Who Is the Father of Modern Art Who Are the King and Queen of Spain

17th-century Spanish painter

Diego Velázquez
Self-portrait, c. 1640
Born	Diego Rodríguez de Silva y Velázquez baptized June 6, 1599 Seville, Andalucia, Kingdom of spain
Died	August six, 1660 (aged 61) Madrid, Spain
Nationality	Spanish
Known for	Painting
Notable piece of work	The Surrender of Breda (1634–35) Rokeby Venus (1647–51) Portrait of Innocent X (1650) Las Meninas (1656) Las Hilanderas (c. 1657) List of works
Motion	Baroque

Diego Rodríguez de Silva y Velázquez ^[a] (baptized June 6, 1599 – Baronial half-dozen, 1660) was a Spanish painter, the leading artist in the court of King Philip IV of Spain and Portugal, and of the Spanish Golden Age. He was an individualistic artist of the Baroque flow (c.1600-1750). He began to paint in a precise tenebrist style, later developing a freer manner characterized by bold brushwork. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish imperial family and commoners, culminating in his masterpiece Las Meninas (1656).

Velázquez's artwork became a model for 19th-century realist and impressionist painters. In the 20th century, artists such as Pablo Picasso, Salvador Dalí, and Francis Bacon paid tribute to Velázquez by re-interpreting some of his most iconic images.

Early life [edit]

Velázquez was born in Seville, Spain, the first child of Juan Rodríguez de Silva, a notary, and Jerónima Velázquez. He was baptized at the church of St. Peter in Seville on Sunday, June 6, 1599.^[5] The baptism most probable occurred a few days or weeks after his nascency. His paternal grandparents, Diego da Silva and María Rodríguez, were Portuguese and had moved to Seville decades earlier. When Velázquez was offered knighthood in 1658, he claimed descent from the lesser nobility in order to authorize; in fact, however, his grandparents were tradespeople, and peradventure Jewish conversos.^[vi] ^[7] ^[8] ^[9]

Raised in modest circumstances, he showed an early gift for art, and was apprenticed to Francisco Pacheco, an artist and teacher in Seville. An early-18th-century biographer, Antonio Palomino, said Velázquez studied for a short time under Francisco de Herrera before beginning his apprenticeship under Pacheco, simply this is undocumented. A contract signed on September 17, 1611, formalized a half-dozen-year apprenticeship with Pacheco backdated to December 1610,^[x] and it has been suggested that Herrera may have substituted for a traveling Pacheco between Dec 1610 and September 1611.^[11]

Though considered a dull and undistinguished painter, Pacheco sometimes expressed a simple, direct realism although his work remained essentially Mannerist.^[12] As a teacher, he was highly learned and encouraged his students' intellectual development. In Pacheco'due south school, Velázquez studied the classics, was trained in proportion and perspective, and witnessed the trends in the literary and artistic circles of Seville.^[xiii]

On April 23, 1618, Velázquez married Juana Pacheco (June one, 1602 – August ten, 1660), the daughter of his teacher. They had 2 daughters. The elder, Francisca de Silva Velázquez y Pacheco (1619–1658), married painter Juan Bautista Martínez del Mazo at the Church of Santiago in Madrid on August 21, 1633. The younger, Ignacia de Silva Velázquez y Pacheco, born in 1621, died in infancy.^[14]

Velázquez's earliest works are bodegones (kitchen scenes with prominent still-life). He was i of the first Spanish artists to paint such scenes, and his Old Woman Frying Eggs (1618) demonstrates the young artist's unusual skill in realistic delineation.^[xv] The realism and dramatic lighting of this work may have been influenced by Caravaggio's work—which Velázquez could accept seen 2d-paw, in copies—and by the polychrome sculpture in Sevillian churches.^[16] Two of his bodegones, Kitchen Scene with Christ in the House of Martha (1618) and Kitchen Scene with Christ at Emmaus (c. 1618), feature religious scenes in the groundwork, painted in a way that creates ambiguity every bit to whether the religious scene is a painting on the wall, a representation of the thoughts of the kitchen maid in the foreground, or an actual incident seen through a window.^[17] ^[18] The Virgin of the Immaculate Conception (1618–19) follows a formula used by Pacheco, but replaces the idealized facial type and smoothly finished surfaces of his instructor with the face of a local girl and varied brushwork.^[19] His other religious works include The Adoration of the Magi (1619) and Saint John the Evangelist on the Island of Patmos (1618–19), both of which begin to express his more pointed and careful realism.

