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home·artworks·The Temple of Concordia by Girgenti
The Temple of Concordia by Girgenti by Franz Ludwig Catel

plate no. 7304

The Temple of Concordia by Girgenti

Franz Ludwig Catel, 1820

oil, paper, canvasRomanticismlandscapetemplelandscapeskysunsethillsarchitecture

what to study here

It shows a clear backlit silhouette strategy, with three value zones and sharp-versus-soft edge control that students can copy in a small study.

The main lesson here is how a dark, hard-edged shape holds against a bright sky. The vision analysis reads the temple as a near-black silhouette, with its darkest values in the structure and the foreground shadows. Squint and the painting breaks into three value zones: bright sky, a warm band of glow near the horizon, and a dark foreground. Study how the sky grades from pale blue-gray at the top to golden-orange at the horizon, and how the lightest light sits around the horizon and inside the colonnade. Notice the edge contrast: the temple's edges are sharp where they meet the sky, while the sky is soft and blended with horizontal strokes, and the foreground vegetation, including the bare tree on the left, is loose and broken. The glow is described as built with glazing and semi-transparent passages, not heavy impasto. Distant mountains and water at the left edge are cool and muted, which sets up depth. Copy the value plan first, then the edge hierarchy, before worrying about detail.

key decision

Catel kept the temple as a near-black, sharp-edged silhouette against a luminous graded sky, with the foreground in shadow and loosely handled. This gives a clear three-zone value structure.

From the record

Dimensions
33.6 cm high × 48.5 cm wide
Institution
Statens Museum for Kunst
Location
Statens Museum for Kunst
Inception
1820
  • Temple of Concordia

Wikidata item Q20354642

recreation guide

Franz Ludwig Catel’s 'The Temple of Concordia by Girgenti' (1820) is a quintessential example of early 19th-century Romantic landscape painting, characterized by the integration of prominent architectural details within a natural setting. Catel, who spent most of his career in Rome and was influenced by the Nazarene circle (Koch, Overbeck, Schadow), specialized in landscapes that emphasized effective perspective and a mastery of light and shade (Source 5). The work likely reflects the broadening of his artistic ideas following his 1818 visit to Sicily, where he traveled with Prince Golitsuin (Source 5). As a topographical view, it depicts a specific place with buildings prominently featured, a genre that was common in prints but elevated by Catel through his classical training and attention to atmospheric effects (Source 3).

estimated time

40-60 hours over 8-12 sessions

materials

7 items

steps

6 in sequence

materials

itempurposemodern equivalent
Oil paints (pre-mixed tubes or ground pigments)Primary medium for the paintingHigh-quality artist-grade oil paints
Linseed oilMedium for mixing pigmentsRefined linseed oil
Turpentine or spike oilThinner and solvent; Source 6 notes these ensure a dull surface if a matte finish is desired, though Catel’s oil works likely used standard varnishing practicesOdorless mineral spirits or pure gum turpentine
Canvas or paper supportThe artwork is listed as oil on paper/canvas; Catel often worked on paper mounted to canvas or board for topographical viewsPrimed canvas or heavy watercolor paper mounted to panel
Hog bristle brushesFor applying broad masses and initial layersSynthetic or natural hog bristle flats and filberts
Sable brushes (Kolinsky or Red Sable)For fine detail work, particularly architectural elements and figuresKolinsky sable rounds
Palette knifeFor mixing paints and potentially removing excess paintStandard metal palette knife

preparation

surface prep

Given the medium is oil on paper/canvas, the surface likely required a rigid support. Catel’s background in wood carving and book illustration suggests a precision-oriented approach. The surface should be primed with a white or neutral ground to allow for the 'mastery over light and shade' characteristic of his style (Source 5). If painting on paper, it must be sized and primed to resist the oil medium. Source 6 discusses 'Marouflage' for murals, noting the importance of a mat surface, but for Catel’s gallery paintings, a standard oil ground is appropriate.

underdrawing

Catel’s emphasis on 'effective perspective' (Source 5) implies a rigorous underdrawing phase. The artist should begin with a precise linear drawing to establish the architectural accuracy of the Temple of Concordia. This aligns with the 'new classic school of landscape' to which Catel attached himself, which valued structural correctness alongside atmospheric effect (Source 5).

underpainting

A grisaille or tonal underpainting is recommended to establish the 'light and shade' mastery noted in Catel’s biography (Source 5). This allows the artist to resolve the complex interplay of light on the ancient ruins before applying color. Source 1 notes that mixing colors can darken them, so establishing values early is crucial.

color palette

Warm Earth Tones (Ochres, Umbers)

Yellow Ochre, Raw Umber, Burnt Sienna

General use in this artist's palette for architectural stone and earth, consistent with the 'new classic school' emphasis on naturalism

Cool Blues and Greens

Ultramarine, Cerulean, Viridian, Sap Green

Sky and vegetation; Source 1 warns that lightening reds/oranges with white shifts them blue, so greens should be mixed carefully to avoid hue shifts

