plate no. 3699

Duke of Alba

oil, canvasRomanticismportraitfigureportraitbookinstrumentclothingtable

recreation guide

Francisco Goya’s 'Duke of Alba' (1795) is a quintessential example of his mature portraiture, characterized by a psychological intensity that transcends mere physical likeness. While the specific visual details of the Duke’s attire or expression are not described in the provided sources, the work belongs to the Romantic style, which emphasizes emotion and individual character over strict classical idealism. Goya’s approach to oil painting in this period likely leveraged the medium’s capacity for 'richer and denser color' and a 'wider range from light to dark,' allowing for the subtle tonal variations necessary to convey the sitter’s demeanor (Source 4). The painting serves as a state record, typical of portraits commissioned by the powerful, yet Goya’s execution likely involved a sophisticated understanding of color interaction and layering to achieve depth.

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil-based pigments (lead white, ochres, earths, blacks)	Primary colorants for the portrait	Titanium white (for safety), natural earth pigments, ivory black
Linseed oil or walnut oil	Binder for pigments; provides flexibility and rich color	Refined linseed oil or stand oil
Turpentine	Thinner for initial layers and cleaning brushes	Odorless mineral spirits or pure gum turpentine
Canvas	Support for the oil paint	Linen canvas, primed with gesso
Resin (pine or frankincense)	Optional: boiled with oil to create varnish for protection and texture	Dammar varnish or synthetic resin varnish

preparation

surface prep

The canvas should be prepared with a ground that allows for the 'greater flexibility' and 'use of layers' inherent to oil painting (Source 4). Goya, working in the late 18th century, would have used a traditional oil ground, likely lead white mixed with oil, to provide a smooth, absorbent surface that facilitates the blending of tones. The preparation must be robust enough to support multiple layers of paint without cracking.

underdrawing

While specific preparatory sketches for this portrait are not detailed in the sources, Goya was known for his directness. However, following general advice for copying and study, one might begin with a loose underdrawing to establish proportions, ensuring not to become 'too much tied down to your outline' (Source 1). The drawing should serve as a guide rather than a rigid constraint, allowing for the 'broad masses' to be established early.

underpainting

An underpainting (imprimatura) is likely used to establish the tonal values. Given the advice to avoid 'smallness' and focus on 'broad masses' (Source 1), a neutral or warm-toned underpainting would help unify the composition. This layer allows the artist to perceive 'modifications of the light on the model' more accurately before applying full color (Source 2).

color palette

Lead White

Pure lead white pigment

Highlights and lightening colors; essential for the 'wider range from light to dark' (Source 4)

Yellow Ochre

Natural earth pigment

Flesh tones and warm mid-tones; one of the 'four colours' available to ancient artists, noted for its fixedness and covering quality (Source 8)

Red Ochre/Vermilion

Natural ochre or cinnabar

Warm accents, lips, and clothing details; provides 'brilliancy' (Source 8)

Ivory Black/Charcoal Black

Black prepared from combustion of organic matter

Shadows and dark clothing; used carefully to avoid shifting hues toward greenish/bluish tones when mixed with warm colors (Source 3)

Umber/Brown Earths

Natural earth pigments

Mid-tones and shadows; 'quite sufficient for broken tones' and dry easily (Source 8)

composition

The composition likely focuses on the sitter’s head and shoulders, a standard format for intimate portraits. Goya’s style in this period often employed a dark background to isolate the figure, enhancing the 'contrast of colour' and drawing attention to the face. The arrangement avoids 'smallness' and focuses on the 'broad masses' of the figure against the background (Source 1).

step by step

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

underdrawing

step 01
Sketch the basic proportions of the head and shoulders using thinned paint or charcoal. Avoid rigid outlines.
Tip — Do not become 'too much tied down to your outline' (Source 1).
Loose underdrawing

underpainting

step 02
Apply a thin layer of neutral tone (e.g., raw umber) to establish light and shadow masses.
Tip — Focus on 'broad masses' rather than details (Source 1).
Imprimatura

first pass

step 03
Block in the main colors of the skin, clothing, and background. Use the 'law of simultaneous contrast' to adjust hues based on adjacent colors (Source 2).
Tip — Be aware that colors appear different when viewed together; the 'lightest tone will be lowered, and the darkest tone will be heightened' (Source 2).
Color blocking

refining

step 04
Build up layers of paint to refine forms and textures. Use thicker paint for highlights and thinner paint for shadows.
Tip — Avoid adding black to darken colors if it causes hue shifts; use complementary colors instead (Source 3).
Glazing and impasto

finishing

step 05
Add final details and adjust contrasts. Ensure the 'modifications of tone and of colour' are accurate (Source 2).
Tip — Check for 'feeble intensity' modifications that might have been disregarded earlier (Source 2).
Final adjustments

varnishing

step 06
Apply a varnish made from oil boiled with resin to protect the painting and enhance depth.
Tip — This provides 'protection and texture' (Source 4).
Resin varnish

critical techniques

Simultaneous Contrast

Adjusting colors based on their interaction with adjacent hues to achieve accurate perception (Source 2).

Layering

Using multiple layers of oil paint to achieve 'richer and denser color' and depth (Source 4).

Complementary Darkening

Darkening colors by adding their complement rather than black to avoid hue shifts (Source 3).

common pitfalls

→Becoming 'too much tied down to your outline' and failing to model forms broadly (Source 1).
→Adding black to warm colors (yellows, oranges, reds) which causes them to shift toward greenish or bluish tones (Source 3).
→Ignoring the 'modifications of tone and of colour' caused by adjacent colors, leading to inaccurate color perception (Source 2).
→Over-modeling or being 'inclined to over-model' due to timidity in departing from the initial sketch (Source 1).

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 visual details of the Duke of Alba’s clothing, jewelry, or facial expression are not described in the sources.
·Goya’s specific brushwork style for this particular portrait is not detailed; general advice on copying is used instead.
·The exact proportions and pose of the sitter are not provided in the text.
·The specific lighting conditions of the original painting are not described.

grounded in

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

The Practice of Oil Painting↗
- ON COPYING — applied to Advice on avoiding rigid outlines and focusing on broad masses (Source 1).
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding simultaneous contrast and color modifications (Source 2).
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Historical pigment choices and their properties (Source 8).

cross-referenced from

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

Wikipedia: Color theory↗
- Color theory — part 6 — applied to Techniques for darkening colors without hue shift (Source 3).
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Properties of oil paint and varnishing (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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