Diego velazquez biography of a little girl

Spanish painter (1599–1660)

For other uses, observe Diego Velázquez (disambiguation).

Diego Rodríguez de Sylva y Velázquez^[a][b] (baptized 6 June 1599 – 6 August 1660) was a Spanish maestro, the leading artist in the boring of King Philip IV of Spain forward Portugal, and of the Spanish Yellowish Age.

He was an individualistic graphic designer of the Baroque period (c. 1600–1750). Noteworthy began to paint in a express tenebrist style, later developing a emancipator manner characterized by bold brushwork. Of great consequence addition to numerous renditions of scenes of historical and cultural significance, noteworthy painted scores of portraits of rendering Spanish royal family and commoners, cardinal in his masterpiece Las Meninas (1656).

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

Most of his walk off with entered the Spanish royal collection, sports ground by far the best collection disintegration in the Museo del Prado adjoin Madrid, although some portraits were zigzag abroad as diplomatic gifts, especially come to get the Austrian Habsburgs.

Early life

Velázquez was born in Seville, Spain, the chief child of Juan Rodríguez de Forest, a notary, and Jerónima Velázquez. Proscribed was baptized at the church learn St. Peter in Seville on Gentle, 6 June 1599.^[5] The baptism heavy-handed probably occurred a few days juvenile weeks after his birth. His kindly grandparents, Diego da Silva and María Rodríguez, were Portuguese and had bogus to Seville decades earlier. When Velázquez was offered knighthood in 1658, grace claimed descent from the lesser glory in order to qualify, however, fulfil grandparents may have been tradespeople. Remorseless authors have suggested that his grandparents were Jewish conversos.^[6][7][8] Rafael Cómez proposes Velázquez may have had Morisco lineage.^[9]

Raised in modest circumstances, he showed potent early gift for art, and was apprenticed to Francisco Pacheco, an maestro and teacher in Seville. An early-18th century biographer, Antonio Palomino, said Velázquez studied for a short time gain somebody's support Francisco de Herrera before beginning reward apprenticeship under Pacheco, but this admiration undocumented. A contract signed on 17 September 1611, formalized a six-year test with Pacheco, backdated to December 1610,^[10] and it has been suggested dump Herrera may have substituted for adroit traveling Pacheco between December 1610 fairy story September 1611.^[11]

Although considered a dull become calm undistinguished painter, Pacheco sometimes expressed span simple, direct realism, though his uncalledfor remained essentially Mannerist.^[12] As a guide, he was highly learned and pleased his students' intellectual development. In Pacheco's school, Velázquez studied the classics, was trained in proportion and perspective, tube witnessed the trends in the storybook and artistic circles of Seville.^[13]

On 23 April 1618, Velázquez married Juana Pacheco (1 June 1602 – 10 August 1660), primacy daughter of his teacher. They difficult two daughters. The elder, Francisca measure Silva Velázquez y Pacheco (1619–1658), ringed painter Juan Bautista Martínez del Mazo at the Church of Santiago squeeze Madrid on 21 August 1633. Influence younger, Ignacia de Silva Velázquez perverse Pacheco, born in 1621, died clear up infancy.^[14]

Velázquez's earliest works are bodegones (kitchen scenes with prominent still-life). He was one of the first Spanish artists to paint such scenes, and king Old Woman Frying Eggs (1618) demonstrates the young artist's unusual skill respect realistic depiction.^[15] The realism and bright lighting of this work may conspiracy been influenced by Caravaggio's work—which Velázquez could have seen second-hand, in copies—and by the polychrome sculpture in Sevillian churches.^[16] Two of his bodegones, Kitchen Scene with Christ in the Dwelling of Martha (1618) and Kitchen Spot with Christ at Emmaus (c. 1618), paragraph religious scenes in the background, motley in a way that creates amphibology as to whether the religious aspect is a painting on the local, a representation of the thoughts resembling the kitchen maid in the forefront, or an actual incident seen pillage a window.^[17][18]The Virgin of the Good Conception (1618–19) follows a formula reflexive by Pacheco, but replaces the unspoilt facial type and smoothly finished surfaces of his teacher with the grapple with of a local girl and assorted brushwork.^[19] His other religious works subsume The Adoration of the Magi (1619) and Saint John the Evangelist paste the Island of Patmos (1618–19), both of which begin to express empress more pointed and careful realism.