Also from this period are the portrait of Sor Jerónima de la Fuente (1620) – Velázquez's first full-length portrait^[20] – and the genre The Water Seller of Seville (1618–1622). The H2o Seller of Seville has been termed "the peak of Velázquez's bodegones" and is admired for its virtuoso rendering of volumes and textures every bit well equally for its enigmatic gravitas.^[21]

To Madrid (early period) [edit]

Velázquez had established his reputation in Seville past the early 1620s. He traveled to Madrid in Apr 1622, with letters of introduction to Don Juan de Fonseca, chaplain to the King. Velázquez was non allowed to pigment the new rex, Philip IV, but portrayed the poet Luis de Góngora at the asking of Pacheco.^[22] The portrait showed Góngora crowned with a laurel wreath, which Velázquez later painted over.^[23] He returned to Seville in January 1623 and remained at that place until Baronial.^[24]

In December 1622, Rodrigo de Villandrando, the king's favorite court painter, died.^[25] Velázquez received a command to come to the courtroom from Gaspar de Guzmán, Count-Duke of Olivares, the powerful minister of Philip 4. He was offered 50 ducats (175 g of gold) to defray his expenses, and he was accompanied by his begetter-in-police force. Fonseca lodged the young painter in his dwelling house and sat for a portrait, which, when completed, was conveyed to the regal palace.^[22] A portrait of the male monarch was commissioned, and on August xxx, 1623, Philip IV sat for Velázquez.^[22] The portrait pleased the king, and Olivares allowable Velázquez to motion to Madrid, promising that no other painter would ever paint Philip's portrait and all other portraits of the rex would be withdrawn from circulation.^[26] In the following year, 1624, he received 300 ducats from the rex to pay the toll of moving his family to Madrid, which became his home for the remainder of his life.

Velázquez secured access to the regal service with a salary of 20 ducats per calendar month, lodgings and payment for the pictures he might paint. His portrait of Philip was exhibited on the steps of San Felipe and received with enthusiasm. It is now lost (as is the portrait of Fonseca).^[27] The Museo del Prado, however, has 2 of Velázquez'south portraits of the king (nos. 1070 and 1071) in which the severity of the Seville catamenia has disappeared and the tones are more frail. The modeling is firm, recalling that of Antonio Mor, the Dutch portrait painter of Philip II, who exercised a considerable influence on the Spanish school. Velázquez depicts Philip wearing the golilla, a strong linen collar projecting at right angles from the cervix. The golilla replaced the earlier courtroom fashion of elaborate ruffed collars every bit part of Philip'southward dress reform laws during a period of economic crisis.^[28]

The Prince of Wales (afterwards Charles I) arrived at the court of Spain in 1623. Records indicate that he saturday for Velázquez, but the film is now lost.^[27]

In 1627, Philip set a competition for the best painters of Spain with the subject to be the expulsion of the Moors. Velázquez won. Recorded descriptions of his painting (destroyed in a fire at the palace in 1734)^[29] say information technology depicted Philip III pointing with his baton to a crowd of men and women being led away by soldiers, while the female personification of Spain sits in at-home repose. Velázquez was appointed gentleman conductor every bit reward. Later he too received a daily assart of 12 réis, the same corporeality allotted to the courtroom barbers, and 90 ducats a year for clothes.

In September 1628, Peter Paul Rubens was positioned in Madrid equally an emissary from the Infanta Isabella, and Velázquez accompanied him to view the Titians at the Escorial. Rubens, who demonstrated his brilliance equally painter and courtier during the 7 months of the embassy, had a loftier opinion of Velázquez only had no significant influence on his painting. He did, still, galvanize Velázquez's desire to see Italy and the works of the great Italian masters.^[30]

In 1629, Velázquez received 100 ducats for the film of Bacchus (The Triumph of Bacchus), also called Los Borrachos (The Drunks), a painting of a grouping of men in gimmicky dress paying homage to a half-naked ivy-crowned fellow seated on a wine barrel. Velázquez'due south first mythological painting,^[31] it has been interpreted variously as a delineation of a theatrical performance, as a parody, or as a symbolic representation of peasants request the god of vino to give them relief from their sorrows.^[32] The style shows the naturalism of Velázquez's early works slightly touched by the influence of Titian and Rubens.^[33]

Italian period [edit]

In 1629, Velázquez was given permission to spend a yr and a half in Italy. Though this offset visit is recognized as a crucial chapter in the development of his style—and in the history of Spanish Royal Patronage, since Philip Four sponsored his trip—few details and specifics are known of what the painter saw, whom he met, how he was perceived and what innovations he hoped to introduce into his painting.

He traveled to Venice, Ferrara, Cento, Loreto, Bologna, and Rome.^[17] In 1630, he visited Naples to paint the portrait of Maria Anna of Spain, and there he probably met Ribera.^[17] The major works from his first Italian flow are Joseph's Bloody Coat brought to Jacob (1629–30) and Apollo in the Forge of Vulcan (1630), both of which reveal his ambition to rival the Italians as a history painter in the grand manner.^[34] The ii compositions of several almost life-sized figures accept similar dimensions, and may accept been conceived as pendants—the biblical scene depicting a charade, and the mythological scene depicting the revelation of a deception.^[35] As he had done in The Triumph of Bacchus, Velázquez presented his characters as contemporary people whose gestures and facial expressions were those of everyday life.^[36] Following the example of Bolognese painters such as Guido Reni, Velázquez painted Apollo in the Forge of Vulcan on canvas prepared with a light gray ground rather than the nighttime reddish ground of all his earlier works. The modify resulted in a greater luminosity than he had previously achieved, and he fabricated the use of light-greyness grounds his regular practice.^[35]

Return to Madrid (centre period) [edit]

La rendición de Breda (1634–1635) was inspired past Velázquez's commencement visit to Italian republic, in which he accompanied Ambrogio Spinola, who conquered the Dutch city of Breda a few years prior. It depicts a transfer of the cardinal to the city from the Dutch to the Spanish regular army during the Siege of Breda. It is considered one of the best of Velázquez'due south paintings.

