Saint Ambrose

surface prep

The canvas should be stretched and primed with a traditional gesso or oil ground to provide a smooth, absorbent surface. Goya, working in the late 18th century, would have used a prepared canvas consistent with Spanish academic practices of the time. The preparation ensures the oil paint adheres properly and allows for the subtle gradations of tone required for chiaroscuro effects (Source 1).

underdrawing

Goya’s preparatory methods are not explicitly detailed in the provided sources. However, as a sound craftsman, he likely employed a loose underdrawing to establish composition and proportions, allowing for the spontaneous adjustments characteristic of his Romanticist style. The underdrawing should be light and flexible, not overly rigid, to permit the 'departure from outline' mentioned in general painting advice (Source 1).

underpainting

An underpainting (imprimatura) in a neutral tone, such as raw umber or gray, may be applied to establish the overall tonal values. This step helps in managing the chiaroscuro effects, which are central to Baroque and Romanticist painting (Source 5). The underpainting should be thin and transparent, allowing the underlying canvas texture to show through slightly, adding depth to the final layers.

Chiaroscuro

Used to create dramatic contrasts between light and shadow, enhancing the emotional impact and depth of the painting. This is a hallmark of Baroque painting, which Goya’s work reflects (Source 5).

Simultaneous Contrast

Juxtaposing complementary colors to enhance their vibrancy. For example, placing reds next to greens can make the reds appear more intense. This technique is crucial for achieving the rich, deep colors characteristic of Goya’s palette (Source 6).

Glazing

Applying thin, transparent layers of paint to build up depth and luminosity, particularly in the flesh tones and highlights. This technique allows for the delicate modulation of light and color seen in Correggio’s work, which influenced later artists (Source 7).