Abstract
L’étude technique de deux petits panneaux de l’entourage de Goya, le Christ au mont des Oliviers (Paris, musée du Louvre) et la Dernière communion de san José de Calasanz (Bayonne, musée Bonnat-Helleu) a permis de mettre en évidence des pratiques communes d’atelier portant tant sur le support et la préparation que sur le mode de cadrage. Elles éclairent la pratique de l’atelier de Goya vers 1819.
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