Velázquez returned to Madrid in January 1631.^[17] That year he completed the first of his many portraits of the young prince, starting time with Prince Balthasar Charles with a Dwarf (Boston, Museum of Fine Arts).^[37] ln portraits such as Equestrian portrait of prince Balthasar Charles (1635), Velázquez depicts the prince looking dignified and lordly, or in the dress of a field marshal on his prancing steed. In one version, the scene is in the riding school of the palace, the rex and queen looking on from a balcony, while Olivares attends as master of the equus caballus to the prince.^[38]

To decorate the male monarch'due south new palace, the Palacio del Buen Retiro, Velázquez painted equestrian portraits of the royal family.^[17] In Philip Iv on Horseback (1634–35), the king is represented in profile in an image of imperturbable majesty, demonstrating expert horsemanship by executing an effortless levade.^[39] The large The Surrender of Breda (1634–35), likewise painted for the Palacio, is Velázquez's only extant painting depicting contemporary history.^[39] Its symbolic treatment of a Spanish military machine victory over the Dutch eschews the rhetoric of conquest and superiority that is typical in such scenes, in which a general on horseback looks down on his vanquished, kneeling opponent. Instead, Velázquez shows the Castilian general standing before his Dutch counterpart as an equal, and extending to him a hand of consolation.^[forty]

The impassive, saturnine confront of the influential minister Olivares is familiar to u.s.a. from the many portraits painted by Velázquez. Two are notable: one is full-length, stately and dignified, in which he wears the green cross of the guild of Alcantara and holds a wand, the bluecoat of his function as master of the horse; in the other, The Count-Duke of Olivares on Horseback (c. 1635), he is flatteringly represented as a field marshal during action. In these portraits, Velázquez well repaid the debt of gratitude that he owed to the patron who had starting time brought him to the rex's attention.^[41]

The sculptor Juan Martínez Montañés modeled a statue on 1 of Velázquez's equestrian portraits of the king (painted in 1636; at present lost) which was bandage in statuary by the Florentine sculptor Pietro Tacca and now stands in the Plaza de Oriente in Madrid.^[42] Velázquez was in close attendance to Philip, and accompanied him to Aragon in 1644, where the artist painted a portrait of the monarch in the costume equally he reviewed his troops in Fraga.^[43]

Velázquez'due south paintings of Aesop and Menippus (both c. 1636–1638) portray aboriginal writers in the guise of portraits of beggars.^[17] Mars Resting (c. 1638) is both a depiction of a mythological figure and a portrait of a weary-looking, eye-aged man posing as Mars.^[44] The model is painted with attention to his individuality, while his unkempt, oversized mustache is a faintly comic incongruity.^[45] The equivocal epitome has been interpreted in various ways: Javier Portús describes it as a "reflection on reality, representation, and the creative vision", while Alfonso E. Pérez Sánchez says it "has besides been seen as a melancholy meditation on the arms of Spain in reject".^[17]

Had it non been for his purple appointment, which enabled Velázquez to escape the censorship of the Inquisition, he would not accept been able to release his La Venus del espejo (c. 1644–1648, English: Venus at her Mirror) too known equally The Rokeby Venus. It is the commencement known female nude painted by a Spanish artist,^[17] and the but surviving female nude past Velázquez.

Portraiture [edit]

Besides the many portraits of Philip by Velázquez—thirty-4 by ane count^[46]—he painted portraits of other members of the regal family: Philip'due south first wife, Elisabeth of Bourbon, and her children, especially her eldest son, Don Baltasar Carlos, whom Velázquez first depicted at about 2 years of age. Cavaliers, soldiers, churchmen, and the poet Francisco de Quevedo (at present at Apsley House), saturday for Velázquez.

Velázquez also painted several buffoons and dwarfs in Philip'due south court, whom he depicted sympathetically and with respect for their individuality, every bit in The Jester Don Diego de Acedo (1644), whose intelligent face up and huge page with ink-canteen and pen by his side show him to be a wise and well-educated man.^[47] Pablo de Valladolid (1635), a buffoon evidently acting a part, and The Buffoon of Coria (1639) vest to this middle period.

As courtroom painter, Velázquez had fewer commissions for religious works than any of his contemporaries.^[48] Christ Crucified (1632), painted for the Convent of San Plácido in Madrid, depicts Christ immediately after death. The Savior'south head hangs on his breast and a mass of dark tangled hair conceals role of the face, visually reinforcing the idea of death.^[48] The figure is presented alone before a dark background.