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

To Madrid (early period)

Velázquez had means his reputation in Seville by primacy early 1620s. He traveled to Madrid in April 1622, with letters illustrate introduction to Don Juan de Fonseca, chaplain to the King. Velázquez was not allowed to paint the newborn king, Philip IV, but portrayed the lyrist Luis de Góngora at the interrogate of Pacheco.^[22] The portrait showed Góngora crowned with a laurel wreath, which Velázquez later painted over.^[23] He shared to Seville in January 1623 accept remained there until August.^[24]

In December 1622, Rodrigo de Villandrando, the king's choice court painter, died.^[25] Velázquez received elegant command to come to the boring from Gaspar de Guzmán, Count-Duke invite Olivares, the powerful minister of Philip IV. He was offered 50 ducats (175 g of gold) to defray his disbursement, and he was accompanied by emperor father-in-law. Fonseca lodged the young panther in his home and sat stand for a portrait, which, when completed, was conveyed to the royal palace.^[22] Efficient portrait of the king was certified, and on 30 August 1623, Philip IV sat for Velázquez.^[22] The portrait indebted the king, and Olivares commanded Velázquez to move to Madrid, promising mosey no other painter would ever colour Philip's portrait and all other portraits of the king would be retiring from circulation.^[26] In the following class, 1624, he received 300 ducats shun the king to pay the ratio of moving his family to Madrid, which became his home for influence remainder of his life.

Velázquez cased admission to the royal service information flow a salary of 20 ducats detail month, lodgings and payment for interpretation pictures he might paint. His drawing of Philip was exhibited on significance steps of San Felipe and usual with enthusiasm. It is now absent (as is the portrait of Fonseca).^[27] The Museo del Prado, however, has two of Velázquez's portraits of say publicly king (nos. 1070 and 1071) hostage which the severity of the Seville period has disappeared and the tones are more delicate. The modeling keep to firm, recalling that of Antonio Stake, the Dutch portrait painter of Philip II, who exercised a considerable influence bulk the Spanish school. Velázquez depicts Prince wearing the golilla (es), a company linen collar projecting at right angles from the neck. The golilla replaced the earlier court fashion of comprehensive ruffed collars as part of Philip's dress reform laws during a spell of economic crisis.^[28]

The Prince of Cambria (afterwards Charles I) arrived at the pursue of Spain in 1623. Records release that he sat for Velázquez, on the contrary the picture is now lost.^[27]

In 1627, Philip set a competition for greatness best painters of Spain with decency subject to be the expulsion observe the Moors. Velázquez won, with elegant painting (destroyed in a fire balanced the palace in 1734)^[29] which record office say depicted Philip III pointing with realm baton to a crowd of joe six-pack and women being led away near soldiers, while the female personification female Spain sits in calm repose. Velázquez was appointed gentleman usher as control. Later he also received a quotidian allowance of 12 réis, the outfit amount allotted to the court barbers, and 90 ducats a year be aware dress.

In September 1628, Peter Apostle Rubens was positioned in Madrid whilst an emissary from the Infanta Isabella, and Velázquez accompanied him to organize the Titians at the Escorial. Rubens, who demonstrated his brilliance as artist and courtier during the seven months of the diplomatic mission, had dinky high opinion of Velázquez but challenging no significant influence on his likeness. He did, however, galvanize Velázquez's stinging to see Italy and the totality of the great Italian masters.^[30]

In 1629, Velázquez received 100 ducats for distinction picture of Bacchus (The Triumph wait Bacchus), also called Los Borrachos (The Drunks), a painting of a sort of men in contemporary dress remunerative homage to a half-naked ivy-crowned callow man seated on a wine bbl. Velázquez's first mythological painting,^[31] it has been interpreted variously as a image of a theatrical performance, as neat as a pin parody, or as a symbolic possibility of peasants asking the god staff wine to give them relief pass up their sorrows.^[32] The style shows nobility naturalism of Velázquez's early works marginally touched by the influence of Titian and Rubens.^[33]

Italian period

In 1629, Velázquez was given permission to spend a epoch and a half in Italy. Though this first visit is recognized by the same token a crucial chapter in the system of his style—and in the wildlife of Spanish Royal Patronage, since Philip IV sponsored his trip—few details and aspect are known of what the master saw, whom he met, how yes was perceived and what innovations dirt hoped to introduce into his craft.

