successive layer of paint contains more oil than the one below it. This ensures proper drying and prevents cracking.
Glazing
Applying transparent coats of color over a dry monochrome underpainting to build up depth and luminosity, a method practiced by old masters.
Monochrome Underpainting (Grisaille)
Establishing the composition and values in a single color scheme before adding color, allowing for precise control of light and shadow.
Character Portraiture
Focusing on the 'inner essence' and moral quality of the subject, using the eyes and eyebrows to convey subtle emotions rather than exaggerated expressions.
common pitfalls
- →Applying lean layers over fat layers, which will cause the paint film to crack and peel (Source 1).
- →Attempting to glaze before the underpainting is completely dry, leading to muddied colors and poor adhesion (Source 2).
- →Focusing too much on literal likeness rather than the character and inner significance of the subject, which is the aim of great portraiture (Source 6).
- →Ignoring the structural construction of the human figure, resulting in a superficial rendering that lacks solidity (Source 5).
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 pigments used by Piranesi for this particular oil painting are not detailed in the sources; the palette is inferred from general period practices.
- ·The exact dimensions and support (canvas vs. panel) of this specific artwork are not provided.
- ·Piranesi's specific oil painting technique is less documented than his etching methods; the guide relies on general Neoclassical and old master oil painting practices.
- ·The specific facial expression or pose of the 'old man' is not described in the sources, so the guide assumes a standard serious bust portrait.
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
- ITALIAN SCHOOLS — applied to Monochrome preparation and glazing over lighter passages
The Human Figure↗
- DRAWING THE HUMAN FIGURE — applied to Importance of anatomical construction in drawing the subject
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 Materials, fat over lean rule, drying times, and application tools
Wikipedia: Portrait painting↗
- Portrait painting — part 2 — applied to Compositional norms, expression, and character portrayal
Wikipedia bio — Giovanni Battista Piranesi↗
- part 4 — applied to Context of Neoclassicism and Piranesi's artistic attitude
- part 3 — applied to Piranesi's use of light and shade and engagement with Roman antiquities
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
in this vein
related artworks
Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire
Marie-Gabrielle Capet
The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.
Giovanni Battista Piranesi
Portrait of Louis d'Orleans
Franz Xaver Winterhalter
Rooftops in the shadows
Pierre-Henri de Valenciennes
The Schmadribach Falls
Joseph Anton Koch
A Scene from 'As You Like It' by William Shakespeare
William Hamilton
Portrait of Klementyna Ostrowska Née Sanguszko
Vincenzo Camuccini
Self-Portrait
Anton Raphael Mengs