Portrait of José Antonio, Marqués de Caballero

surface prep

The canvas should be prepared with a ground that allows for the 'richer and denser color' characteristic of oil painting (Source 6). Goya, working in the tradition of the Old Masters, likely used a warm-toned ground to facilitate the glazing techniques common in his era. The surface should be smooth enough to allow for fine detail in the face but textured enough to hold impasto in the drapery.

underdrawing

Goya’s preparatory methods are not explicitly detailed in the provided sources. However, as a master of the medium, he likely employed a loose, confident underdrawing to establish proportions and light/shadow relationships before applying paint. The underdrawing should be subtle, allowing the subsequent layers to dominate the visual experience.

underpainting

A grisaille or monochrome underpainting is recommended, consistent with the practice of 'old masters' who used a 'transparent coat of colour' over a dry monochrome base (Source 1). This underpainting should establish the 'chiaro-oscuro' (light-dark) relationships, extracting red and yellow tones to focus on value structure (Source 1). This step is crucial for achieving the 'true gradation of light' described in color theory (Source 2).

Glazing and Scumbling

Used to build up color and depth over a monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture. This method was 'practised by the old masters far more generally' than modern painters assume (Source 1).

Chiaro-Oscuro

The use of strong contrasts between light and dark to create volume and drama. This is enhanced by the 'law of simultaneous contrast,' where adjacent tones affect each other’s perception (Source 2).

Simultaneous Contrast

Adjusting colors based on their neighbors to achieve harmony and accurate perception. This helps the painter 'perceive and to imitate promptly and surely the modifications of the light on the model' (Source 3).