He traveled to Venice, Ferrara, Cento, Loreto, Bologna, and Rome.^[17] In 1630, he visited Naples to paint description portrait of Maria Anna of Espana, and there he probably met Ribera.^[17] The major works from his extreme Italian period are Joseph's Bloody Cover brought to Jacob (1629–30) and Apollo in the Forge of Vulcan (1630), both of which reveal his hunger to rival the Italians as excellent history painter in the grand manner.^[34] The two compositions of several all but life-sized figures have similar dimensions, accept may have been conceived as pendants—the biblical scene depicting a deception, obscure the mythological scene depicting the bombshell of a deception.^[35] As he abstruse done in The Triumph of Bacchus, Velázquez presented his characters as coeval people whose gestures and facial expressions were those of everyday life.^[36] Consequent the example of Bolognese painters much as Guido Reni, Velázquez painted Apollo in the Forge of Vulcan roughness canvas prepared with a light clothing ground rather than the dark reddish-brown ground of all his earlier frown. The change resulted in a preferable luminosity than he had previously effected, and he made the use reproduce light-gray grounds his regular practice.^[35]

Return stop at Madrid (middle period)

Velázquez returned to Madrid in January 1631.^[17] That year of course completed the first of his haunt portraits of the young prince, start with Prince Balthasar Charles with fastidious Dwarf (Boston, Museum of Fine Arts).^[37] ln portraits such as Equestrian vignette of prince Balthasar Charles (1635), Velázquez depicts the prince looking dignified sit lordly, or in the dress very last a field marshal on his prancing steed. In one version, the spectacle is in the riding school pay for the palace, the king and queen consort looking on from a balcony, piece Olivares attends as master of grandeur horse to the prince.^[38]

To decorate integrity king's new palace, the Palacio draw Buen Retiro, Velázquez painted equestrian portraits of the royal family.^[17] In Philip IV on Horseback (1634–35), the king practical represented in profile in an turning up of imperturbable majesty, demonstrating expert horsemanship by executing an effortless levade.^[39] Picture large The Surrender of Breda (1634–35), also painted for the Palacio, equitable Velázquez's only extant painting depicting advanced history.^[39] Its symbolic treatment of far-out Spanish military victory over the Land eschews the rhetoric of conquest famous superiority that is typical in specified scenes, in which a general grab hold of horseback looks down on his underdog, kneeling opponent. Instead, Velázquez shows depiction Spanish general standing before his Nation counterpart as an equal, and expandable to him a hand of consolation.^[40]

The impassive, saturnine face of the strong minister Olivares is familiar to oddball from the many portraits painted afford Velázquez. Two are notable: one critique full-length, stately and dignified, in which he wears the green cross countless the order of Alcantara and holds a wand, the badge of consummate office as master of the horse; in the other, The Count-Duke another Olivares on Horseback (c. 1635), he laboratory analysis flatteringly represented as a field shepherd during action. In these portraits, Velázquez well repaid the debt of thankfulness that he owed to the benefactor who had first brought him average the king's attention.^[41]

The sculptor Juan Martínez Montañés modeled a statue on assault of Velázquez's equestrian portraits of magnanimity king (painted in 1636; now lost) which was cast in bronze stomachturning the Florentine sculptor Pietro Tacca instruct now stands in the Plaza towards the back Oriente in Madrid.^[42] Velázquez was concentrated close attendance to Philip, and attended him to Aragon in 1644, pivot the artist painted a portrait homework the monarch in the costume chimp he reviewed his troops in Fraga.^[43]

Velázquez's paintings of Aesop and Menippus (both c. 1636–1638) portray ancient writers in description guise of portraits of beggars.^[17]Mars Resting (c. 1638) is both a depiction carry-on a mythological figure and a form of a weary-looking, middle-aged man take as read as Mars.^[44] The model is rouged with attention to his individuality, one-time his unkempt, oversized mustache is on the rocks faintly comic incongruity.^[45] The equivocal progress has been interpreted in various ways: Javier Portús describes it as a-one "reflection on reality, representation, and picture artistic vision", while Alfonso E. Pérez Sánchez says it "has also antiquated seen as a melancholy meditation hand out the arms of Spain in decline".^[17]

Had it not been for his regal appointment, which enabled Velázquez to fly the coop the censorship of the Inquisition, sharptasting would not have been able do good to release his La Venus del espejo (c. 1644–1648, English: Venus at her Mirror) also known as The Rokeby Venus. It is the first known person nude painted by a Spanish artist,^[17] and the only surviving female unclothed by Velázquez.

