plate no. 3482

Gaspar Melchor de Jovellanos

oil, canvasRomanticismportraitportraitfigurechairtablestatuebooks

what to study here

It shows how a near-black ground, one lit face and varied edge handling can carry a contemplative portrait without relying on detail.

The main lesson here is how a single lit area organizes the whole canvas. The vision guide describes light from the upper left falling on the face, neck, pale breeches and the left side of the lavender coat, while the background drops to near-black. Study how the value structure breaks into three groups: lights (face, linen), mid-tones (coat, chair) and darks (background, shadows). Squint and the figure reads as a bright shape against a void. Then look at how the edges change by area. The face and hands are soft and blended with no visible stroke texture. The coat is looser and broader. The chair's carved details are crisp and linear. The background is flat and smooth, which pushes it back. Note the pose too: the sitter leans forward with his head on his hand, and the diagonal of that lean carries the composition. Papers on the ornate table and a barely visible dark bust give secondary points of interest without competing with the face. Copy the value plan before you copy any color.

key decision

Goya confined the strongest light to the face, linen and breeches and let the background fall to near-black. Edge handling then separates the soft modeled face from the looser coat and crisp chair carving.

recreation guide

Francisco Goya’s *Gaspar Melchor de Jovellanos* (1798) is a portrait executed during his tenure as First Court Painter, a period marked by his access to the royal collection and his development of a style that balanced academic rigor with emerging Romantic sensibilities. While the specific visual details of Jovellanos’s attire or expression are not described in the provided sources, the work belongs to a genre where Goya was known for his 'disinclination to flatter,' often revealing psychological depth rather than mere idealization (Source 4). The painting likely reflects Goya’s mature handling of oil paint, utilizing techniques such as impasto and glazing which he found limiting in tapestry cartoons but essential for capturing complex color shifts and texture in his painted works (Source 7).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (traditional palette)	Primary medium for the portrait.	—
Canvas	Support for the oil painting.	Linen or cotton canvas, primed with oil ground.
Oil of Copavia (or modern damar/resin medium)	Medium for glazing and scumbling, as referenced in Reynolds’ method which Goya’s contemporaries and predecessors utilized.	Damar varnish or stand oil mixed with turpentine.
Black, Ultramarine, White	Core pigments for the initial monochrome or grisaille underpainting, consistent with the methods described for old masters.	Ivory Black, Natural Ultramarine, Titanium White.
Red and Yellow earth tones/ochres	For glazing and scumbling to introduce local color and warmth.	Venetian Red, Yellow Ochre.

preparation

surface prep

The canvas should be prepared with an oil ground to allow for the 'vast capacity of oil paint' to approach an illusion of natural appearances without losing the vitality of the medium (Source 8). Goya’s practice involved working on supports that allowed for impasto and glazing, techniques he felt were unsuited to the flatness of tapestry cartoons (Source 7).

underdrawing

Goya’s preparatory methods for this specific portrait are not detailed in the sources. However, as a 'sound craftsman' (Source 1), he likely employed a careful underdrawing to establish proportions, though he may have left it flexible to allow for the 'informal' and personal insight he claimed to gain through his artistic process (Source 7).

underpainting

A grisaille or monochrome underpainting is recommended, using black, ultramarine, and white with oil of copavia as a medium, a method established by Sir Joshua Reynolds and practiced by old masters (Source 2). This preparation involves 'mentally extracting the red and yellow colours' to establish form and value before introducing local color (Source 2).

color palette

Black

Ivory Black or Lamp Black

Underpainting and deep shadows, consistent with the monochrome preparation described.

Ultramarine

Natural Ultramarine

Underpainting and cool shadows, providing a base for glazing.

White

Lead White (historical) or Titanium White (modern)

Highlights and mixing with ultramarine/black for the grisaille.

