plate no. 2846

The Third of May 1808 (Execution of the Defenders of Madrid)

oil, canvasRomanticismhistory paintingfiguresexecutionnightbuildingsoldiersviolence

recreation guide

Francisco Goya’s *The Third of May 1808* is a seminal work of Romantic history painting, created in 1814 to commemorate the execution of Spanish defenders by French troops during the Peninsular War (Source 3). Unlike traditional history paintings that often idealized subjects, Goya’s approach was characterized by a 'disinclination to flatter' and a focus on the brutal reality of corruption and decay, reflecting his satirical and critical eye even in official commissions (Source 1). The work is viewed by art historians as a visual protest against the violence of the war and the political turmoil of the era, representing an 'outraged conscience' (Source 3).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (linseed oil medium)	Primary medium for the painting	High-quality tube oil paints mixed with linseed oil
Canvas	Support surface	Primed linen or cotton canvas
Brushes (various fibers)	Application of paint; hog bristles for bold strokes/impasto, sable/fitch for detail	Hog bristle flats/rounds for backgrounds, Kolinsky sable rounds for figures
Palette knife	Mixing paints and potentially applying/removing paint	Standard metal palette knife
Turpentine or spirits	Thinning medium and cleaning	Odorless mineral spirits or turpentine

preparation

surface prep

Goya worked as a court painter and produced large-scale history paintings and portraits. While specific ground recipes for this canvas are not detailed in the sources, standard practice for the period involved preparing a canvas or panel with a ground suitable for oil application (Source 4). The surface should be stable and able to support the 'massing of light and shade' characteristic of his dramatic style (Source 4).

underdrawing

The sources do not explicitly describe Goya’s underdrawing method for this specific work. However, oil painting generally involves applying paint over a sketched outline, which could be in another medium (Source 7). Given Goya’s background in etching (*The Disasters of War*), he likely employed a strong linear construction phase, though the final work emphasizes tonal contrast over line (Source 3, Source 7).

underpainting

No specific underpainting technique (e.g., grisaille or verdaccio) is cited for this work. Goya’s practice involved building up layers to achieve dramatic effects. The 'French School' technique described in the sources suggests a method of extracting constituents and focusing on linear construction and massing of light and shade (Source 4).

color palette

Deep Blacks and Dark Browns

Carbon black, umber, burnt sienna

Background, uniforms of the firing squad, and shadows to create high contrast

Bright Yellow/White

Lead white, yellow ochre, or lead-tin yellow

The central victim’s shirt, serving as the focal point of light

Earthy Reds and Ochres

Vermilion, red ochre, earth tones

Blood, skin tones, and the hillside background

Neutral Grays/Browns

Mixtures of black, white, and earth tones

The uniforms of the soldiers and the night sky

composition

The composition relies heavily on chiaroscuro, where the juxtaposition of high and low tones creates a 'true gradation of light' (Source 2). The central figure is illuminated against a dark background, a technique that enhances the emotional impact. The arrangement of figures follows the principles of history painting, which aims to portray a crucial moment in a narrative (Source 5). The contrast between the chaotic, faceless firing squad and the individualized, illuminated victims is a key compositional device.

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the composition on the canvas, focusing on the placement of the central victim and the firing squad. Ensure the linear construction supports the narrative moment.
Tip — Pay attention to the scale of figures to their setting (Source 4).
Linear construction

underpainting

step 02
Apply a thin layer of paint to establish the basic tonal values. Focus on the 'massing of light and shade' to define the forms without detailed color.
Tip — Use broad swaths of color with flat brushes to block in areas (Source 7).
Massing of light and shade

first pass

step 03
Begin applying local colors. Use the principle of chiaroscuro: place the brightest tones (the victim’s shirt) next to the darkest tones (the background and uniforms) to heighten the contrast.
Tip — The tint of the highest tone will be enfeebled next to the lowest tone, creating a gradation of light (Source 2).
Chiaroscuro / Simultaneous Contrast

refining

step 04
Develop the details of the figures. Use finer brushes (sable or fitch) for the faces and hands to convey emotion and individuality, contrasting with the broader strokes used for the uniforms and background.
Tip — Fitch hair and mongoose hair brushes are fine and smooth, answering well for detail work (Source 7).
Detail work

finishing

step 05
Enhance the dramatic lighting. Ensure the central figure stands out as the focal point. Adjust the contrast between the light and dark areas to maximize the emotional impact.
Tip — Devote yourself to great effects; many small ones will result from them (Source 2).
Chiaroscuro

varnishing

step 06
Allow the painting to dry completely before applying a varnish to protect the surface and unify the gloss.
Tip — Ensure the surface is dry to prevent cracking or discoloration.
Varnishing

critical techniques

Chiaroscuro

Used to create dramatic contrast between light and dark, highlighting the central victim and emphasizing the horror of the scene. The juxtaposition of tones creates a 'true gradation of light' (Source 2).

Simultaneous Contrast

Placing bright colors next to dark ones to enhance the visual impact and emotional intensity. This principle helps in harmonizing colors inherent to the object represented (Source 2).

Narrative Composition

Depicting a crucial moment in a historical event, consistent with the genre of history painting which aims to portray historical events through imagination (Source 5).

common pitfalls

→Failing to establish strong tonal contrast, resulting in a flat or muddy appearance. Goya’s work relies on the 'massing of light and shade' (Source 4).
→Over-detailing the background or secondary figures, which can distract from the central narrative focus. The artist should devote themselves to 'great effects' (Source 2).
→Using inappropriate brushes for detail work, leading to rough textures in areas requiring smoothness. Fine brushes like sable or fitch are recommended for detail (Source 7).

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 pigment recipes used by Goya for this painting are not provided in the sources.
·The exact ground preparation and sizing methods for this specific canvas are not detailed.
·The specific underdrawing medium (charcoal, chalk, etc.) is not specified.
·The varnishing process and materials used by Goya are not described.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints of different tones of the same colour — applied to Chiaroscuro and simultaneous contrast techniques
The Practice of Oil Painting — THE FRENCH SCHOOL↗
- THE FRENCH SCHOOL — applied to General oil painting techniques and composition notes

cross-referenced from

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

Wikipedia bio — Francisco Goya — part 5↗
- part 5 — applied to Goya’s style and disinclination to flatter
Wikipedia bio — Francisco Goya — part 8↗
- Peninsular War (1808–1814) — applied to Historical context and narrative intent
Wikipedia: History painting↗
- History painting — part 6 — applied to Genre definition and narrative composition
Wikipedia: Oil painting↗
- Oil painting — part 6 — applied to Materials and brush types