Spanish pupils explain portraits of the 18th, 19th and 20th centuries.

1. The family of Carlos IV:

2. Hi, my name is Desiree, I'm a 4th
year student at the IES
Extremadura Institute, I live in
Montijo, a town in Badajoz
(Extremadura province), in my
town most of the people are
dedicated to agriculture and that's
why there are fantastic landscapes
to take photos

3. The theme is a typical portrait of a group in which the kings (Carlos IV and Maria Luisa) appear, his
successor (future Fernando VII, in blue, on the left) along with other members of the royal family
and (thus following Velázquez in the Meninas) Goya next to his canvas (to the left). Although the
attention is correct Maria Luisa, Goya complies with the entire protocol, placing the characters closer
to the viewer the more important they are.
This is not just a note, but you should see the table below and the position of the feet in the social
position of each of them.

4. The technique is oil on canvas.
The composition is both easy to see but complex to make (this is precisely the
mastery). In principle, and although the picture seems symmetrical, it is not.
The center of the composition is created by the child in red (as you know the
color that most attracts the look) that together with the frame of the painting
creates a large vertical line that separates both parts. If you look at them, the
left is greater than the right in a proportionality known from a very old time
called the golden number (golden number), very used in the Renaissance.

5. Sobre este esquema general el propio tema genera un esquema bastante monótono , lleno de verticales
formadas por las propias figuras .sin embargo goya evita la monotonía tomando de nuevo a Velázquez . Para
comprenderlo es mejor que vieprimero las Meninas y fijaros lo que hace con las cabezas y los pies de los
personages , de una forma parecida trabajará Goya en la familia de Carlos IVrais

6. COMMENTARY
As is evident from all that has been said, we are in the most
creative stage of Goya, already deaf and who has started a
path that is increasingly subjective, acid and critical against
the reality that will lead him to the Fusilamientos and later
to the Black paintings.
The rococo stage of the carpets for the tapestries has been
left behind and has eliminated the pastel colors, the
aristocratic poses, the soft light or that aristocratic
character.

7. This change, in addition to his own personal evolution, is due to the
study of Velázquez's work that was in the palace. As we have seen, he
owes much more to him than to other real painters closer in time.
He calls especially (for his modernity) the sincerity of his portraits
that, even being kings, show themselves with all their weaknesses,
something that Velázquez had only dared to do on rare occasions and
without the brutality of Goya, which becomes no longer a servant but
a person who gives his own vision of the world, in some way similar
to what Rembrandt did in his last years.

8. And with this picture the monarchy is losing all its divine
character. They are no longer chosen by the deity, but simply
men, more or less overwhelmed by the role they have played
in history and in life, quite ridiculous, on the other hand.