plate no. 7176

The Repentant Saint Peter

oil, canvasRomanticismreligious paintingfigurereligiousportraitbeardkeysrobes

what to study here

A close, low-key study in how extreme value contrast and varied edge handling can carry an expression with very little else in the picture.

Start with the value structure. The background and deepest shadows sit in near-black, the blue robe holds the middle values, and the face is the brightest passage. Squint and three groups remain: dark ground, medium-dark blue masses, and a warm face that seems to float forward. The light comes from the upper left and lands on the forehead, cheekbones and beard, so the upward-tilted face is the first thing the eye reads.

Then compare the handling across the picture. The face is modeled with soft edges and careful value gradations rather than obvious strokes. The beard and hair use directional dabs and drags of lighter paint over a darker ground. The gold-ochre drapery on the left and lower foreground is looser, with bold strokes following the folds. The vision analysis also notes palette-knife work making sharp highlights along the blue robe's folds. The background stays soft and undefined so it recedes. Notice how the keys in the shadowed lower right are small and dark, and how the painter keeps them readable without letting them compete with the head.

key decision

The painter set a bright, softly modeled face against a near-black ground and mid-dark blue robe, so the head dominates. Handling is tight on the face and looser on the drapery.

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

cross-referenced from

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

Wikipedia bio — Francisco Goya↗
- part 5 — applied to Context on Goya’s style and disinclination to flatter

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A three-quarter portrait of an elderly bearded man gazes upward with intense spiritual anguish. Light from the upper left illuminates his forehead, cheekbones, and beard with bright warmth, while the background falls away to near-black, creating an intimate psychological space. His body is turned slightly left, wrapped in a deep blue robe with gold-ochre drapery spilling over the left shoulder and lower foreground. Large iron keys rest in the shadowed lower right, and his right hand emerges at chest level, gesturing with visible emotion. The eye moves first to the face, arrested by its expressive upward tilt and the contrast between lit planes and shadowed hollows.

value structure

Extreme value separation: the background and deep shadows sit in near-black (#141613–#1e201e), while the face reads as the brightest passage with creamy tan-pink highlights. Middle values occupy the blue robe and transition zones around the head and shoulders; the gold fabric provides warmer, slightly lighter mid-tones on the left and bottom. When squinting, three distinct groups emerge: very dark ground, medium-dark blue masses, and a bright warm face floating forward. This radical contrast is what creates the painting's emotional punch.

observed palette and mixes

#141613
Ivory black with touch of raw umber; or Mars black for depth
Deepest shadows in background, under beard, fabric recesses
#191b19
Ivory black + burnt sienna for warm darks
Background, establishing the near-black void around the figure
#3b3d38
Ultramarine blue + burnt umber + touch of white for cool grays
Shadow planes in the blue robe, mid-tone transitions
#83715d
Yellow ochre + raw sienna with white for luminosity
Gold drapery on left shoulder and lower foreground, warm accent fabric
#d4a574
Yellow ochre + cadmium yellow + white with touch of red for flesh
Highlights on forehead, cheekbones, and bridge of nose
#4a5a7f
Ultramarine + indigo + touch of burnt umber
Primary blue robe, mid-tone fabric masses

edges and brushwork

The face receives refined, controlled handling—edges soften where cheek meets shadow, and the modeling is built with careful value gradations rather than obvious strokes. The beard and hair show texture through directional dabs and drags of lighter paint over darker ground. In contrast, the drapery employs looser, more gestural brushwork: bold directional strokes follow the fold of the gold fabric, and the blue robe shows visible paint manipulation with palette knife work creating sharp highlights along folds. The background is almost atmospheric, with soft undefined edges that recede.