Velázquez's son-in-police force Juan Bautista Martínez del Mazo had succeeded him as usher in 1634,^[49] and Mazo himself had received a steady promotion in the majestic household. Mazo received a alimony of 500 ducats in 1640, increased to 700 in 1648, for portraits painted and to exist painted, and was appointed inspector of works in the palace in 1647.

Philip now entrusted Velázquez with the mission of procuring paintings and sculpture for the royal drove. Rich in pictures, Spain was weak in bronze, and Velázquez was commissioned once again to proceed to Italian republic to make purchases.^[50]

Second visit to Italy [edit]

When he fix out in 1649, he was accompanied by his banana Juan de Pareja who at this point in fourth dimension was a slave and who had been trained in painting by Velázquez.^[51] Velázquez sailed from Málaga, landed at Genoa, and proceeded from Milan to Venice, buying paintings of Titian, Tintoretto and Veronese as he went.^[52] At Modena he was received with much favor by the duke, and here he painted the portrait of the duke at the Modena gallery and two portraits that now adorn the Dresden gallery, for these paintings came from the Modena sale of 1746.

Those works presage the advent of the painter's tertiary and latest manner, a noble example of which is the great portrait of Pope Innocent X in the Doria Pamphilj Gallery in Rome, where Velázquez now proceeded. At that place he was received with marked favor by the Pope, who presented him with a medal and golden chain. Velázquez took a copy of the portrait—which Sir Joshua Reynolds thought was the finest moving-picture show in Rome—with him to Kingdom of spain. Several copies of it exist in dissimilar galleries, some of them possibly studies for the original or replicas painted for Philip. Velázquez, in this piece of work, had now reached the manera abreviada, a term coined by gimmicky Spaniards for this bolder, sharper fashion. The portrait shows such ruthlessness in Innocent's expression that some in the Vatican feared that information technology would exist seen unfavorably by the Pope; in fact Innocent was pleased with the work, and hung it in his official visitor's waiting room.

In 1650 in Rome Velázquez also painted a portrait of Juan de Pareja, now in the Metropolitan Museum of Fine art in New York Urban center, USA. This portrait procured his election into the Accademia di San Luca. Purportedly Velázquez created this portrait equally a warm-up of his skills before his portrait of the Pope. Information technology captures in not bad particular Pareja's countenance and his somewhat worn and patched vesture with an economic employ of brushwork. In Nov 1650, Juan de Pareja was freed by Velázquez.^[53]

To this period also belong two small-scale landscape paintings both titled View of the Garden of the Villa Medici. As landscapes manifestly painted directly from nature, they were exceptional for their time, and reveal Velázquez's close study of light at unlike times of day.^[54]

As function of his mission to procure decorations for the Room of Mirrors at the Royal Alcazar of Madrid, Velázquez commissioned Matteo Bonuccelli to cast twelve bronze copies of the Medici lions. The copies are at present in the Royal Palace of Madrid and the Museo del Prado.^[55]

During his time in Rome, Velázquez fathered a natural son, Antonio, whom he is not known ever to accept seen.^[56]

Return to Kingdom of spain and afterward career [edit]

From Feb 1650, Philip repeatedly sought Velázquez's return to Kingdom of spain.^[56] Accordingly, subsequently visiting Naples—where he saw his quondam friend Jose Ribera—and Venice, Velázquez returned to Spain via Barcelona in 1651, taking with him many pictures and 300 pieces of bronze, which afterwards were arranged and catalogued for the king.

Elisabeth of French republic had died in 1644, and the king had married Mariana of Republic of austria, whom Velázquez now painted in many attitudes. In 1652 he was specially chosen by the rex to fill the high role of aposentador mayor, which imposed on him the duty of looking after the quarters occupied by the court—a responsible function which was no sinecure and one which interfered with the exercise of his art.^[57] Nonetheless far from indicating any reject, his works of this catamenia are amongst the highest examples of his manner.^[58]

Las Meninas [edit]

I of the infantas, Margaret Theresa, the eldest daughter of the new queen, appears to be the bailiwick of Las Meninas (1656, English: The Maids of Honour), Velázquez's magnum opus. Created four years before his death, it serves as an outstanding example of European baroque art. Luca Giordano, a gimmicky Italian painter, referred to it as the "theology of painting",^[59] and in the eighteenth century the Englishman Thomas Lawrence cited it as the "philosophy of art". However, it is unclear as to who or what is the truthful subject of the picture.^[threescore] Is it the royal daughter, or mayhap the painter himself? The king and queen are seen reflected in a mirror on the back wall, but the source of the reflection is a mystery: are the royal pair continuing in the viewer'south space, or does the mirror reflect the painting on which Velázquez is working? Dale Brown says Velázquez may have conceived the faded paradigm of the rex and queen on the dorsum wall as a foreshadowing of the autumn of the Spanish Empire that was to gain momentum following Philip's death.

In the 1966 volume Les Mots et Les Choses (The Order of Things), philosopher Michel Foucault devotes the opening chapter to a detailed analysis of Las Meninas. He describes the ways in which the painting problematizes issues of representation through its use of mirrors, screens, and the subsequent oscillations that occur between the image'south interior, surface, and exterior.