Whites and Tints

Titanium White or Lead White (historical)

Highlights and atmospheric perspective; Source 1 notes that lightening with white can cause hue shifts, requiring correction with adjacent colors

Complementary Darks

Mixing complements (e.g., red with green) rather than adding black

Shadows; Source 1 advises using complementary colors to darken without shifting hue, which is critical for maintaining the integrity of the landscape’s natural colors

composition

The composition likely features a wide view with the Temple of Concordia as a prominent architectural element, consistent with Catel’s focus on 'landscapes with prominent architectural details' (Source 5). The sky is almost always included in such landscape views (Source 3). The arrangement should balance the architectural precision with the natural scenery, reflecting the Romantic interest in the spiritual element of landscape (Source 3).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

  1. step 01

    Sketch the architectural structure of the Temple of Concordia with precise perspective lines.

    Tip — Ensure the vanishing points are accurate, as Catel labored to make his perspective tell effectively (Source 5).

    Linear Perspective

underpainting

  1. step 02

    Apply a monochromatic wash to establish light and shadow values.

    Tip — Focus on the contrast between the sunlit ruins and the shaded areas, reflecting Catel’s mastery of light and shade (Source 5).

    Grisaille

first pass

  1. step 03

    Block in the major color masses for the sky, ground, and architecture.

    Tip — Use broad strokes with hog bristle brushes for large areas (Source 7).

    Alla Prima or Layering

refining

  1. step 04

    Refine the architectural details and foliage using finer sable brushes.

    Tip — Be mindful of simultaneous contrast; colors will appear different depending on adjacent hues (Source 2).

    Detail Work

  2. step 05

    Adjust color mixtures to avoid hue shifts when lightening or darkening.

    Tip — If lightening a color with white causes a blue shift, add a small amount of an adjacent color to correct it (Source 1).

    Color Mixing

finishing

  1. step 06

    Add final highlights and atmospheric effects.

    Tip — Ensure the sky and weather elements contribute to the composition’s mood, as weather is often an element in landscape painting (Source 3).

    Glazing or Scumbling

critical techniques

Perspective Accuracy

Catel attached himself to the new classic school, laboring to make his perspective tell effectively (Source 5).

Light and Shade Mastery

Catel gained great mastery over light and shade, which is essential for depicting the three-dimensionality of the ruins (Source 5).

Simultaneous Contrast

The painter must perceive how contiguous colors modify each other, ensuring that the colors of the ruins and landscape harmonize (Source 2).

Color Mixing without Hue Shift

When darkening colors, use complements rather than black to avoid shifting hues toward green or blue (Source 1).

common pitfalls

  • →Adding black to darken colors, which can cause yellows, oranges, and reds to shift toward green or blue (Source 1).
  • →Lightening colors with white without correcting for the resulting blue shift in reds and oranges (Source 1).
  • →Ignoring simultaneous contrast, leading to inaccurate color perception where adjacent colors alter the appearance of each other (Source 2).
  • →Over-modeling or being too tied down to outlines, which can result in a smallness that detracts from the broad masses of the landscape (Source 4).
  • →Failing to establish accurate perspective, which is a key characteristic of Catel’s work (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.

  • ·Specific pigment recipes used by Catel in 1820 are not detailed in the sources.
  • ·The exact dimensions and aspect ratio of 'The Temple of Concordia by Girgenti' are not provided.
  • ·Specific details of the foreground figures or vegetation are not described in the sources, so they must be inferred from general Romantic landscape conventions.
  • ·The specific varnishing technique Catel used is not documented in the provided passages.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

  • Laws of Contrast of Colour↗

    • 315-318 — applied to Understanding simultaneous contrast and color perception
  • The Practice of Oil Painting↗

    • ON COPYING — applied to Advice on avoiding over-modeling and smallness
    • A FEW WORDS ON MURAL PAINTING — applied to Surface finish considerations (matte vs. glossy)

cross-referenced from

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

  • Wikipedia bio — Franz Ludwig Catel↗

    • part 1 — applied to Artist’s style, focus on perspective and light/shade, and biographical context
  • Wikipedia: Color theory↗

    • part 6 — applied to Color mixing techniques, avoiding hue shifts
  • Wikipedia: Landscape painting↗

    • part 1 — applied to Genre conventions, inclusion of sky and weather
  • Wikipedia: Oil painting↗

    • part 6 — applied to Brush types and application methods

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

The temple is the dominant focal point, silhouetted dramatically against a golden-warm sunset sky. Light emanates from behind and through the colonnade, creating a luminous glow that draws the eye immediately to center. The sky dominates the composition, graduating from pale blue-gray at the top to intense golden-orange at the horizon. The foreground landscape—including a bare tree on the left and scattered vegetation—sits in shadow, establishing strong atmospheric depth. Distant mountains and what appears to be a body of water anchor the left edge, all rendered in cool, muted tones.