Red/Yellow Tones

Vermilion, Red Ochre, Yellow Ochre

Glazing and scumbling to introduce warmth and local color, particularly in flesh tones and clothing.

composition

Specific compositional details of *Gaspar Melchor de Jovellanos* are not described in the sources. However, Goya’s portraits from this period are characterized by a psychological intensity and a lack of flattering idealization (Source 4). The composition likely emphasizes the sitter’s presence and character rather than decorative background elements, consistent with his role as a court painter who painted 'notable people of the kingdom' (Source 4).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the figure lightly on the prepared canvas, focusing on accurate proportions and gesture. Avoid rigid outlines that may hinder later modeling.
Tip — Ensure the drawing is not too 'tied down' to allow for the freedom of oil paint (Source 1).
Preparatory Drawing

underpainting

step 02
Apply a monochrome layer using black, ultramarine, and white mixed with oil of copavia. Establish the full range of values from dark to light.
Tip — Mentally extract red and yellow colors to focus on form and light (Source 2).
Grisaille/Monochrome Underpainting

first pass

step 03
Once the grisaille is dry, begin glazing and scumbling with oil. Apply transparent coats of red and yellow tones to introduce local color.
Tip — Glazing is a transparent coat; scumbling is semi-opaque. Use these to tint the engraving-like underpainting (Source 2).
Glazing and Scumbling

refining

step 04
Refine the flesh tones and clothing details, paying attention to the 'modifications of the light on the model' and the 'simultaneous contrast of colours' between adjacent areas.
Tip — Be aware that contiguous colors affect each other; the eye may see a tint resulting from the complementary of the neighboring color (Source 3).
Color Contrast Application

finishing

step 05
Add final highlights and deep shadows, ensuring the 'vitality possessed by the medium' is evident. Avoid over-modeling to prevent 'smallness' or timidity.
Tip — Goya used impasto and glazing to capture complex texture, which he found lacking in tapestry work (Source 7).
Impasto and Detailing

critical techniques

Glazing and Scumbling

Used to introduce color over a dry monochrome underpainting. Glazing provides transparency, while scumbling offers semi-opaque texture, allowing the underlying painting to show through (Source 2).

Simultaneous Contrast

Understanding that colors appear different when placed next to each other due to complementary influences. This helps in accurately perceiving and imitating light modifications (Source 3).

Impasto

Goya applied impasto to capture texture and complex color shifts, a technique he valued in oil painting but could not use in tapestry cartoons (Source 7).

common pitfalls

→Over-modeling or being too 'tied down to outline,' which leads to timidity and smallness (Source 1).
→Ignoring the 'simultaneous contrast of colours,' leading to inaccurate color perception where contiguous colors modify each other (Source 3).
→Attempting to deceive the eye into seeing 'real nature' rather than expressing feeling through the vitality of the medium (Source 8).
→Using a medium that does not allow for the necessary texture and color shifts, as Goya found tapestry cartoons limiting (Source 7).

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 portrait (clothing, jewelry, background) are not described in the sources.
·Goya’s exact pigment palette for this specific work is not detailed; the guide infers from general old master practices and Reynolds’ methods.
·The specific underdrawing technique (e.g., charcoal vs. chalk) is not specified for this portrait.
·The exact drying times and layering sequence for Goya’s specific workflow in 1798 are not provided.

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 Underdrawing and avoiding over-modeling.
- COLOURING A MONOCHROME — applied to Grisaille underpainting and glazing/scumbling techniques.
Laws of Contrast of Colour↗
- 315-318 — applied to Color perception and simultaneous contrast during refining.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of medium vitality and avoiding mere deception.

cross-referenced from

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

Wikipedia bio — Francisco Goya↗
- part 4 — applied to Context of Goya’s role as court painter and his disinclination to flatter.
- part 7 — applied to Goya’s use of impasto and glazing in oil vs. tapestry.

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

A elderly man sits in a gilded chair, leaning forward with his head resting on his hand in deep contemplation. Dramatic light from the upper left illuminates his face, neck, pale breeches, and the left side of his lavender coat, while the entire background dissolves into near-black shadow. The eye moves first to his face—the only fully lit area—then down to the documents on the ornate table beside him, with a dark sculptural bust barely visible in the deep shadow behind. The figure's diagonal forward lean and introspective pose dominate the composition.

value structure

The painting is built on stark contrast: the subject's face, hands, shirt, and breeches are among the lightest values in the composition, while the background is nearly black. The coat reads as a mid-dark cool gray, the chair as warm golden-brown mid-tones. There are essentially three value groups—lights (face, linen), mid-tones (coat, chair), and darks (background, shadows). When you squint, the figure reads as a bright silhouette floating against void.