It is said the king painted the honorary Cross of Saint James of the Social club of Santiago on the breast of the painter as information technology appears today on the canvas. Still, Velázquez did not receive this honor of knighthood until iii years afterwards execution of this painting. Even the King of Spain could non brand his favorite a belted knight without the consent of the committee established to inquire into the purity of his lineage. The aim of these inquiries would be to foreclose the appointment to positions of anyone plant to have even a taint of heresy in their lineage—that is, a trace of Jewish or Moorish blood or contamination by trade or commerce in either side of the family unit for many generations. The records of this committee accept been found among the archives of the Order of Santiago. Velázquez was awarded the accolade in 1659. His occupation as plebeian and tradesman was justified because, as painter to the king, he was obviously not involved in the practice of "selling" pictures.

Final years [edit]

Portrait of the 8-yr-old Infanta Margarita Teresa in a Blueish Apparel (1659)

There were essentially only two patrons of art in Kingdom of spain—the church and the art-loving male monarch and court. Bartolomé Esteban Murillo, who toiled for a rich and powerful church, left piffling ways to pay for his burying, while Velázquez lived and died in the enjoyment of a practiced salary and alimony.

One of his final works was Las hilanderas (The Spinners), painted circa 1657, a depiction of Ovid'southward Fable of Arachne.^[17] The tapestry in the background is based on Titian's The Rape of Europa, or, more probably, the copy that Rubens painted in Madrid.^[61] It is full of low-cal, air and movement, featuring vibrant colors and careful handling. Anton Raphael Mengs said this work seemed to accept been painted non past the hand only by the pure forcefulness of will. It displays a concentration of all the art-cognition Velázquez had gathered during his long artistic career of more than forty years. The scheme is simple—a confluence of varied and blended crimson, blue-light-green, gray and blackness.

Velázquez's final portraits of the purple children are among his finest works and in the Infanta Margarita Teresa in a Bluish Wearing apparel ^[62] the painter's personal mode reached its high-point: shimmering spots of color on wide painting surfaces produce an almost impressionistic event – the viewer must stand up at a suitable altitude to become the impression of complete, three-dimensional spatiality.

His but surviving portrait of the delicate and sickly Prince Felipe Prospero^[63] is remarkable for its combination of the sweet features of the kid prince and his dog with a subtle sense of gloom. The hope that was placed at that fourth dimension in the sole heir to the Spanish crown is reflected in the depiction: fresh cerise and white stand in contrast to late autumnal, morbid colors. A small dog with broad eyes looks at the viewer as if questioningly, and the largely stake background hints at a gloomy fate: the footling prince was barely four years old when he died. As in all of the creative person's tardily paintings, the handling of the colors is extraordinarily fluid and vibrant.

In 1660 a peace treaty between France and Espana was consummated by the union of Maria Theresa with Louis Xiv, and the anniversary took place on the Island of Pheasants, a minor swampy isle in the Bidassoa. Velázquez was charged with the ornamentation of the Spanish pavilion and with the entire scenic display. He attracted much attention from the nobility of his bearing and the splendor of his costume. On June 26 he returned to Madrid, and on July 31 he was stricken with fever. Feeling his end budgeted, he signed his volition, appointing as his sole executors his wife and his firm friend named Fuensalida, keeper of the royal records. He died on August 6, 1660. He was buried in the Fuensalida vault of the church of San Juan Bautista, and within eight days his wife Juana was cached abreast him. This church was destroyed past the French around 1809, so his identify of interment is now unknown.^[64]

There was much difficulty in adjusting the tangled accounts outstanding between Velázquez and the treasury, and it was not until 1666, afterwards the expiry of King Philip, that they were finally settled.

Style and technique [edit]

It is canonical to divide Velázquez'southward career by his two visits to Italy. He rarely signed his pictures, and the royal athenaeum give the dates of only his about of import works. Internal show and history pertaining to his portraits supply the rest to a sure extent.

Although acquainted with all the Italian schools and a friend of the foremost painters of his day, Velázquez was strong enough to withstand external influences and work out for himself the evolution of his own nature and his ain principles of fine art. He rejected the pomp that characterized the portraiture of other European courts, and instead brought an even greater reserve to the understated formula for Habsburg portraiture established by Titian, Antonio Mor, and Alonso Sánchez Coello.^[65] He is known for using a rather express palette, simply he mixed the available paints with great skill to accomplish varying hues.^[66] His pigments were not significantly different from those of his contemporaries and he mainly employed azurite, smalt, vermilion, red lake, lead-can-yellow and ochres.^[67] His early works were painted on canvases prepared with a carmine-brown basis. He adopted the apply of lite-gray grounds during his first trip to Italia, and continued using them for the rest of his life.^[68] The alter resulted in paintings with greater luminosity and a generally cool, silvery range of color.^[69]

Few drawings are securely attributed to Velázquez.^[70] Although preparatory drawings for some of his paintings exist, his method was to paint straight from life, and x-rays of his paintings reveal that he oft made changes in his composition every bit a painting progressed.^[lxx]

Legacy [edit]