a working sequence

01
Block the background and establish the dark ground
Mix a warm black-brown using ivory black + burnt sienna. With a large brush, cover the entire background and any area that will stay very dark (deep folds, shadow recesses). Leave this layer loose and unblended—it establishes the value anchor and will show through in final touches. Work quickly; this is your value reference.
02
Block in the main masses—head, robes, and drapery shapes
With mid-sized flat brushes, lay in the large forms: mix a warm tan-ochre for the face shape (yellow ochre + white + touch of red), a deep ultramarine-based blue for the main robe, and a warmer gold-ochre for the left-shoulder drapery. Don't refine yet; focus on accurate proportions and getting the color temperature right. Establish where the keys will sit as a small dark shape.
03
Model the face with subtle value transitions
Work on the face with small round brushes. Identify the three planes: the illuminated forehead and bridge, the warmer lit cheek, and the shadowed jaw. Build shadows under the cheekbone with ultramarine + burnt umber + a touch of the face color, keeping them translucent. Add cooler shadows (ultramarine-heavy) in the eye sockets and along the temple. The shadows must stay warm in the core but cool at the edges—this creates dimension without deadness. Watch the eye line carefully; it tilts upward in the head turn.
04
Paint the beard and hair texture
Layer highlights over the shadow base. Use titanium white + yellow ochre + touch of red for warm lights in the beard. Apply with directional strokes following the form, not random dabbing. Leave dark shadow shapes visible between lit areas—the contrast between white whiskers and dark shadow is what reads as form. The hair at the crown should show similar contrast: darker brown shadow mixed from burnt sienna + ultramarine, with lighter ochre-white highlights catching the light from above.
05
Develop the blue robe with fold structure
Refine the ultramarine robe by adding darker values (ultramarine + burnt sienna) into fold recesses and where fabric overlaps itself. Identify the light source direction (upper left) and apply lighter blue (ultramarine + white + touch of yellow ochre) where the robe turns toward that light. Use a medium flat brush and follow the directional pull of the fabric. The robe should read as three-dimensional through value shifts, not through edges.
06
Paint the gold drapery with luminous highlights
The ochre-gold fabric on the left and lower foreground needs to glow without looking garish. Use yellow ochre + raw sienna as the base mid-tone. Add brightest lights (yellow ochre + cadmium yellow + white) along where the light hits the fold ridges. Keep the lightest notes relatively small and placed strategically. Add shadows into the deep folds with burnt sienna + ultramarine (warm neutral). The gold should feel weighty and dimensional, not flat.
07
Paint the hands and the keys
The visible hand at chest level should be simplified but suggest form through shadow placement. Use the same face color (tan + white + touch of red) for illuminated areas, with cooler ultramarine-umber shadows underneath. The keys in the lower right are small but important symbolically; render them in warm grays and ochres (raw sienna + white) with burnt umber shadows to read against the dark background. They should feel solid and metallic without overworking.
08
Refine the face—eyes, mouth, and final modeling
Add the eyes with a small round brush: dark pupil (ivory black + ultramarine), warm iris undertone, catch light of white. The gaze should angle upward—this is critical for the emotional read. Paint the mouth with a dark warm line (burnt sienna + ultramarine) and a suggestion of lip color (red ochre) where the light hits. Soften the transition between cheekbone highlight and shadow with blended strokes. The expression depends on these small features reading as vulnerable, not dramatic.
09
Final passes and atmospheric depth
Step back and assess values. The background should remain nearly featureless and dark, providing maximum contrast for the illuminated head. Add final bright accents to the forehead, nose tip, and beard where light is strongest. Use a dry brush technique to suggest texture in the beard (white or light ochre dragged over shadow). Soften any harsh edges where the head meets background by glazing or dry-brushing. The goal is an intimate, glowing figure emerging from darkness.

where studies of this painting go wrong

Overworking the face—the subtle transitions that convey emotion can flatten if over-blended; know when to stop and let brushstrokes breathe.
The blue robe can turn muddy or opaque if you mix it with too much black; rely instead on ultramarine + warm darks (burnt sienna, umber) to keep it singing.
Placing the highlights too bright or too large on the face risks turning the expression into caricature rather than spiritual intensity; restrain the white, rely on warm ochre for glow.
Losing the keys—they're small but must read as metal and anchor the composition; don't leave them as an afterthought smudge.

measured difficulty