plate no. 9699

Egyptian Obelisk in the Plaza of St. John Lateran

oilNeoclassicisminteriorarchitectureinteriorcolumnsarchesfiguresstatues

recreation guide

This recreation guide addresses the painting of 'Egyptian Obelisk in the Plaza of St. John Lateran' by Giovanni Battista Piranesi. While Piranesi is historically renowned for his etchings and engravings (Source 2, Source 3), this guide adapts his architectural vision to oil painting, a medium requiring specific handling of light and texture. The artwork belongs to the Neoclassical style, characterized by a revaluation of ancient Roman and Egyptian architecture, often blending accurate topographical views with imaginative compositions known as 'veduta ideata' (Source 4). Piranesi’s work is distinguished by his 'broad and scientific distribution of light and shade' and his ability to manipulate scale to create striking effects (Source 4). The painting likely features the monumental obelisk as a central element, surrounded by the architectural grandeur of the Lateran plaza, reflecting Piranesi’s belief that Romans improved upon Greek models (Source 2).

estimated time

40-60 hours over 8-12 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, Black, White, Yellow Ochre, Red Ochre, Earth tones)	Primary pigments for grisaille and glazing	Standard tube oils; Ultramarine Blue, Ivory Black, Titanium White, Yellow Ochre, Red Ochre
Oil of Copavia (or modern stand oil/linseed oil)	Medium for the first and second paintings, as cited by Reynolds in the context of old master techniques	Stand oil or refined linseed oil
Varnish	Mixed with oil for later glazing stages to gain mastery over transparent coats	Dammar varnish or synthetic resin varnish
Canvas or Panel	Support for the oil painting	Linen canvas primed with gesso

preparation

surface prep

Prepare a neutral ground. While specific preparation for this exact oil work is not detailed in the sources, the general practice of the period and the referenced 'old masters' involved preparing a surface suitable for glazing. A mid-tone ground is often preferred for the glazing and scumbling techniques described in Source 1, allowing the underlying painting to make itself felt through semi-opaque layers.

underdrawing

Piranesi’s preparatory methods for oil are not explicitly detailed in the provided sources, which focus on his etchings. However, given his background in engraving and his 'masterful skill' in defining architectural lines (Source 4), a precise underdrawing is likely essential. Use a thin wash of umber or charcoal to establish the rigorous perspective and architectural details of the obelisk and plaza.

underpainting

Create a grisaille (monochrome underpainting). According to Source 1, one must 'mentally extract the red and yellow colours' and translate what would be left in nature if these were not present. This monochrome layer establishes the values and forms before color is introduced. Ensure this layer is completely dry before proceeding.

color palette

Ultramarine

Pure Ultramarine Blue

Part of the initial black/blue/white mixture for the first painting stages, as per Reynolds' method cited in Source 1.

Black

Ivory Black or Lamp Black

Establishing shadows and depth in the grisaille and initial oil layers (Source 1).

White

Lead White or Titanium White

Highlights and mixing with ultramarine/black for the grisaille (Source 1).

Yellow and Red Tones

Yellow Ochre, Red Ochre, Vermilion

Applied via glazing and scumbling over the dry grisaille to introduce warmth and local color, mimicking the 'tinting of an engraving with water-colours' (Source 1).

composition

Piranesi’s compositions are characterized by a 'broad and scientific distribution of light and shade' that completes the picture and creates a striking effect (Source 4). He often manipulated scale and introduced groups of objects (like vases or altars) that may have been absent in reality to enhance the poetic aspect of the ruins (Source 4). The composition likely emphasizes the monumental scale of the obelisk against the human figures or surrounding architecture, consistent with his 'veduta ideata' style which blends accurate renderings with imaginary compositions (Source 4). Use the 'rule of thirds' or golden ratio principles (Source 6) to place the obelisk off-center if aiming for a dynamic balance, though Piranesi’s specific placement in this work is not detailed in the text.

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the architectural elements of the Lateran Plaza and the Egyptian Obelisk with precise lines, focusing on perspective and scale.
Tip — Ensure the 'engineering of the ancient buildings' is faithfully imitated (Source 4).
Architectural Drafting

underpainting

step 02
Paint a grisaille using black, ultramarine, and white. Mentally exclude red and yellow colors to establish the value structure.
Tip — This layer represents what would be left in nature if red and yellow were not present (Source 1).
Grisaille

first pass

step 03
Apply the first painting layer with oil of copavia (or stand oil) using black, ultramarine, and white to refine the monochrome forms.
Tip — Follow the method established by Sir Joshua Reynolds for the first and second paintings (Source 1).
Oil Glazing/Medium

refining

step 04
Once the grisaille is quite dry, begin glazing and scumbling with oil. Introduce yellow and red tones as they occur in the scene.
Tip — Glazing is a transparent coat; scumbling is semi-opaque. Use these to tint the engraving-like underpainting (Source 1).
Glazing and Scumbling

finishing

step 05
As mastery is gained, mix varnish with oil for subsequent glazes. Apply light and shade scientifically to create the 'striking effect' characteristic of Piranesi.
Tip — Be aware that scumbling over a darker ground tends to coldness, potentially creating a 'grey bloom' (Source 1).
Varnish Glazing

critical techniques

Glazing and Scumbling

Glazing involves applying a transparent coat of color, while scumbling is a semi-opaque painting through which the underlying painting shows. This method was practised by old masters and is essential for building up color without muddying the underpainting (Source 1).

Scientific Distribution of Light and Shade

Piranesi used broad and scientific lighting to complete the picture and create a striking effect, enhancing the poetic aspects of the ruins (Source 4).

Simultaneous Contrast

Be mindful that colors appear different when viewed next to each other. The painter must appreciate the color peculiar to each part and the modifications received from contiguous colors to avoid inaccuracies (Source 7).

common pitfalls

→Applying color too opaquely over the grisaille, which defeats the purpose of the transparent glazing technique (Source 1).
→Ignoring the 'coldness' that results from scumbling over a darker ground, which may lead to an unintended grey bloom (Source 1).
→Failing to account for simultaneous contrast, leading to inaccurate color perception where the eye sees the complementary of the previously viewed color (Source 7).
→Over-modeling or being too tied to the outline, which can result in a 'smallness' that detracts from the monumental scale (Source 8).

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 color palette for this particular oil painting is not detailed in the sources, which focus on Piranesi's prints and general Neoclassical trends.
·The exact dimensions and aspect ratio of the oil painting are not provided.
·Piranesi's specific brushwork or handling of oil paint is not described, as he is primarily known for etching.
·The presence or absence of specific human figures or their attire in this specific composition is not detailed in the provided text.

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, scumbling, and medium usage (Source 1).
- ON COPYING — applied to General advice on avoiding over-modeling and smallness (Source 8).
Laws of Contrast of Colour↗
- 315-318 — applied to Color perception and simultaneous contrast warnings (Source 7).

cross-referenced from

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

Wikipedia bio — Giovanni Battista Piranesi↗
- part 4 — applied to Neoclassical style, attitude towards ruins, and influence on the genre (Source 2).
- part 3 — applied to Veduta ideata, manipulation of scale, and distribution of light and shade (Source 4).

Read more about the corpus on the sources page and how the guides are built on the methods page.

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