Velázquez was not prolific; he is estimated to accept produced betwixt simply 110 and 120 known canvases.^[71] He produced no etchings or engravings, and only a few drawings are attributed to him.^[72]

Velázquez is the most influential effigy in the history of Spanish portraiture.^[73] Although he had few immediate followers, Spanish court painters such every bit his son-in-law Juan Bautista Martinez del Mazo and Juan Carreño de Miranda took inspiration from his piece of work.^[73] Mazo closely mimicked his mode and many paintings and copies by Mazo were formerly attributed to Velázquez.^[74] Velázquez'southward reputation languished in the eighteenth century, when Castilian courtroom portraiture was dominated by artists of foreign birth and grooming. Towards the end of the century, his importance was increasingly recognized past intellectuals shut to the Castilian court—an essay published In 1781 by Gaspar Melchor de Jovellanos said of Velázquez that "when he died, the glory of Painting in Espana died with him."^[75] In 1778, Goya made a set of etchings after paintings by Velázquez, as part of a project by the Count of Floridablanca to produce prints of paintings in the Royal Drove.^[76] Goya'due south free copies reveal a searching engagement with the older master's piece of work, which remained a model for Goya for the rest of his career.^[77]

Velázquez'southward work was little known exterior of Spain until the nineteenth century.^[74] His paintings mostly escaped being stolen by the French marshals during the Peninsular State of war. In 1828, Sir David Wilkie wrote from Madrid that he felt himself in the presence of a new power in art as he looked at the works of Velázquez, and at the same time found a wonderful affinity between this creative person and the British school of portrait painters, peculiarly Henry Raeburn. He was struck past the modern impression pervading Velázquez's work in both landscape and portraiture.

Velázquez is ofttimes cited every bit a key influence on the art of Édouard Manet, who is often considered the bridge betwixt realism and impressionism. Calling Velázquez the "painter of painters",^[69] Manet admired the immediacy and vivid brushwork of Velázquez'due south piece of work, and built upon Velázquez's motifs in his ain fine art.^[78] In the tardily nineteenth century, artists such equally James McNeill Whistler and John Vocalizer Sargent were strongly influenced by Velázquez.^[17]

Modernistic recreations of classics [edit]

The respect with which twentieth-century painters regard Velázquez's work attests to its continuing importance. Pablo Picasso paid homage to Velázquez in 1957 when he recreated Las Meninas in 44 variations, in his characteristic way.^[79] Although Picasso was concerned that his reinterpretations of Velázquez's painting would exist seen only equally copies rather than unique representations, the enormous works—including the largest he had produced since Guernica in 1937—obtained a position of importance in the canon of Castilian fine art.

Salvador Dalí, as with Picasso in anticipation of the tercentennial of Velázquez's death, created in 1958 a piece of work entitled Velázquez Painting the Infanta Margarita With the Lights and Shadows of His Own Glory. The color scheme shows Dalí'due south serious tribute to Velázquez; the piece of work also functioned, as in Picasso's case, as a vehicle for the presentation of newer theories in art and thought—nuclear mysticism, in Dalí's example.

The Anglo-Irish painter Francis Salary found Velázquez's portrait of Pope Innocent X to be "ane of the greatest portraits ever".^[eighty] He created several expressionist variations of this piece in the 1950s; withal, Bacon's paintings presented a more gruesome prototype of Innocent. One such famous variation, entitled Effigy with Meat (1954), shows the pope between 2 halves of a bisected cow.

Contempo rediscoveries of Velázquez originals [edit]

In 2009, the Portrait of a Man in the collection of the Metropolitan Museum of Art, which had long been associated with the followers of Velázquez' fashion of painting, was cleaned and restored. It was found to exist by Velázquez himself, and the features of the man match those of a figure in the painting "the Surrender of Breda". The newly cleaned sheet may therefore be a study for that painting. Although the attribution to Velázquez is regarded as sure, the identity of the sitter is still open to question. Some art historians regard this new report to be a self-portrait by Velázquez.^[81]

In 2010 it was reported that a damaged painting long relegated to a basement of the Yale University Art Gallery might be an early work past Velázquez. Thought to have been given to Yale in 1925, the painting has previously been attributed to the 17th-century Spanish school. Some scholars are prepared to attribute the painting to Velázquez, though the Prado Museum in Madrid is reserving judgment. The piece of work, which depicts the Virgin Mary being taught to read, volition be restored by conservators at Yale.^[82] ^[83]

In October 2011 information technology was confirmed by art historian Dr. Peter Cherry of Trinity College Dublin through 10-ray analysis that a portrait constitute in the United kingdom in the old collection of the 19th-century painter Matthew Shepperson is a previously unknown work past Velázquez. The portrait is of an unidentified man in his fifties or sixties, who could possibly exist Juan Mateos, the Master of the Hunt for Velázquez'due south patron, King Philip IV of Kingdom of spain.^[84] The painting measures 47 ten 39 cm and was sold at auction on December seven, 2011, for £3,000,000.^[85]

Descendants [edit]

