plate no. 6544
Portrait of the Bullfighter Pedro Romero
recreation guide
Francisco Goya is widely regarded as the last of the Old Masters and the first of the moderns, a transition marked by his shift from Rococo-style court portraits to darker, more pessimistic works following a severe illness in 1793 (Source 7). This portrait of the bullfighter Pedro Romero falls within Goya’s mid-period, characterized by a move away from the idealized aristocracy toward subjects that reflect contemporary historical upheavals and a more raw, expressive realism (Source 7). The work exemplifies the Romantic style, prioritizing emotional expression and the vitality of the medium over mere illusionistic deception (Source 6). As a portrait, its primary intent is to achieve a recognizable likeness that serves as a record of the sitter’s appearance, a skill Goya mastered through his tenure as Prime Court Painter (Source 4, Source 7).
estimated time
40-60 hours over 8-12 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Lead White, Ochres, Umbers, Vermilion, Ultramarine) | Primary pigments for building form and color. Lead white was the dominant white for centuries due to opacity and drying time (Source 8). Earths like ochres and marls are recommended for broken tones and fixedness (Source 3). | Titanium White (for safety), Yellow Ochre, Burnt Umber, Cadmium Red, Ultramarine Blue |
| Linseed Oil or Oil of Copavia | Drying oil medium. Linseed is general purpose; Copavia was used by Reynolds and likely contemporaries for glazing (Source 2, Source 8). | Stand Oil or Galkyd for slower drying/glazing; Linseed for initial layers |
| Canvas or Panel | Support for the oil paint. Goya worked on both, but canvas was common for large portraits. | Linen canvas, primed |
| Charcoal or Black Chalk | Underdrawing. Essential for establishing the 'alphabet' of the art before applying paint (Source 1). | Vine charcoal or Conté crayon |
preparation
surface prep
The surface should be prepared with a ground that allows for the 'vitality' of the oil medium to be expressed without merely tricking the eye into seeing nature (Source 6). While specific Goya grounds are not detailed in the sources, the practice of the period often involved a neutral or warm-toned ground to facilitate the glazing and scumbling techniques described in traditional oil painting practices (Source 2).
underdrawing
Goya’s practice, like that of the Old Masters, likely began with a strong drawing foundation. The sources emphasize that a painter must first be a sound craftsman who knows the 'alphabet' of the art (Source 1). The underdrawing should establish the composition and likeness without being overly timid or tied down to rigid outlines, allowing for the expressive freedom characteristic of Romanticism (Source 1, Source 7).
underpainting
A grisaille (monochrome underpainting) is recommended to establish values before introducing color. This involves mentally extracting red and yellow tones to translate what would be left in nature, creating a structural base (Source 2). This method aligns with the 'old masters' practice of glazing and scumbling over a dry monochrome preparation (Source 2).
color palette
White
Lead White (historically) or Titanium White
Highlights and mixing. Lead white was valued for opacity and fast drying (Source 8).
Earth Tones
Yellow Ochre, Red Ochre, Burnt Umber
General use in this artist's palette. Earths provide fixedness, cover well, and dry easily, suitable for broken tones (Source 3).
Reds
Vermilion (Cinnabar) or Red Lac
Flesh tones and accents. Ancient artists used red ochre and cinnabar; these are substantial and useful (Source 3).
Blues
Ultramarine or Indigo
Shadows and glazing. Ultramarine was used by Reynolds in his first painting stage (Source 2).
Black
Ivory Black or Vine Black
Defining forms and shadows. Various blacks prepared from combustion were standard (Source 3).
composition
The composition should organize the visual elements—line, shape, color, texture, value, form, and space—to create a coherent whole (Source 5). Goya’s portraits often focus on the psychological state of the sitter rather than just their social status, reflecting his darker outlook post-1793 (Source 7). The arrangement should avoid 'smallness' or being too tied down to outlines, allowing for broad masses and expressive finish (Source 1).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Begin with a charcoal sketch to establish the likeness and composition. Ensure the drawing is not too timid or overly modeled, as this can lead to 'smallness' (Source 1).
Tip — Focus on the 'alphabet' of the art—basic forms and values—before adding detail (Source 1).
Drawing from life/copying principles
underpainting
step 02
Create a grisaille underpainting using black, white, and perhaps ultramarine to establish values. This step mentally extracts red and yellow tones (Source 2).
Tip — Ensure the grisaille is completely dry before proceeding to glazing (Source 2).
Grisaille
first pass
step 03
Apply glazes and scumbles of red and yellow tones over the dry grisaille. Glazing involves transparent coats of color, while scumbling is semi-opaque painting that lets the underlying layer show through (Source 2).
Tip — Use oil of copavia or linseed oil as a medium. Be aware that scumbling over a darker ground tends to coldness (Source 2).
Glazing and Scumbling
refining
step 04
Refine the likeness and details. Avoid the 'meretricious attempt to deceive the eye' by remembering that art is an expression of feeling and painted symbols, not a substitute for nature (Source 6).
Tip — Keep in tune with the emotional idea that prompted the work, characteristic of Goya’s Romantic style (Source 6, Source 7).
Expressive Realism
finishing
step 05
Final adjustments to color and value. Use earths and ochres for broken tones if needed, as they are substantial and dry easily (Source 3).
Tip — Do not banish any coloring matter from the palette if it is substantial and useful (Source 3).
Color Correction
critical techniques
Glazing and Scumbling
Used to build color and depth over a monochrome underpainting. Glazing is transparent; scumbling is semi-opaque. This was a common practice among old masters (Source 2).
Expressive Symbolism
Treating paint as symbols that express feeling rather than just mimicking nature. This aligns with Goya’s shift toward modernism and Romanticism (Source 6, Source 7).
Craftsmanship in Drawing
Establishing a strong foundational drawing to avoid being 'dumb' as a thinker who cannot reduce thoughts to words (Source 1).
common pitfalls
- →Being too tied down to outlines or over-modeling, which leads to 'smallness' and lacks the broad masses characteristic of masterful painting (Source 1).
- →Attempting to deceive the eye into seeing real nature rather than expressing feeling through painted symbols, which results in a 'meretricious' work (Source 6).
- →Using colors that are not substantial or that produce chemical reactions, leading to instability in the painting (Source 3).
- →Applying glazes before the underpainting is completely dry, which can ruin the layering effect (Source 2).
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 Pedro Romero’s clothing, facial expression, or pose are not described in the sources, so the recreation must rely on general portrait conventions and Goya’s style rather than specific visual evidence.
- ·The exact date of the painting is not available, making it difficult to pinpoint the precise evolution of Goya’s technique at that moment.
- ·Goya’s specific palette choices for this particular work are not documented in the provided sources, so general period practices are inferred.
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 'smallness' in technique
- COLOURING A MONOCHROME — applied to Grisaille underpainting and glazing/scumbling techniques
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Selection of pigments and use of earths
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of oil paint as expressive symbols rather than mere illusion
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Francisco Goya↗
- part 1 — applied to Context of Goya’s style, Romanticism, and shift to darker themes
Wikipedia: Oil painting↗
- part 4 — applied to Materials and pigments like lead white and linseed oil
Read more about the corpus on the sources page and how the guides are built on the methods page.
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