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home·artworks·The Third of May 1808 (Execution of the Defenders of Madrid)
The Third of May 1808 (Execution of the Defenders of Madrid) by Francisco Goya

plate no. 2846

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

Francisco Goya, 1814

oil, canvasRomanticismhistory paintingfiguresexecutionnightbuildingsoldiersviolence
experienced study

Recreating this painting will help students understand dramatic lighting and how to convey emotion through figure poses and facial expressions. Students will also learn how to create depth using value and atmospheric perspective.

technical profile

palette complexity
3
brushwork visibility
4
value contrast
5
compositional simplicity
3

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main figures, the hill, and the building in the background.

  2. step 02

    Establish the dark background using a mix of blues, browns, and blacks, leaving space for the lighter areas.

  3. step 03

    Block in the large shapes of the figures with their basic colors, focusing on the value relationships.

  4. step 04

    Develop the lighting around the lantern, paying close attention to how the light falls on the figures.

  5. step 05

    Add details to the faces and clothing, using small brushstrokes to create texture.

  6. step 06

    Paint the blood and other details on the ground, using reds and browns.

  7. step 07

    Refine the background details, softening the edges of the building and the hill.

  8. step 08

    Add final highlights and shadows to create depth and dimension.

color palette

primary · ivory black · raw umber · yellow ochre · titanium white

secondary · cadmium red · prussian blue · burnt sienna

Mix blacks and browns with small amounts of blue to create the dark tones. Use yellow ochre and white to create the highlights on the figures. Mix red and brown for the blood.

techniques

  • ·chiaroscuro
  • ·dry brushing
  • ·atmospheric perspective
  • ·figure drawing
  • ·grisaille underpainting

common pitfalls

  • →Getting the value relationships wrong, which can flatten the image.
  • →Overworking the details, which can make the painting look stiff.
  • →Not capturing the emotion of the scene.
  • →Ignoring the importance of the light source.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·round brushes (#2, #4, #6)
  • ·flat brushes (#4, #8)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use a high-quality canvas and oil paints for best results. Consider using a toned canvas to help establish the dark values.

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