The Family of Charles IV: A Royal Portrait
The Family of Charles IV
1. General Documentation
Title: The Family of Charles IV
Artist: Francisco de Goya (1746-1828)
Date: 1800-1801
Style: Neoclassicism (with influences beyond a single style)
Technique: Oil on canvas
Dimensions: 2.28m x 3.36m
Location: Museo del Prado, Madrid
Theme: A royal portrait commissioned by Charles IV, depicted without flattery, reminiscent of Velázquez’s Las Meninas, with Goya himself appearing as an observer in the background.
2. Formal Analysis
Plastic Elements
Goya’s brushwork is loose and lively, while the design is less emphasized. The color palette of the dresses is rich, based on white and gold tones blended with red and blue. The luxurious gold dress of Queen Maria Luisa and the red of the Infant Francisco de Paula stand out. Goya illuminates the right side of the canvas, leaving the left in shadow, which accentuates the brightness of the costumes, decorations, and jewelry.
Composition
The Family of Charles IV is a collective portrait that shares similarities with Velázquez’s Las Meninas and neoclassical portraiture (vertical arrangement of figures, lack of movement). However, it goes beyond this style with its free brushwork and focus on color and psychological character. The work is set in a palace hall, with the royal characters divided into three groups: the King and Queen with their two youngest children in the center; the future Ferdinand VII with his unknown future wife and the King’s siblings on the left; and the King’s brother and two daughters on the right. Goya himself appears painting in the background. The composition is shallow and closed, focusing on the foreground and creating a sense of limited space due to the number of figures.
Style
This work belongs to Goya’s period as First Court Painter, a position that provided him with financial stability. During these years, he focused on portraits of the royal family and other court members. Goya combined a penetrating perception of his subjects with a free and schematic painting style, giving his work a unique liveliness. Influenced by Mengs and Velázquez, Goya studied the works of the latter in the royal collections, seeking to reproduce Velázquez’s light, atmosphere, and free painting style. Goya’s style evolved over decades, culminating in an original approach. The Naked Maja (from the same period) influenced Manet’s Olympia and Picasso’s reclining nudes. Goya is considered a precursor to modern painting. Despite the neoclassical context, his painting is unclassifiable, admired by Delacroix, the Impressionists, and the Expressionists. Goya acknowledged three masters: Velázquez, Rembrandt, and nature.
3. Interpretation
Content and Significance
Goya created this painting on commission from Charles IV, requiring individual sketches of each family member. The painting raises questions about Goya’s intentions: was it a caricature or a faithful portrayal? Some suggest Goya, despite his court position, felt closer to the Enlightenment and satirized the royal family. However, the King’s acceptance of the work suggests a faithful representation. Goya likely captured the psychology of the characters without prejudice, treating them as mortals adorned with jewels and decorations. The King, portrayed as lacking the decisiveness of an absolute monarch, and his son Ferdinand stand a step forward, symbolizing their prominence. The Queen, known for her vanity and intrigues, occupies the central position. Goya shows sympathy for the Infant Francisco de Paula, reflecting his affection for children. Despite the family grouping, internal disputes marked this period in Spanish history. Goya places himself as an independent observer.
Function
This piece, intended as a family portrait, likely served as decoration in the Royal Palace.