plate no. 2598

Marquesa Mariana de Pontejos

oil, canvasRomanticismportraitfigureportraitdogdresslandscapehat

recreation guide

Francisco Goya’s 'Marquesa Mariana de Pontejos' (1786) represents a pivotal moment in his career, coinciding with his appointment as a court painter to the Spanish Crown (Source 7). This period is characterized by portraits of the Spanish aristocracy that blend Rococo elegance with the emerging psychological depth associated with Romanticism (Source 7). The artwork is executed in oil on canvas, a medium chosen for its flexibility, rich color density, and capacity for layering, which allows for a wide range from light to dark (Source 8). Goya’s practice during this era was influenced by the Old Masters, particularly Diego Velázquez, whose techniques Goya studied and adapted (Source 7). The painting likely employs the sophisticated color harmonies and contrast laws described in contemporary art theory, where the juxtaposition of tones creates a true gradation of light and enhances the visual impact of the subject (Source 2).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Linseed oil or poppy seed oil	Primary binder for pigments, providing flexibility and rich color density	Refined linseed oil or cold-pressed poppy oil
Turpentine	Thinner for initial layers and cleaning brushes	Odorless mineral spirits or pure gum turpentine
Oil paints (Ultramarine, White, Black, Earth tones, Reds, Yellows)	Primary pigments for underpainting and glazing	Standard tube oil paints
Canvas	Support for the painting	Linen or cotton canvas, primed
Varnish (optional, for final protection)	Protection and texture, potentially mixed with oil for glazing	Dammar or synthetic resin varnish

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While specific priming methods for this exact work are not detailed in the sources, Goya’s training under Anton Raphael Mengs and his status as a court painter suggest adherence to professional standards of the late 18th century. A white or light-toned ground is likely to facilitate the chiaroscuro effects and glazing techniques described in the sources (Source 4, Source 8).

underdrawing

Goya’s preparatory methods for this specific portrait are not explicitly detailed in the provided sources. However, as a 'sound craftsman' (Source 1), he likely employed a careful underdrawing to establish proportions and composition. The sources suggest that drawing should be 'highly finished' to acquire the habit of minute visual expression, which becomes instinctive later (Source 5). It is plausible that Goya used a charcoal or graphite sketch, possibly transferred to the canvas, though no specific evidence of his underdrawing for this piece is cited.

underpainting

A grisaille (monochrome underpainting) is a recommended technique for this period and style. The sources describe creating a preparation by 'mentally extracting the red and yellow colours' to establish the tonal structure (Source 4). This underpainting, likely using black, ultramarine, and white (as noted in Reynolds’ method, which reflects contemporary practice), would be allowed to dry completely before glazing (Source 4). This approach helps in managing the 'chiaro-scuro' and tonal contrasts essential for the portrait’s depth (Source 2).

color palette

Ultramarine

Pure ultramarine pigment

Underpainting and cool shadows, consistent with the method described by Reynolds (Source 4)

White

Lead white or zinc white

Highlights and mixing for lighter tones in the underpainting and glazes (Source 4)

Black

Ivory black or lamp black

Dark tones in the underpainting and defining shadows (Source 4)

Reds and Yellows

Vermilion, red lake, yellow ochre, lead-tin yellow

Glazing and scumbling over the dry grisaille to introduce flesh tones and vibrant colors (Source 4)

Earth tones

Umber, sienna

General use in the artist’s palette for mid-tones and shadows

composition

The specific compositional layout of 'Marquesa Mariana de Pontejos' is not described in the sources. However, Goya’s portraits from this period are known for their psychological insight and aristocratic elegance (Source 7). The composition likely adheres to the principles of color harmony and contrast, where the juxtaposition of different tones creates a gradation of light and enhances the subject’s presence (Source 2). The artist’s choice of draperies and background would be selected to harmonize with the inherent colors of the flesh and hair, following the laws of simultaneous contrast (Source 2, Source 3).

step by step

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

underdrawing

step 01
Sketch the composition lightly on the prepared canvas, focusing on accurate proportions and the emotional significance of the pose.
Tip — Ensure the drawing is 'highly finished' to build a habit of minute visual expression (Source 5).
Academic drawing

underpainting

step 02
Create a grisaille using black, ultramarine, and white to establish the tonal structure. Mentally extract reds and yellows to focus on light and shadow.
Tip — Allow the underpainting to dry completely before proceeding (Source 4).
Grisaille

first pass

step 03
Begin glazing and scumbling with oil, introducing red and yellow tones over the dry grisaille. Apply transparent coats of color to build up richness.
Tip — Use glazing to achieve a 'grey bloom' or coldness where needed, and scumbling for semi-opaque effects (Source 4).
Glazing

refining

step 04
Refine the flesh tones and details, paying attention to the simultaneous contrast of colors. Adjust tones based on the juxtaposition of adjacent colors.
Tip — Be aware that the eye may perceive colors inaccurately due to mixed contrast; adjust accordingly (Source 3).
Simultaneous contrast

finishing

step 05
Finalize the painting by enhancing the chiaroscuro effects and ensuring the harmony of colors. Add any final details to the draperies and background.
Tip — Ensure the gradation of light is true and the colors are harmonious (Source 2).
Chiaroscuro

varnishing

step 06
Apply a varnish to protect the painting and enhance the depth of colors. This can be done after the painting has fully cured.
Tip — Use a varnish mixed with oil if desired, as practiced by some old masters (Source 4).
Varnishing

critical techniques

Glazing and Scumbling

Used to build up color and tone over a dry grisaille. Glazing involves transparent coats, while scumbling is semi-opaque, allowing the underlying painting to show through (Source 4).

Simultaneous Contrast

Understanding how adjacent colors affect each other’s perception. The lightest tone is lowered, and the darkest is heightened, creating a true gradation of light (Source 2, Source 3).

Chiaroscuro

The use of strong contrasts between light and dark to achieve a sense of volume and drama. This is produced by the juxtaposition of different tones (Source 2).

common pitfalls

→Failing to allow the grisaille underpainting to dry completely before glazing, which can lead to muddiness (Source 4).
→Ignoring the effects of simultaneous contrast, resulting in inaccurate color perception and lack of harmony (Source 3).
→Over-modeling or being too tied down to the outline, which can make the painting appear stiff. Copying works like Reynolds’ 'Portraits of Two Gentlemen' can help correct this (Source 1).
→Neglecting the emotional significance of the drawing, focusing only on scientific accuracy rather than artistic expression (Source 5).

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 details of the Marquesa’s clothing, jewelry, and facial expression are not described in the sources.
·The exact pigments used by Goya for this specific painting are not listed.
·The specific compositional layout and background elements of the portrait are not detailed.
·Goya’s personal notes or sketches for this particular work are not included in the sources.

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 copying works to correct weaknesses and improve technique (Source 1).
- COLOURING A MONOCHROME — applied to Technique of grisaille underpainting and glazing (Source 4).
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Principles of chiaroscuro and tonal gradation (Source 2).
- 315. As to the advantages the painter will find in it... — applied to Understanding simultaneous contrast and color perception (Source 3).
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Importance of finished academic drawing for visual expression (Source 5).

cross-referenced from

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

Wikipedia bio — Francisco Goya↗
- part 1 — applied to Context of Goya’s career and style in 1786 (Source 7).
Wikipedia: Oil painting↗
- part 1 — applied to General properties and advantages of oil painting (Source 8).

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

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