observed palette and mixes

#bda984
yellow ochre + white, with touches of ultramarine for warmth control
the gilded chair back and frame, warm highlights in the background left, reflected light on the table
#8c7347
raw umber + yellow ochre + touches of ultramarine
carved details of the table and chair, mid-tone shadows in the coat
#463a2c
ivory black + raw umber + ultramarine
the deep shadows in the coat folds, table edges, definition of form
#231f21
ivory black + ultramarine + touch of alizarin
the cool-black background, darkest shadows around the figure
#14151a
ivory black + ultramarine
the nearly pure black of the far background behind the bust
#bda984
titanium white + yellow ochre + raw umber
face and neck flesh tones—warmed whites, not pink; skin planes receive subtle modeling

edges and brushwork

The painting demonstrates controlled, invisible brushwork in the face and hands—soft edges and subtle blending of flesh tones with no visible stroke texture. The coat is handled more loosely with broader strokes that suggest fabric weight, while the chair's carved details are rendered with crisp, linear brushwork to show dimension. The background is applied flatly and smoothly to push it back, contrasting with the modeled three-dimensionality of the figure.

a working sequence

01
Establish the dark ground
Block in the background with a very dark mix of ivory black + ultramarine, covering the entire field except where the figure will sit. This dark shape is not your final value—it's your anchor. Make it nearly black so the figure has maximum contrast. Pay particular attention to the deep shadow area directly behind the bust on the right.
02
Underpainting and figure outline
Using a thin mixture of raw umber thinned with medium, lightly sketch the figure's proportions and pose. Mark the slant of the shoulders, the forward lean created by the resting elbow, and the angle of the head. Block in the chair's basic shape and the table's profile. This is your roadmap—get the weight distribution right or the figure will look unstable.
03
Mass in the coat and major shapes
Paint the coat in a cool gray-lavender (ultramarine + raw umber + white, slightly purple-leaning). Keep it simple—you're establishing form, not detail. Define where the coat meets the white shirt at the chest and where fabric folds create shadow. The coat's value should sit comfortably between the dark background and the light shirt.
04
Model the face and hands
This is the portrait's heart. Mix your flesh tone carefully: yellow ochre + titanium white + touches of ultramarine and raw umber to avoid pinkness; it should read as slightly warm but dignified. Model the face with a warmer midtone for the lit side and cooler midtone for the shadow side. The left side of the face (toward light) shows bone structure; the right side (away from light) is softer shadow. Paint the hands with the same care—they support the pose's psychological weight.
05
Render the white shirt and breeches
The white areas are not pure white—they're warmed slightly with ochre and modeled with soft shadows (ultramarine + raw umber diluted with white). The shirt has folds visible where the coat overlaps; the breeches show the form of the leg and a slight shadow down the inner thigh. Avoid making these areas flat; texture variation keeps them alive.
06
Paint the gilded chair
The chair is warm golden-brown (yellow ochre + raw umber) with reflective carved details. Show the frame's cylindrical form with highlights and shadows; the back has golden light catching it. The seat is darker and less reflective. Use thin lines for the carved ornament—you're suggesting detail without overworking. The gold-toned wood contrasts with the figure's cool coat, creating visual interest.
07
Define the table, documents, and accessories
Paint the table's top with the same dark-brown mix as shadows in the coat. Show carved relief with thin highlights. Place the white papers and quill on the table surface—these catch light and draw the eye. The sculptural bust in the background remains mostly silhouetted but should show a hint of form with thin glazes of warmed black + ochre.
08
Refine edges and unify values
Walk around the figure: sharpen the edges of the face and hands where they meet the background, soften edges where coat meets chair or background. Check that the darkest darks are consistently dark and the lightest lights read clearly. The background may need a second thin glaze to deepen it further and create atmospheric recession. Step back frequently to assess the overall value structure and introspective mood.

where studies of this painting go wrong

The face can easily become too pink or too sallow. Goya's flesh tone here is restrained—slightly warm but not ruddy. Test on a separate surface before committing.
The background looks deceptively simple but is the key to the portrait's drama. Underestimating how dark it needs to be will flatten the entire image. It should be nearly black to push the figure forward.
The pose depends on the weight of the head resting on the hand and the supporting elbow. If the proportions are off, the figure looks uncomfortable rather than contemplative. Check the angle of the spine and neck early.
The white shirt and breeches tempt you to use pure white, which creates harsh edges and loses form. Use white only for the brightest highlights; model the bulk with warm-tinged cream and soft shadow.
The gilded chair can become a distraction. Keep its carved details suggested rather than fully rendered—they should not compete with the face for attention.
Overly visible brushstrokes in the face region destroy the intimate portraiture. Keep the flesh tones soft and blended; save readable brushwork for the coat and accessories.

measured difficulty