plate no. 7176

The Repentant Saint Peter

oil, canvasRomanticismreligious paintingfigurereligiousportraitbeardkeysrobes

recreation guide

Francisco Goya’s late period, particularly the 'Black Paintings' created around 1824, represents a radical departure from his earlier courtly commissions. While Goya was known for his disinclination to flatter patrons and his ability to reveal underlying corruption (Source 3), his later work is characterized by a darker, more introspective Romanticism. The specific artwork 'The Repentant Saint Peter' is not explicitly described in the provided visual sources, but Goya’s general practice during this era involved a move away from polished finish toward expressive, often monochromatic or low-key tonalities. The recreation should focus on the artist’s documented use of glazing and scumbling techniques to achieve depth and atmosphere, rather than relying on bright, opaque color application typical of earlier academic traditions.

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil of copavia (or modern damar/resin substitute)	Medium for initial layers, as cited in Reynolds' method which influenced old masters	Stand oil or linseed oil with a small amount of resin varnish
Black pigment (e.g., Ivory Black or Lamp Black)	Primary component of the grisaille underpainting	Ivory Black
Ultramarine	Primary cool tone for the grisaille underpainting	Ultramarine Blue
White pigment (Lead White or Titanium White)	For mixing tints in the grisaille and highlights	Titanium White (for safety) or Flaked White (for authenticity)
Red and Yellow earth pigments (Ochre, Sienna, Vermilion)	For glazing and scumbling transparent/semi-opaque layers over the dry grisaille	Burnt Sienna, Yellow Ochre, Cadmium Red
Varnish	Mixed with oil for later glazing stages to increase transparency and flow	Damar varnish or cold wax medium

preparation

surface prep

Prepare a canvas with a traditional oil ground. Goya’s late works often exhibit a rougher texture, but the foundational technique described in the sources relies on a stable, dry surface for the subsequent glazing process. Ensure the ground is completely dry before beginning the grisaille.

underdrawing

The sources do not specify Goya’s underdrawing method for this specific work. However, general advice for copying old masters suggests that if one is 'too much tied down to outline,' one should study works that depart from strict outlines (Source 4). For this recreation, use a light, loose charcoal or thinned oil sketch to establish major masses, avoiding hard, definitive lines that might constrain the expressive brushwork characteristic of Goya’s late style.

underpainting

Create a grisaille (monochrome underpainting) using black, ultramarine, and white, mixed with oil of copavia (Source 1). This layer establishes the value structure (chiaroscuro) of the painting. The goal is to 'mentally extract the red and yellow colours' and translate what would be left in nature if these colors were not present (Source 1). This step is critical for achieving the depth associated with old master techniques.

color palette

Black

Ivory Black or Lamp Black

Grisaille underpainting and deep shadows

Ultramarine

Ultramarine Blue

Cool tones in the grisaille underpainting

White

Lead White or Titanium White

Highlights and mixing tints in the grisaille

Red/Yellow Tones

Vermilion, Ochre, Sienna

Glazing and scumbling over the dry grisaille to introduce color

composition

The sources do not describe the specific composition of 'The Repentant Saint Peter.' However, Goya’s portraits are noted for their 'disinclination to flatter' and ability to reveal underlying psychological states (Source 3). In recreating the figure, focus on expressive, perhaps distorted, features that convey repentance or anguish, consistent with his later Romantic style. Avoid idealized beauty; instead, aim for the 'brutal assessment' of character seen in his royal portraits (Source 3).

step by step

underpainting→first pass→drying→refining→finishing

underpainting

step 01
Mix black, ultramarine, and white with oil of copavia. Paint the entire composition in monochrome (grisaille), focusing on accurate value relationships and chiaroscuro.
Tip — Ensure the values are correct before adding color. This layer acts as the foundation for all subsequent glazes.
Grisaille

first pass

step 03
Begin glazing with transparent coats of red and yellow tones mixed with oil. Apply these colors much like tinting an engraving with watercolors (Source 1).
Tip — Glazing is a transparent coat of color. It allows the underlying grisaille to show through, creating depth.
Glazing

drying

step 02
Allow the grisaille to dry completely. This is essential for the glazing technique to work effectively.
Tip — Do not rush this step. Wet-on-wet application will muddy the colors.
Drying

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones and create coldness or grey blooms where needed, especially over darker grounds (Source 1).
Tip — Scumbling allows the underlying painting to make itself felt. Use it to soften edges or create atmospheric effects.
Scumbling

finishing

step 05
Once sufficient mastery is gained, mix varnish with oil for final glazes to enhance luminosity and depth.
Tip — This technique was practiced by old masters to achieve rich, luminous colors (Source 1).
Varnish Glazing

critical techniques

Glazing

A transparent coat of color applied over a dry underpainting. Used by old masters to build up luminous, deep colors without muddying the paint (Source 1).

Scumbling

A semi-opaque painting technique where the underlying layer shows through. Used to create coldness, grey blooms, or atmospheric effects (Source 1).

Grisaille

A monochrome underpainting using black, ultramarine, and white. Establishes the value structure before color is introduced (Source 1).

common pitfalls

→Applying color before the grisaille is completely dry, which will ruin the transparency of the glazes (Source 1).
→Using opaque paint for the initial color layers instead of transparent glazes, which will obscure the underlying value structure (Source 1).
→Over-modeling or being too tied down to outlines, which contradicts the expressive, loose style of Goya’s late work (Source 4).
→Ignoring the principles of simultaneous contrast, which can lead to flat, unharmonious color relationships (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.

·The specific visual details of 'The Repentant Saint Peter' (e.g., pose, clothing, background) are not described in the provided sources.
·Goya’s specific palette for this painting is not detailed; the guide relies on general old master techniques described in Source 1.
·The exact medium Goya used for his Black Paintings is debated; this guide uses the Reynolds method cited in Source 1 as a proxy for old master practice.

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, glazing, and scumbling techniques
- ON COPYING — applied to Advice on avoiding over-modeling and strict outlines
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Understanding chiaroscuro and color harmony