Goya’s Family of Charles IV: Analysis of a Royal Masterpiece
The Family of Charles IV by Francisco de Goya
Author: Francisco de Goya y Lucientes. Appointed Chamber Painter to Charles III and Charles IV after his accession to power in 1789, becoming First Chamber Painter in 1799.
Style: Neoclassicism
Topic: The Royal Family Depicted
On the canvas, the royal family appears standing, dressed in silk and adorned with jewels and decorations, against a wall lined with brown silk. All the men pictured are wearing the Order of Charles III, and some are displaying the Golden Fleece. Charles IV also wears the insignia of military orders and the Order of Christ of Portugal, while the ladies fashion Empire-style dresses and wear the sash of the Order of Maria Luisa. On the wall, two boxes are visible, obscured by darkness.
Composition and Technique
Its composition can be defined as Neoclassical due to the loose brushwork, a technique learned from Velázquez, which foreshadows the methods of Impressionist painters. The painting’s composition, with its subtle color story, achieves a perfect balance between warm and cool tones. Stylistically, Goya’s loose brushwork is notable; from a distance, it appears to capture every detail of the decorations, but closer inspection reveals a series of free strokes.
The immediacy of the scene evokes a photographic snapshot. However, the composition is not coincidental; it is precisely what connects this work to Neoclassicism. The figures are arranged in two compact groups, forming a strong diagonal that leaves more space in the foreground for the royal couple and their two youngest children. The painting is notable for its height and the central placement of Queen Maria Luisa, a figure further enhanced by her clothing and her position beside her youngest children. The King appears in a more forward position. On each side of this core group stand four figures: to the right of the canvas, next to Infanta Maria Luisa, and to the left, beside the Prince of Asturias. In the group on the left, there are five figures, as the painter himself is depicted in shadow.
The portraits are arranged like a frieze, forming several interlocking groups that lend more movement to the work. From left to right, they are organized into three distinct groups. Goya largely renounces traditional perspective effects, but uses light and color to achieve volume and variety, helping to differentiate the various planes in depth.
Historical Context
The interpretation of this work has always been challenging, as it is often believed that Goya ridiculed the characters. However, it is strange to think that Goya intended to ridicule the monarch’s family, as documents exist where the Queen herself stated that the portraits were ‘very much like them’ and that she was ‘very happy’ with the result. The characters portrayed do not appear as grotesque caricatures, as in that case, the work would likely have been destroyed.
Goya made preparatory studies for the characters in the palace of Aranjuez. From correspondence between the Queen and Godoy, we know that these studies charmed the monarchs, although they are presented as Gassier and Wilson describe. The figure of Queen Maria Luisa holds particular importance.
Significance in Goya’s Work
Within an academic context, Francisco de Goya stands as an exceptional figure. He began in the Neoclassical era but soon began to seek formal freedom beyond the rigorous academies, which represented official art with a critical vision of society. He suffered an illness in 1792 that left him deaf.
This painting represents the end of an era, marking the culmination of the loose brush painting techniques he had begun years prior, and simultaneously, the beginning of a new stage in his art. This is his last major commission for the royal residences. From the early 19th century, the painter seemed engrossed in perfecting his introspective artistic search. Meanwhile, the political developments unfolding in Spain, particularly the tragic events of May 2nd and 3rd, 1808, would imbue his mature work with an anguished sensibility. Goya’s genius is manifested in all his works, which are absolutely original, full of spontaneity, vigor, and artistic strength. Goya’s painting from here opened wide avenues for modernity, tracing the channels of Romanticism and modern art.