Miguel and friends, My observation is that observation was the most significant of all of Goya's skills. Observation is such an important part of an artists skills because composition can flow following good observation but is unlikely to be successful if it is the precursor. Goya's pallette interests me. Not only am I unaware of the best colours available to artists at his time in history but also I do not know what Goya intended to produce and why. This is another thing that makes visual arts so fascinating. I realise that reproduction often changes the original colours and that strong red or blue bias is the strongest likey area of change, however, I had noticed a big lack of green in Goya's work. I researched a little and found this on a site. Francisco de Goya’s palette (about 1820): White Lead (Flake White), Naples Yellow, Yellow Ochre, Raw Umber, Burnt Umber, Burnt Sienna, Venetian Red, Brown Ochre, Light Red, Vermilion, Crimson Lake, Green Earth (Terre Verte), Cobalt Blue, Ivory Black. The rest of the informaton is copyright so I suggest a look at the site I referred to. COLOR ACADEMY LINK This site is worth exploring because it explains about the other historical pallettes used in the great art movements. I found this very interesting
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