View of the Temple of Concord

surface prep

Prepare a linen canvas support, which is historically consistent with oil painting traditions (Source 6). Apply a ground that allows for the visibility of the underpainting, as the technique relies on glazing and scumbling where the underlying painting 'makes itself felt' (Source 3). The surface should be smooth enough to allow for precise architectural rendering but textured enough to hold the oil medium.

underdrawing

While specific preparatory drawings for this oil work are not detailed in the sources, Piranesi’s practice involved rigorous architectural study. In the context of oil painting, a light underdrawing should establish the linear perspective and structural elements of the Temple of Concord. This aligns with the Neoclassical emphasis on form and line as primary elements of design (Source 7).

underpainting

Execute a grisaille underpainting using black, ultramarine, and white mixed with oil of copavia (Source 3). This monochrome layer establishes the chiaroscuro and value structure of the composition. The artist should mentally extract red and yellow colors, focusing solely on the tonal values that would remain if those hues were absent (Source 3). This step is critical for managing the 'laws of contrast of colour' by ensuring that the juxtaposition of tones creates a true gradation of light (Source 1).

Grisaille Underpainting

Used to establish the tonal structure of the painting before introducing color. This method allows the artist to focus on form and light without the distraction of hue.

Glazing and Scumbling

Glazing involves applying transparent layers of color, while scumbling uses semi-opaque paint. These techniques allow for the modification of the underlying grisaille to achieve the final color effect.

Simultaneous Contrast

Understanding how adjacent colors affect each other's perception is crucial for harmonizing the composition. The artist must account for the fact that colors will appear different when placed next to each other.