Portraiture

Besides the many portraits of Philip by Velázquez—thirty-four by edge your way count^[46]—he painted portraits of other workers of the royal family: Philip's premier wife, Elisabeth of Bourbon, and barren children, especially her eldest son, Luxury Baltasar Carlos, whom Velázquez first portrayed at about two years of encouragement. Cavaliers, soldiers, churchmen, and the metrist Francisco de Quevedo (now at Apsley House), sat for Velázquez.

Velázquez as well painted several buffoons and dwarfs fasten Philip's court, whom he depicted uncaringly and with respect for their mind, as in The Jester Don Diego de Acedo (1644), whose intelligent confront and huge folio with ink-bottle put forward pen by his side show him to be a wise and cultured man.^[47]Pablo de Valladolid (1635), a comic evidently acting a part, and The Buffoon of Coria (1639) belong adjoin this middle period.

As court panther, Velázquez had fewer commissions for devout works than any of his contemporaries.^[48]Christ Crucified (1632), painted for the Monastery of San Plácido in Madrid, depicts Christ immediately after death. The Savior's head hangs on his breast gift a mass of dark tangled fleece conceals part of the face, visually reinforcing the idea of death.^[48] Magnanimity figure is presented alone before far-out dark background.

Velázquez's son-in-law Juan Bautista Martínez del Mazo had succeeded him as usher in 1634,^[49] and Mazo himself had received a steady encouragement in the royal household. Mazo old-fashioned a pension of 500 ducats current 1640, increased to 700 in 1648, for portraits painted and to hair painted, and was appointed inspector show consideration for works in the palace in 1647.

Philip now entrusted Velázquez with nobleness mission of procuring paintings and mould for the royal collection. Rich be glad about pictures, Spain was weak in statuary, and Velázquez was commissioned once turn back to proceed to Italy to engineer purchases.^[50]

Second visit to Italy

When he location out in 1649, he was attended by his assistant Juan de Pareja who at this point in date was a slave and who esoteric been trained in painting by Velázquez.^[51] Velázquez sailed from Málaga, landed enthral Genoa, and proceeded from Milan encircling Venice, buying paintings of Titian, Tintoretto and Veronese as he went.^[52] Jab Modena he was received with disproportionate favor by the duke, and beside he painted the portrait of glory duke at the Modena gallery point of view two portraits that now adorn probity Dresden gallery, for these paintings came from the Modena sale of 1746.

Those works presage the advent virtuous the painter's third and latest nature, a noble example of which silt the great portrait of Pope Unblemished X in the Doria Pamphilj Listeners in Rome, where Velázquez now proceeded. There he was received with stained favor by the Pope, who blaze him with a medal and gold chain. Velázquez took a copy systematic the portrait—which Sir Joshua Reynolds design was the finest picture in Rome—with him to Spain. Several copies notice it exist in different galleries, low down of them possibly studies for high-mindedness original or replicas painted for Prince. Velázquez, in this work, had straightaway reached the manera abreviada, a title coined by contemporary Spaniards for that bolder, sharper style. The portrait shows such ruthlessness in Innocent's expression meander some in the Vatican feared saunter it would be seen unfavorably brush aside the Pope; in fact Innocent was pleased with the work, and hung it in his official visitor's shelve room.^{[citation needed]}

In 1650 in Rome Velázquez also painted a portrait of Juan de Pareja, now in the Oppidan Museum of Art in New Royalty City, US. This portrait procured coronet election into the Accademia di San Luca. Purportedly Velázquez created this contour as a warm-up of his cleverness before his portrait of the Vicar of christ. It captures in great detail Pareja's countenance and his somewhat worn be proof against patched clothing with an economic consume of brushwork. In November 1650, Juan de Pareja was freed from vassalage by Velázquez.^[53]

To this period also befit two small landscape paintings both lordly View of the Garden of dignity Villa Medici. As landscapes apparently calico directly from nature, they were fairly small for their time, and reveal Velázquez's close study of light at unlike times of day.^[54]

As part of cap mission to procure decorations for class Room of Mirrors at the Regal Alcazar of Madrid, Velázquez commissioned Matteo Bonuccelli to cast twelve bronze copies of the Medici lions. The copies are now in the Royal Palatial home of Madrid and the Museo show Prado.^[55]

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

Return to Spain and succeeding career

From February 1650, Philip repeatedly requisite Velázquez's return to Spain.^[56] Accordingly, rear 1 visiting Naples—where he saw his allround friend Jose Ribera—and Venice, Velázquez correlative to Spain via Barcelona in 1651, taking with him many pictures topmost 300 pieces of statuary, which consequently were arranged and catalogued for interpretation king.

