Charles IV of Spain and His Family
Charles IV of Spain and His Family is an oil-on-canvas group portrait painting by the Spanish artist Francisco Goya. He began work on the painting in 1800, shortly after he became First Chamber Painter to the royal family, and completed it in the summer of 1801. The portrait features life-sized depictions of Charles IV of Spain and his family, ostentatiously dressed in fine costume and jewelry. Foremost in the painting are Charles IV and his wife, Maria Luisa of Parma, who are surrounded by their children and relatives. The family  are dressed in the height of contemporary fashionable clothing and lavishly adorned with jewelry and the sashes of the order of Charles III. The painting was modeled after Louis-Michel van Loo's 1743 "Portrait of Felipe V and his Family" and Velázquez's "Las Meninas", setting the royal subjects in a similarly naturalistic setting as they pose for the artist who is visible at his easel at the left of the canvas. Description. The group portrait was completed the year after Goya became first court painter, the highest position available to a Spanish artist, and one previously occupied by  Diego Velázquez. Goya did not say why he chose to model the work after the older master, though the notion of a tradition of Spanish painting did not exist at the time. Perhaps Goya was motivated by the troubled times; after eleven years Spain was still dealing with the implications and aftermath of the French Revolution, which ultimately led to Napoleon's invasion of Spain and his installation of his brother, Joseph Bonaparte, on the Spanish throne in 1808. The royal family is apparently paying a visit to the artist's studio: Goya can be seen to the left looking  outwards towards the viewer. Goya seems to focus his attention on three figures: the Prince of Asturias, i. e. the future Fernando VII, who is dressed in blue, his mother the Queen Maria Luisa of Parma, standing in the center, and the King Charles IV. Although a formal portrait, there are indications of intimacy between the family members; Queen Maria Luisa holds the hand of the youngest child. In contrast to Velázquez's "Las Meninas", the painting does not show any of the royal family's servants or attendants. More importantly, Goya omits narrative structure: it is simply a painting  of people posing for a painting. As in "Las Meninas", the artist is shown working on a canvas, of which only the rear is visible; however, the atmospheric and warm perspective of the palace interior of Velázquez's work is replaced here by a sense of, in the words of Gassier, "imminent suffocation" as the royal family are presented on a "stage facing the public, while in the shadow of the wings the painter, with a grim smile, points and says: 'Look at them and judge for yourself!'" Sitters. The barely visible man in the background shadows at the left  is Goya himself (2). Others are, left to right: Interpretation. The French writer Theophile Gautier called it a 'picture of the corner grocer who has just won the lottery' and it has sometimes been suggested that Goya was in some way satirising his subjects. The idea has been dismissed by the art critic Robert Hughes: "This is nonsense. You didn't manage to keep your job as an official court portraitist if you were satirising the people you were painting. No, this is not a send up. If anything it is an act of flattery. For instance on the left , in the blue suit, is one of the most odious little toads in the entire history of Spanish politics, the future King Ferdinand VII, whom Goya actually manages to make quite regal. God knows how he did it, but he has. This is very much an act of respect, almost verging on an act of flattery."