value structure

The darkest darks are concentrated in the temple structure itself and the immediate foreground shadows. The lightest lights are in the sky, particularly the warm glow zone around the horizon and the interior of the temple's colonnade. The composition relies on a strong silhouette strategy: the temple reads as a near-black shape against the luminous sky. When you squint, you see three distinct value zones: the bright sky above, a warm middle band of atmospheric glow, and the dark foreground landscape.

observed palette and mixes

  • #31261d

    Ultramarine Blue + Raw Sienna + Ivory Black

    Temple silhouette, darkest foreground shadows, deep recesses of the colonnade

  • #6c5747

    Raw Sienna + Ultramarine Blue + Titanium White

    Midtone landscape features, shadowed ground plane, distant hills

  • #b6a082

    Raw Sienna + Titanium White + touch of Cadmium Yellow

    Warm atmospheric tones in middle ground, transitions between land and sky

  • #bdab91

    Naples Yellow + Raw Sienna + Titanium White

    Golden glow around temple, sunset warmth in sky, luminous passages

  • #a29f9c

    Ultramarine Blue + Raw Sienna + Titanium White + Cerulean Blue

    Upper sky, cooler atmospheric zones, distant mountain details

  • #aca9a4

    Cerulean Blue + Titanium White + touch of Raw Umber

    Palest sky near top, highlights on distant terrain

edges and brushwork

The temple's edges are relatively sharp and defined where it meets the bright sky, creating clear silhouette. The sky shows soft, blended brushwork with horizontal strokes that follow the natural diffusion of sunset light. Foreground vegetation is handled loosely and suggestively, with broken strokes that avoid hard definition. The warm glow effects are built with glazing and semi-transparent passages rather than heavy impasto.

a working sequence

  1. 01

    Establish the sky foundation

    Begin with the upper sky in a pale blue-gray (mix Cerulean Blue + Titanium White), then gradually shift downward toward the horizon with progressively warmer yellows and golden tones. The transition should be gradual and subtle—blend as you go. By the horizon line, you should reach an almost peachy-golden warmth. This is the most important foundation; get the value gradation right before moving forward.

  2. 02

    Silhouette the temple

    Block in the temple structure with your darkest mix (near-black, using Ultramarine + Sienna + Black). Keep the edges clean and architectural—straight lines for the pediment, evenly spaced verticals for the columns. Don't worry about interior detail yet; focus on the correct proportions and negative shapes. The temple should read as a solid dark mass against the bright sky.

  3. 03

    Build atmospheric middle ground

    Work the landscape around the temple with warm, middle-value tones. Use your warmer tans and buffs (#b6a082, #bdab91 range) for the ground plane immediately around the building. Keep these tones soft and atmospheric—avoid crisp edges. The landscape should recede naturally, becoming lighter and cooler as it moves away from the viewer.

  4. 04

    Establish the luminous glow

    Using semi-transparent glazes of your warmest golden tone (#bdab91), apply subtle warm light around and through the temple's colonnade. This is the backlit effect—it should feel like sunset light spilling through the columns. Be restrained; this effect reads more from careful placement than from heavy paint. Suggest the glow rather than declaring it.

  5. 05

    Add foreground vegetation

    Block in the bare tree on the left and scattered shrubs in the foreground using dark, cool-toned browns and ochres. Keep these loose and impressionistic—suggestion rather than detail. The vegetation should remain darker than the middle ground but not compete with the temple silhouette. Pay attention to the tree's thin, spare branches.

  6. 06

    Define distant landscape

    Work the mountains and water body on the right and left edges using cooler, lighter versions of your palette. The mountains should be noticeably lighter and bluer than the foreground, emphasizing atmospheric perspective. Keep edges soft and edges blurred to suggest distance. The water should be pale and relatively featureless.

  7. 07

    Refine temple details and edges

    Now add subtle detail to the temple: suggest the interior colonnade with careful placement of warm light and shadow, indicate the stepped podium base, and refine the roof line. The goal is readability, not precision—romantic mood over architectural exactness. Soften any hard edges that need atmospheric mellowing.

  8. 08

    Adjust overall harmony

    Step back frequently and check that the warm glow reads convincingly and the silhouette remains dominant. If the sky feels patchy, blend it further. If the temple feels too isolated, strengthen the atmospheric connection with additional warm glazes. Make sure the foreground doesn't fight for attention with the temple. Final adjustments to value relationships and color temperature.

where studies of this painting go wrong

  • Sky gradation becoming too banding or unnatural—blend transitions carefully and avoid visible horizontal stripes
  • Temple silhouette losing its drama by being rendered too detailed or too light—keep it mostly dark
  • Warm sunset glow becoming too opaque or heavy-handed, reading as artificial rather than luminous—use glazes and restraint
  • Foreground landscape becoming too dark or too detailed, competing with the temple for attention—keep it suggestive and atmospheric
  • Atmospheric perspective failing—distant mountains must be significantly lighter and cooler than middle ground to read as distant

measured difficulty

beginner friendliness
value contrast
palette complexity
compositional simplicity
brushwork visibility

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