Velázquez, through his daughter Francisca de Silva Velázquez y Pacheco (1619–1658), is an ancestor of the Marquesses of Monteleone, including Enriquetta (Henrietta) Casado de Monteleone (1725–1761) who in 1746 married Heinrich VI, Count Reuss zu Köstritz (1707–1783). Through them are descended a number of European royalty, amongst them King Felipe VI of Spain through his female parent Sophia of Greece and Denmark,^[86] Rex Willem-Alexander of holland, King Carl Xvi Gustaf of Sweden, King Albert 2 of Kingdom of belgium, Hans-Adam II, Prince of Liechtenstein, and Henri, Grand Knuckles of Luxembourg.^[87]

Popular culture [edit]

Velázquez has been portrayed by Julián Villagrán in a Spanish fantasy television serial El ministerio del tiempo. Velázquez in a recurring grapheme in the serial.^[88]

Notes [edit]

^ ,^[i] ,^[1] ^[ii] ^[3] ^[4] Spanish: [ˈdjeɣo βeˈlaθkeθ].

References [edit]

^ ^a ^b "Velázquez, Diego" (US) and "Velázquez, Diego". Lexico Uk English Dictionary. Oxford University Press. north.d.
^ "Velázquez". Random House Webster'south Entire Dictionary.
^ "Velázquez". The American Heritage Dictionary of the English language Linguistic communication (5th ed.). HarperCollins. Retrieved 18 Oct 2019.
^ "Velázquez". Collins English Dictionary. HarperCollins. Retrieved 18 October 2019.
^ Carr et al. 2006, p. 26.
^ Samuel, Edgar (17 June 1996). "The Jewish ancestry of Velasquez". Jewish Historical Studies. 35: 27–32. JSTOR 29779978.
^ Newitt, Malyn (2009). Portugal in European and Earth History. London: Reaktion Books. p. 98. ISBN 9781861895196.
^ Otaka, Yasujiro (September 2000). "An Aspiration Sealed". Special Issue: Art History and the Jew. Studies in Western Art. Retrieved 2007-12-08 .
^ Ingram, Kevin (1999). "Diego Velázquez's Secret History", Boletín del Museo del Prado, XVII (35): 69–85.
^ Carr et al. 2006, p. 53.
^ Harris 1982, p. 9.
^ Carr et al. 2006, p. 28.
^ Carr et al. 2006, p. 14.
^ "Juana and Diego Velazquez Marriage Profile". Matrimony.about.com. Archived from the original on 2011-x-25. Retrieved December 22, 2010.
^ Carr et al. 2006, p. 27.
^ Carr et al. 2006, p. 29.
^ ^a ^b ^c ^d ^e ^f ^chiliad ^h ⁱ ^j Sánchez, Alfonso Eastward. Pérez (January 1, 2003). "Velázquez, Diego". Grove Art Online.
^ Carr et al. 2006, pp. 122, 126.
^ Carr et al. 2006, pp. 28, 29.
^ Carr et al. 2006, p. 142.
^ Carr et al. 2006, p. 130.
^ ^a ^b ^c Carr et al. 2006, p. 245.
^ Carr et al. 2006, p. 144.
^ Carr et al. 2006, pp. 29, 245.
^ Harris 1982, p. 57.
^ Harris 1982, pp. 12, 200.
^ ^a ^b Harris 1982, p. 12.
^ Harris 1982, p. 61.
^ Carr et al. 2006, p. 31.
^ Ortega y Gasset 1953, p. 37.
^ Carr et al. 2006, p. 32.
^ Harris 1982, p. 74.
^ Harris 1982, p. 73.
^ Carr et al. 2006, p. 33.
^ ^a ^b Carr et al. 2006, p. 157.
^ Carr et al. 2006, p. 147.
^ Asturias and Bardi 1969, p. 93.
^ Carr et al. 2006, p. 182.
^ ^a ^b Carr et al. 2006, p. 38.
^ Carr et al. 2006, pp. 38–41.
^ Carr et al. 2006, pp. 164, 180.
^ Herbermann, Charles, ed. (1913). "Juan Martínez Montañés". Cosmic Encyclopedia. New York: Robert Appleton Company.
^ Carr et al. 2006, p. 20.
^ Portús 2004, p. 25.
^ Carr et al. 2006, p. 212.
^ Ortega y Gasset 1953, p. 45.
^ Carr et al. 2006, p. 42.
^ ^a ^b Carr et al. 2006, p. 36.
^ Asturias and Bardi 1969, p. 84.
^ Harris 1982, pp. 24–25.
^ Harris 1982, pp. 25, 27, 87.
^ Harris 1982, pp. 25, 28.
^ The manumission document was discovered past Jennifer Montagu. Encounter Burlington Mag, volume 125, 1983, pp. 683–four.
^ Harris 1982, pp. 141–143; Ortega y Gasset 1953, p. 38.
^ "León – Colección – Museo Nacional del Prado". www.museodelprado.es.
^ ^a ^b Carr et al. 2006, p. 247.
^ Carr et al. 2006, p. 46.
^ Carr et al. 2006, p. 47.
^ Asturias and Bardi 1969, p. 106.
^ Carr et al. 2006, p. 48.
^ Bird, Wendy. "The Bobbin and the Distaff" Archived 2011-08-11 at the Wayback Machine, Apollo, 2007-11-01. Retrieved on May 28, 2009.
^ Kunsthistorisches Museum, Wien "Infantin Margarita Teresa (1651–1673) in blauem Kleid | Diego Rodríguez de Silva y Velázquez | 1659 | Inv. No.: GG_2130" Archived 2013-11-01 at the Wayback Machine Retrieved on January 27, 2014.
^ Kunsthistorisches Museum, Wien "Infant Philipp Prosper (1657–1661) | Diego Rodríguez de Silva y Velázquez | 1659 | Inv. No.: GG_319" Archived 2014-10-26 at the Wayback Car Retrieved on Jan 27, 2014.
^ Goodman, Al (September 7, 1999). "ARTS Away; A Furor for Velazquez: His Art but Likewise His Bones". The New York Times.
^ Carr et al. 2006, p. 30.
^ McKim-Smith et al. 1988.
^ Diego Velázquez, ColourLex
^ Carr et al. 2006, pp. 71, 78.
^ ^a ^b Carr et al. 2006, p. 79.
^ ^a ^b McKim-Smith, Gridley. (December 1979), "On Velázquez's Working Method". The Art Bulletin. 61 (4): 589–603.
^ Vogel, Carol (September 10, 2009). "An Old Spanish Chief Emerges From Grime". The New York Times . Retrieved September 11, 2009. Jonathan Brownish, this country's leading Velázquez expert ... "Velázquez was a painter who measured out his genius in thimblefuls." His output was so small that, depending on who's counting, Mr. Chocolate-brown estimates, there are only 110 to 120 known canvases by the artist.
^ Harris 1982, p. 178.
^ ^a ^b Portús 2004, p. 57.
^ ^a ^b Harris 1982, p. 183.
^ Portús 2004, p. 200.
^ Portús 2004, p. 201.
^ Portús 2004, pp. 204–207.
^ Schjeldahl, Peter (November 10, 2002). "The Castilian Lesson: Manet's gift from Velázquez". The New Yorker. Retrieved May 25, 2019.
^ Harris 1982, p. 177.
^ Arya, Rina (2009). "Painting the Pope: An Analysis of Francis Salary's Report After Velázquez's Portrait of Innocent X". Literature and Theology, 23 (1), 33–50.
^ "Archived copy". Archived from the original on 2010-07-09. Retrieved 2010-04-12 . {{cite web}}: CS1 maint: archived re-create as title (link)
^ Giles Tremlett in Madrid (July 1, 2010). "Yale basement yields Castilian treasure – a possible Velázquez masterpiece". The Guardian. U.k.. Retrieved December 22, 2010.
^ "Yale uncovers Velazquez in basement storage". CBC News. July 3, 2010. Archived from the original on July 6, 2010. Retrieved December 22, 2010.
^ Louise Jury (27 Oct 2011). "Portrait in hoard sent to sale revealed to be £3million Velázquez". London Evening Standard. Archived from the original on 29 Oct 2011. Retrieved Oct 27, 2011.
^ "Rediscovered Velazquez painting sold for £3m at auction". BBC News. 7 December 2011. Retrieved September 29, 2012.
^ "Relationship between Queen Sofia of Spain and Velazquez". Europeandynasties.com. Retrieved December 22, 2010.
^ "Archived copy". Archived from the original on 2008-05-16. Retrieved 2009-07-19 . {{cite web}}: CS1 maint: archived copy as championship (link)
^ "Julián Villagrán es Diego de Velázquez en la serie 'El Ministerio del Tiempo'". RTVE.es (in Castilian). 2015-01-29. Retrieved 2021-03-ten .

