plate no. 6761

Inquisition Scene

oil, panelRomanticismhistory paintingfiguresinteriorarchitecturehistorical eventcrowdrobes

recreation guide

Francisco Goya’s 'Inquisition Scene' (1819) belongs to his late period, often referred to as the 'Black Paintings,' created during a time when his work became progressively darker and more pessimistic following a severe illness that left him deaf (Source 7). As a history painting, it falls within the genre of depicting crucial moments with implied narrative, a tradition that evolved from earlier monoscenic depictions (Source 3). The work is executed in oil on panel, a medium that offers greater flexibility, richer color density, and a wider range from light to dark compared to other methods (Source 4). Goya’s approach in this period reflects a shift away from the Rococo style of his early career toward a more expressive, modern sensibility, utilizing the plasticity of oil paint to mold textures and create dramatic chiaroscuro effects (Source 4, Source 7).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Wood panel	Support surface, consistent with Goya's use of panel for this work and historical panel painting practices	MDF or plywood panel primed with gesso
Linseed oil or walnut oil	Binder for pigments, providing flexibility and rich color	Cold-pressed linseed oil
Turpentine	Thinner for oil paint	Odorless mineral spirits
Oil paints (Black, White, Earth tones, Ochres)	Pigments for the composition	Standard tube oil paints
Resin (pine or frankincense)	To create varnish for protection and texture if desired	Dammar varnish

preparation

surface prep

Prepare a flat wood panel, as panel painting was the normal method before canvas became dominant in the 16th century (Source 5). Ensure the surface is smooth to allow for the fine gradations of light and dark characteristic of Goya’s chiaroscuro. Apply a ground layer suitable for oil painting, which allows for the layering techniques Goya employed (Source 4).

underdrawing

Goya’s later works often show a loose, expressive handling of paint, suggesting that underdrawings may have been minimal or integrated into the underpainting process. Given his reputation as 'the first of the moderns,' he likely moved away from rigid preparatory sketches toward a more direct application of paint (Source 7). Use charcoal or thinned oil to loosely block in the major forms and light sources.

underpainting

Begin with a monochromatic underpainting (grisaille or brunaille) to establish the tonal values. This aligns with the principle that 'chiaro-scuro is produced' by juxtaposing tones, where the highest tone is enfeebled and the lowest heightened, creating a true gradation of light (Source 1). This step is crucial for managing the 'wide range from light to dark' that oil painting offers (Source 4).

color palette

Deep Blacks and Dark Browns

Ivory black, burnt umber, raw umber

Backgrounds and shadows, consistent with Goya's darker, pessimistic late style

Flesh Tones

Lead white, yellow ochre, vermilion (historically), or modern equivalents

Figures, noting that in history painting, flesh colors are often at the choice of the painter rather than fixed by a specific model (Source 1)

Neutral Grays

Black and white, or complementary mixes

Transitional tones and atmospheric effects

composition

As a history painting, the composition likely focuses on a crucial moment in an implied narrative (Source 3). Goya’s late style is characterized by a bleak outlook, so the composition should emphasize dramatic contrast and emotional intensity rather than balanced harmony. The arrangement of figures and light should guide the viewer’s eye through the narrative tension, utilizing the 'law of simultaneous contrast' to enhance the visual impact of adjacent tones (Source 6).

step by step

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

underdrawing

step 01
Lightly sketch the main figures and light sources on the prepared panel.
Tip — Keep lines loose to allow for expressive changes later.
Direct drawing

underpainting

step 02
Apply a monochromatic layer to establish light and shadow values.
Tip — Focus on the gradation of light, ensuring that juxtaposed tones create a sense of depth (Source 1).
Grisaille

first pass

step 03
Begin applying color, starting with mid-tones and shadows.
Tip — Use the flexibility of oil paint to build up layers, taking advantage of its 'richer and denser color' (Source 4).
Layering

refining

step 04
Adjust colors based on simultaneous contrast, ensuring that adjacent colors enhance each other’s intensity.
Tip — Be aware that the eye may perceive colors inaccurately due to mixed contrast; adjust hues to correct for this (Source 6).
Simultaneous Contrast

finishing

step 05
Add highlights and final details, using the plasticity of the paint to create texture.
Tip — Ensure that the 'great effects' are achieved, allowing smaller details to result spontaneously from the contrast (Source 1).
Impasto or glazing

varnishing

step 06
Apply a resin-based varnish for protection and to unify the surface sheen.
Tip — Use pine resin or frankincense boiled with oil to create a protective layer (Source 4).
Varnishing

critical techniques

Chiaroscuro

Used to create dramatic contrast between light and dark, essential for Goya’s expressive style. The juxtaposition of tones produces a gradation of light that enhances the three-dimensionality of the forms (Source 1).

Simultaneous Contrast

Applied to harmonize colors and enhance their visual impact. By understanding how adjacent colors affect each other, the artist can create more vibrant and dynamic compositions (Source 6).

Layering

Oil painting allows for the use of layers, which Goya exploited to build up rich, dense colors and textures (Source 4).

common pitfalls

→Adding black to darken colors can cause hue shifts, particularly in yellows, oranges, and reds, moving them toward greenish or bluish tones. Use complementary colors to darken without shifting hue (Source 2).
→Ignoring simultaneous contrast can lead to inaccurate color perception. The eye may see colors differently due to the influence of adjacent hues, so adjustments are necessary (Source 6).
→Overworking the paint can lose the expressive quality of Goya’s brushwork. Allow some spontaneity in the application of paint (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 pigments used by Goya in this particular painting are not detailed in the sources.
·Exact compositional layout of the 'Inquisition Scene' is not described in the provided passages.
·Goya’s specific underdrawing techniques for this work are not documented in the sources.

grounded in

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

Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Chiaroscuro and tonal gradation
- 315-318 — applied to Simultaneous contrast and color perception

cross-referenced from

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

Wikipedia: Color theory↗
- part 6 — applied to Color mixing and avoiding hue shifts
Wikipedia: History painting↗
- part 6 — applied to Genre context and narrative focus
Wikipedia: Oil painting↗
- part 1 — applied to Medium properties and layering
Wikipedia: Panel painting↗
- part 1 — applied to Support surface preparation
Wikipedia bio — Francisco Goya↗
- part 1 — applied to Biographical context and stylistic evolution
Wikipedia: Complementary colors↗
- part 1 — applied to Color theory and contrast