plate no. 9671

View of the Arch of Septimius Severus

oilNeoclassicismcityscapearchitecturearchfigurescityscaperuinssky

recreation guide

This recreation guide addresses the translation of Giovanni Battista Piranesi’s iconic etching, 'View of the Arch of Septimius Severus,' into an oil painting. While Piranesi is historically renowned for his etchings and engravings rather than oil paintings (Source 4), his work is defined by a dramatic, Neoclassical interpretation of Roman ruins that emphasizes monumental scale and atmospheric depth (Source 3). The artwork likely features the Arch of Septimius Severus in the Roman Forum, characterized by its intricate architectural details and the surrounding ruins. Piranesi’s approach to the past was dynamic, often improving upon Greek models with Roman grandeur, and his views were widely collected by Grand Tourists (Source 3). The painting style should reflect the 'romantic and fantastic depictions of ruins' associated with late Baroque influences, serving as a memento mori or a reminiscence of a golden age (Source 3).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Canvas or linen panel	Support for the oil painting	Primed linen or cotton canvas
Grisaille underpainting materials (Black, White, Ultramarine)	Creating the monochrome tonal foundation	Acrylic or oil mix of Ivory Black, Titanium White, and Ultramarine Blue
Oil paints (Earth tones, Ochres, Umbers)	Glazing and scumbling to add color and depth	Burnt Sienna, Yellow Ochre, Raw Umber, Burnt Umber
Linseed oil or Copal varnish	Medium for glazing and scumbling	Stand oil or damar varnish mixed with odorless mineral spirits
Soft charcoal or graphite	Underdrawing for architectural precision	Vine charcoal or graphite sticks

preparation

surface prep

Prepare a smooth, white or light-toned ground. Piranesi’s work relies on precise architectural lines and high contrast; a smooth surface allows for the fine detail required in Neoclassical cityscapes. While specific ground recipes for Piranesi’s oil works are not documented (as he was primarily an etcher), the tradition of old masters often involved a white lead or chalk ground to facilitate the glazing techniques described in historical texts (Source 2).

underdrawing

Use a precise, linear underdrawing to establish the architectural accuracy of the Arch of Septimius Severus. Piranesi was trained as a draughtsman and architect, and his etchings are known for their meticulous measurement of ancient buildings (Source 4). The drawing should capture the 'romantic and fantastic' perspective of the ruins, emphasizing the monumental scale and the interplay of light and shadow (Source 3).

underpainting

Create a grisaille (monochrome) underpainting using black, white, and ultramarine. This technique establishes the tonal values and chiaroscuro before color is introduced. Sir Joshua Reynolds, a contemporary of Piranesi, advocated for this method, stating that the first and second paintings should be with oil of copavia, using black, ultramarine, and white (Source 1). This underpainting should capture the 'chiaro-scuro' effects, where the gradation of light is produced by the juxtaposition of tones (Source 5).

color palette

Warm Earth Tones

Yellow Ochre, Burnt Sienna, Raw Umber

General use in this artist's palette; these earths are 'quite sufficient for broken tones frequently wanted' and have 'perfect fixedness' (Source 2).

Cool Shadows

Ultramarine, Ivory Black

Deep shadows and atmospheric depth, consistent with the grisaille underpainting (Source 1).

Highlights

Lead White (historically) or Titanium White

Brightly lit architectural details and sky, providing contrast to the dark ruins.

composition

The composition should emphasize the monumental scale of the Arch of Septimius Severus, likely placing it centrally or off-center to create a dynamic perspective. Piranesi’s views often featured 'romantic and fantastic depictions of ruins' that served as a memento mori (Source 3). The surrounding ruins and the sky should be arranged to create a coherent composition, with the sky almost always included to provide atmospheric context (Source 6). The perspective should reflect Piranesi’s interest in the 'Graeco-Roman debate,' showcasing the grandeur of Roman architecture (Source 3).

step by step

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

underdrawing

step 01
Transfer the precise architectural lines of the Arch of Septimius Severus onto the canvas using charcoal. Focus on the structural accuracy and the dramatic perspective typical of Piranesi’s etchings.
Tip — Ensure the proportions reflect the monumental scale of the ruins.
Linear perspective

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia (or a modern equivalent) to create a grisaille. Paint the tonal values of the scene, focusing on the chiaroscuro effects.
Tip — Mentally extract red and yellow colors, translating what would be left in nature if these colors were not present (Source 1).
Grisaille

first pass

step 03
Once the grisaille is dry, begin glazing with warm earth tones (ochres, umbers) to add color to the sunlit areas. Use a transparent coat of color to tint the underlying monochrome.
Tip — Apply the glaze thinly to allow the underlying tonal structure to show through.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to add texture and coldness to the shadows and distant areas. This technique allows the underlying painting to make itself felt, creating a 'grey bloom' effect.
Tip — Be cautious when scumbling over darker grounds, as it tends to coldness (Source 1).
Scumbling

finishing

step 05
Refine the details of the architectural elements, ensuring the contrast between light and shadow is sharp. Use the law of simultaneous contrast to enhance the gradation of light.
Tip — Pay attention to the juxtaposition of colors to produce spontaneous effects of contrast (Source 5).
Chiaroscuro

varnishing

step 06
Apply a final varnish to protect the painting and unify the glazes. This step is consistent with the old masters' practice of using varnish and oil mixed for glazing (Source 1).
Tip — Ensure the painting is completely dry before varnishing.
Varnishing

critical techniques

Glazing and Scumbling

These techniques are used to add color and depth to the grisaille underpainting. Glazing involves applying a transparent coat of color, while scumbling involves semi-opaque painting that allows the underlying layer to show through. This method was practiced by old masters and is described by Sir Joshua Reynolds (Source 1).

Chiaroscuro

The use of strong contrasts between light and dark to create volume and depth. This is achieved through the juxtaposition of tones, where the highest tone is enfeebled and the lowest tone is heightened (Source 5).

Architectural Precision

Piranesi’s background as an architect and draughtsman informs the precise rendering of the Arch of Septimius Severus. His work is characterized by meticulous measurement and detailed depiction of ancient buildings (Source 4).

common pitfalls

→Overworking the glazes: Glazing requires thin, transparent layers. Overworking can muddy the colors and obscure the underlying grisaille (Source 1).
→Ignoring the law of simultaneous contrast: Failing to account for how adjacent colors affect each other can lead to flat or unnatural appearances (Source 5).
→Losing the monumental scale: Piranesi’s views are known for their dramatic perspective and scale. Failing to capture this can result in a less impactful composition (Source 3).
→Using inappropriate pigments: Avoid pigments that may cause chemical reactions or lack the 'perfect fixedness' of earth tones (Source 2).

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 color palette for this exact painting: The sources do not provide a detailed breakdown of the specific colors used in 'View of the Arch of Septimius Severus' as an oil painting, as Piranesi is primarily known for etchings.
·Exact medium ratios: While Reynolds’ method is cited, the exact ratios of oil to pigment for Piranesi’s specific practice are not documented.
·Preparatory sketches: No specific preparatory sketches for this oil painting are mentioned, so the underdrawing is inferred from his general practice as a draughtsman.

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 and glazing techniques
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Color palette and pigment selection
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints of different tones of the same — applied to Chiaroscuro and contrast techniques

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 Artistic style and compositional elements
- part 1 — applied to Background and architectural precision

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

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