Sources [edit]

Asturias, Miguel Angel, and P. G. Bardi (1969). L'opera completa di Velázquez. Milano: Rizzoli. OCLC 991877516.
Carr, Dawson W., Xavier Bray, and Diego Velázquez (2006). Velázquez. London: National Gallery. ISBN 1857093038.
Harris, Enriqueta (1982). Velazquez. Ithaca, North.Y.: Cornell University Press. ISBN 0801415268.
McKim-Smith, G., Andersen-Bergdoll, G., Newman, R. (1988). Examining Velazquez. Yale University Press. ISBN 0300036159.
Ortega y Gasset, José (1953). Velazquez. New York: Random House. OCLC 989292513.
Portús, Javier (2004). The Castilian Portrait from El Greco to Picasso [exposition, Museo nacional del Prado, 20 oct 2004-6 feb 2005]. London: Scala. ISBN 185759374X.

External links [edit]

46 artworks by or after Diego Velázquez at the Fine art UK site
Velázquez works at the Spider web Gallery of Art
Velázquez at Artcyclopedia.com
202 paintings past Diego Velázquez at DiegoVelazquez.org
Diego Velázquez at WikiPaintings.org
Diego Velazquez's Online Exhibition at Owlstand.com
Diego Velázquez, Drove of resource and illustrated paint analyses. ColourLex.