plate no. 0728

Wife of Juan Agustín Ceán Bermúdez

oil, canvasRomanticismportraitportraitwomandresshatfigurebox

recreation guide

This artwork, painted in 1785, falls within Francisco Goya’s early career period when he was establishing himself as a court painter to the Spanish aristocracy and royalty (Source 7). During the 1780s, Goya’s circle of patrons expanded to include notable figures such as the Duke and Duchess of Osuna, and he was appointed a salaried painter to Charles III in 1786 (Source 4). Portraits from this era served as important records for the rich and powerful, aiming to achieve a recognizable likeness of the sitter (Source 3). While Goya is often characterized as a Romantic painter who later adopted a darker, more pessimistic outlook following his illness in 1793, his earlier works, including this portrait, reflect the conventions of the time, potentially influenced by his study under Anton Raphael Mengs and the Rococo style (Source 7). The painting is executed in oil on canvas, a medium that allows for greater flexibility, richer color, and the use of layers (Source 8).

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White Lead, Black, Earth tones)	Primary pigments for underpainting and glazing	Acrylic or Oil equivalents; historically White Lead is toxic, use Titanium White with caution for historical accuracy
Linseed or Poppy Seed Oil	Binder for pigments and medium for glazing	Stand oil or refined linseed oil
Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits
Canvas	Support surface	Linen or cotton canvas, primed
Varnish (e.g., Copal or Dammar)	Final protective layer and depth enhancement	Synthetic resin varnish
Oil of Copavia	Historical medium mentioned by Reynolds for first/second paintings	Dammar varnish or similar resinous medium

preparation

surface prep

The canvas should be primed with a ground suitable for oil painting. While specific preparation for this exact canvas is not detailed in the sources, Goya’s training under Mengs and the general practice of the period suggest a smooth, white or light-toned ground to facilitate the layering techniques described in contemporary treatises (Source 7, Source 8).

underdrawing

Goya’s preparatory methods for this specific portrait are not explicitly described in the provided sources. However, as a trained academician who studied under Anton Raphael Mengs, he likely employed a precise underdrawing to establish the likeness, which was a critical goal of portrait painting in this era (Source 3, Source 7).

underpainting

The artist should consider a grisaille (monochrome underpainting) technique. Contemporary practice, as noted by Sir Joshua Reynolds, involved establishing the form with black, ultramarine, and white before applying color glazes (Source 1). This method allows the artist to mentally extract red and yellow tones initially, focusing on value and form (Source 1).

color palette

Ultramarine

Pure ultramarine pigment

Underpainting and cool shadows, consistent with Reynolds' method (Source 1)

White Lead

White lead pigment

Highlights and mixing with ultramarine/black for grisaille (Source 1, Source 6)

Black

Ivory black or lamp black

Shadows and underpainting (Source 1, Source 6)

Red Ochre / Vermilion

Natural ochres or cinnabar

Glazing and scumbling to introduce warmth and flesh tones (Source 1, Source 6)

Yellow Ochre

Natural yellow ochre

Glazing and earth tones (Source 1, Source 6)

composition

Specific compositional details of this portrait are not described in the sources. Generally, Goya’s portraits of the aristocracy were notable for their disinclination to flatter, often revealing character rather than idealizing the subject (Source 4). The intent was to create a recognizable likeness for the sitter (Source 3).

step by step

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

underdrawing

step 01
Sketch the likeness of the sitter on the prepared canvas, focusing on accurate proportions and facial features.
Tip — Ensure the likeness is recognizable, as this was a primary goal of portrait painting (Source 3).
Academic drawing

underpainting

step 02
Apply a grisaille using black, ultramarine, and white mixed with oil of copavia or linseed oil.
Tip — Mentally extract red and yellow colors, focusing on the values that would remain if those colors were absent (Source 1).
Grisaille

first pass

step 03
Once the grisaille is dry, begin glazing with transparent coats of red and yellow tones.
Tip — Apply thin, transparent layers to build up color depth, similar to tinting an engraving with watercolors (Source 1).
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones and create coldness or grey blooms where needed.
Tip — Be aware that scumbling over a darker ground tends to create coldness; use this to control temperature (Source 1).
Scumbling

finishing

step 05
Refine the likeness and ensure harmonious color contrasts, considering the simultaneous contrast of colors.
Tip — Remember that adjacent colors affect each other’s appearance; adjust tones to account for this optical effect (Source 2).
Color Harmony

varnishing

step 06
Apply a final varnish to protect the painting and unify the surface sheen.
Tip — Use a varnish mixed with oil if following the historical method of gaining mastery over glazes (Source 1).
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity. This was a common practice among old masters (Source 1).

Scumbling

Using semi-opaque paint to modify underlying tones, often creating coldness or grey blooms when applied over darker grounds (Source 1).

Simultaneous Contrast

Adjusting colors based on how adjacent hues affect each other’s perception, ensuring accurate color representation despite optical illusions (Source 2).

common pitfalls

→Applying opaque colors too early, which can muddy the transparency achieved through glazing (Source 1).
→Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and application (Source 2).
→Using modern pigments that may not have the same drying or chemical stability as historical earths and ochres (Source 6).
→Over-flattering the sitter, contrary to Goya’s known tendency toward unflattering, character-revealing portraits (Source 4).

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 visual details of the sitter’s clothing, jewelry, or background are not described in the sources.
·Goya’s exact underdrawing technique for this specific portrait is not documented in the provided texts.
·The specific palette ratios for this painting are not provided, requiring inference from general period practices.

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
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast adjustments
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Historical pigment usage and material considerations

cross-referenced from

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

Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Intent of likeness and historical context of portraiture
Wikipedia bio — Francisco Goya↗
- part 4 — applied to Goya’s patronage and unflattering style
- part 1 — applied to Goya’s training and early career context
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General oil painting properties and materials