plate no. 4816

Portrait of Charles IV of Spain

oil, canvasRomanticismportraitportraitfigureclothingroyalman

recreation guide

Portrait of Charles IV of Spain is an autograph work by Francisco Goya, produced late in the 18th century, depicting the king in hunting dress accompanied by a hunting dog (Source 2). Although long considered a copy, it has been definitively reattributed to Goya himself and is part of a pair commissioned by the king's daughter, Maria Isabella, now held in the National Museum of Capodimonte (Source 2). As a court painter appointed in 1789, Goya was known for his disinclination to flatter his royal subjects, often embedding satirical or critical assessments of power within his portraits (Source 5). The work exemplifies the oil painting tradition of the period, utilizing the medium’s capacity for rich color, layering, and a wide tonal range to achieve a likeness that serves as both a state record and a complex character study (Source 4, Source 7).

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil-based pigments (e.g., ultramarine, white, black, red ochre, yellow ochre)	Primary colorants for the painting layers	Standard tube oil paints
Drying oil (Linseed, Poppy, Walnut, or Safflower)	Binder for pigments; choice affects drying time and yellowing	Stand oil or refined linseed oil
Turpentine	Thinner for initial layers and cleaning brushes	Odorless mineral spirits or turpentine substitute
Varnish (Oil mixed with resin like pine or frankincense)	Final protective layer and to enhance depth/sheen	Dammar or synthetic resin varnish
Canvas	Support surface	Primed linen or cotton canvas
Oil of Copavia (historical medium)	Medium for first and second paintings as noted by Reynolds, indicative of period practice	Damar varnish or stand oil

preparation

surface prep

Prepare a canvas support primed with a ground suitable for oil painting. While specific ground recipes for this exact portrait are not detailed in the sources, the general practice of the period involved preparing a surface that could support multiple layers of oil paint. The artist should ensure the ground is dry before beginning the underpainting phase (Source 4).

underdrawing

The sources do not specify Goya’s exact underdrawing method for this specific portrait. However, as a sound craftsman, Goya would have likely employed a preparatory drawing to establish the likeness and composition, consistent with the portrait genre’s goal of achieving a recognizable record of the sitter (Source 3, Source 7).

underpainting

Employ a grisaille (monochrome underpainting) technique. This involves painting the initial layers in neutral tones, mentally extracting red and yellow colors to establish form and value without color interference. This method allows the artist to focus on structure before introducing color glazes (Source 1).

color palette

Ultramarine

Ultramarine pigment

General use in period oil painting for deep blues and shadows; cited in Reynolds' method for initial paintings (Source 1)

White

Lead white or Titanium white (modern)

Highlights and mixing; cited in Reynolds' method (Source 1)

Black

Ivory black or Lamp black

Shadows and definition; cited in Reynolds' method (Source 1)

Red and Yellow tones

Red ochre, Yellow ochre, Vermilion

Applied via glazing and scumbling over the grisaille to introduce warmth and flesh tones (Source 1)

composition

The composition features Charles IV in hunting dress with a hunting dog, a specific detail confirmed by the source (Source 2). As a court portrait, it likely adheres to the conventions of memorializing the powerful, serving as a state record (Source 7). Goya’s general practice involved a disinclination to flatter, suggesting the pose and expression may carry subtle critical undertones rather than idealized heroism (Source 5).

step by step

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

underdrawing

step 01
Sketch the composition lightly, focusing on the likeness of the king and the placement of the hunting dog.
Tip — Ensure the likeness is accurate, as portraits serve as records of appearance (Source 7).
Preparatory drawing

underpainting

step 02
Apply a grisaille layer using black, white, and ultramarine (or similar neutral tones) to establish values and forms. Mentally exclude red and yellow hues.
Tip — This step extracts color to focus on structure, similar to tinting an engraving (Source 1).
Grisaille

first pass

step 03
Once the grisaille is dry, begin glazing with oil. Apply transparent coats of red and yellow tones where they occur in nature.
Tip — Glazing is a transparent coat of color that allows the underlying painting to show through (Source 1).
Glazing

refining

step 04
Use scumbling to apply semi-opaque paint over the glazes. This technique allows the underlying painting to make itself felt, creating texture and depth.
Tip — Be cautious when scumbling over darker grounds, as it can tend toward coldness or a grey bloom (Source 1).
Scumbling

finishing

step 05
Refine details of the hunting dress and the dog’s fur, ensuring the likeness is maintained. Adjust values and colors as needed.
Tip — Goya’s portraits are notable for their lack of flattery; ensure the character is captured truthfully (Source 5).
Detailing

varnishing

step 06
Apply a final varnish, potentially mixed with oil, to protect the painting and enhance the richness of the colors.
Tip — Varnish provides protection and texture, and can be made by boiling oil with resin (Source 4).
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build up richness and depth. This was a common practice among old masters (Source 1).

Scumbling

Applying semi-opaque paint to allow the underlying layer to show through, creating texture and modifying tone. Useful for achieving specific effects like a grey bloom (Source 1).

Grisaille

Creating a monochrome underpainting to establish form and value before introducing color. This helps in mentally separating color from structure (Source 1).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to muddiness or cracking (Source 1).
→Over-modeling or being too tied down to outlines, which can result in a stiff appearance. Copying works like Reynolds’ portraits can help check this tendency (Source 3).
→Scumbling over dark grounds without caution, which may result in an unintended coldness or grey bloom (Source 1).
→Flattering the subject excessively, contrary to Goya’s documented disinclination to flatter his royal sitters (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 pigment recipes used by Goya for this particular portrait are not provided in the sources.
·The exact dimensions and canvas preparation method for this specific work are not detailed.
·The specific lighting conditions and studio setup Goya used are not described.
·The precise brushwork style (e.g., impasto vs. smooth) for this specific portrait is not detailed, though general oil painting techniques are discussed.

grounded in

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

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting (grisaille), glazing, and scumbling techniques
- ON COPYING — applied to Advice on avoiding over-modeling and improving likeness

cross-referenced from

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

Wikipedia: Portrait of Charles IV of Spain↗
- Portrait of Charles IV of Spain — part 1 — applied to Attribution, subject matter (hunting dress, dog), and commission details
Wikipedia bio — Francisco Goya↗
- Francisco Goya — part 5 — applied to Goya’s role as court painter, his disinclination to flatter, and the satirical nature of his portraits
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General oil painting materials, advantages, and varnishing
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Purpose of portraits as records of appearance and likeness