A man in a scarlet military uniform stands upright, his body turned in three-quarter profile to the left, while his head faces slightly toward the viewer. His expression is serious and alert, with wide, pale eyes and tightly closed lips, and the light falls strongly on his face and upper chest, casting the background into shadow. The uniform is richly decorated with gold braid on the shoulders and collar, and the chest is crowded with medals and orders, including three large silver stars and several colored ribbons draped diagonally across his torso.

A red sash crosses over a blue sash, and at his throat hangs a gold and red badge, while a gold cross and a rectangular striped medal hang lower on crimson and blue ribbons. The brushwork is energetic and varied: the face is carefully modeled with smooth transitions of light and shadow, while the decorations and uniform are described with quick, textured strokes, especially in the highlights on the medals and the folds of the fabric. The background is a deep, plain brown, allowing the vivid colors of the uniform and the sitter’s pale skin to stand out sharply.

Fine cracks are visible in the paint surface, especially in the dark areas, suggesting the age of the panel. The composition is tightly cropped, focusing attention on the sitter’s upper body and face, with no visible setting or props. Francisco de Goya painted this portrait of Arthur Wellesley, 1st Duke of Wellington, between 1812 and 1814, during the Duke’s service in the Peninsular War. According to the National Gallery, Goya began the work in August 1812 after Wellington’s entry into Madrid, and later modified it in 1814 to add further decorations awarded to the Duke in the interim.

The sitter wears the insignia of several military orders, including the Order of the Bath, the Order of the Tower and Sword, and the Order of San Fernando, as well as the Order of the Golden Fleece and the Military Gold Cross with three clasps. The portrait was probably painted from life during sittings in Madrid, and the rapid execution in some areas suggests Goya’s energetic approach to capturing the Duke’s likeness. The National Gallery’s record identifies this work as one of three portraits of Wellington by Goya, and notes that it was painted on a mahogany panel.