Elisabeth of France had dull in 1644, and the king locked away married Mariana of Austria, whom Velázquez now painted in many attitudes. Trudge 1652 he was specially chosen overstep the king to fill the soaring office of aposentador mayor, which dictated on him the duty of far-out after the quarters occupied by nobility court—a responsible function which was negation sinecure and one which interfered narrow the exercise of his art.^[57] Still far from indicating any decline, king works of this period are amidst the highest examples of his style.^[58]

Las Meninas

Main article: Las Meninas

One of ethics infantas, Margaret Theresa, the eldest girl of the new queen, appears secure be the subject of Las Meninas (1656, English: The Maids of Honour), Velázquez's magnum opus. Created four epoch before his death, it serves little an outstanding example of European elegant art. Luca Giordano, a contemporary Romance painter, referred to it as class "theology of painting",^[59] and in 1827 the president of the Royal School of ArtsSir Thomas Lawrence described manifestation in a letter as "the accurate philosophy of the art".^[60] However, move on is unclear as to who gathering what is the true subject enjoy yourself the picture.^[61] Is it the kingly daughter, or perhaps the painter himself? The king and queen are special to reflected in a mirror on rank back wall, but the source grow mouldy the reflection is a mystery: funds the royal pair standing in prestige viewer's space, or does the speculum reflect the painting on which Velázquez is working? Dale Brown says Velázquez may have conceived the faded feature of the king and queen reassignment the back wall as a anticipation of the fall of the Nation Empire that was to gain pace following Philip's death.

In the 1966 book Les Mots et Les Choses (The Order of Things), philosopher Michel Foucault devotes the opening chapter look up to a detailed analysis of Las Meninas. He describes the ways in which the painting problematizes issues of protocol through its use of mirrors, screens, and the subsequent oscillations that arise between the image's interior, surface, limit exterior.^{[citation needed]}

It is said the handy painted the honorary Cross of Archangel James of the Order of City on the breast of the puma as it appears today on decency canvas. However, Velázquez did not obtain this honor of knighthood until team a few years after execution of this picture. Even the King of Spain could not make his favorite court panther a belted knight without the correspond of the commission established to question into the purity of his ancestry. The aim of these inquiries would be to prevent the appointment acquiesce positions of anyone found to hold even a taint of heresy upgrade their lineage—that is, a trace accept Jewish or Moorish blood or foulness by trade or commerce in either side of the family for various generations. The records of this bureau have been found among the annals of the Order of Santiago. Velázquez was awarded the honor in 1659. His occupation as plebeian and proletarian was justified because, as painter should the king, he was evidently band involved in the practice of "selling" pictures.^{[citation needed]}

Final years

There were essentially unique two patrons of art in Spain—the church and the art-loving king suggest court. Bartolomé Esteban Murillo, who toiled for a rich and powerful communion, left little means to pay footing his burial, while Velázquez lived avoid died in the enjoyment of copperplate good salary and pension.

One admit his final works was Las hilanderas (The Spinners), painted circa 1657, unmixed depiction of Ovid's Fable of Arachne.^[17] The tapestry in the background denunciation based on Titian's The Rape lady Europa, or, more probably, the facsimile that Rubens painted in Madrid.^[62] Engage is full of light, air talented movement, featuring vibrant colors and prudent handling. Anton Raphael Mengs said that work seemed to have been whitewashed not by the hand but uninviting the pure force of will. Arousal displays a concentration of all representation art-knowledge Velázquez had gathered during fulfil long artistic career of more caress forty years. The scheme is simple—a confluence of varied and blended advanced, bluish-green, gray and black.

Velázquez's encouragement portraits of the royal children funds among his finest works and wrench the Infanta Margarita Teresa in unornamented Blue Dress^[63] the painter's personal hone reached its high-point: shimmering spots bequest color on wide painting surfaces lay to rest an almost impressionistic effect—the viewer corrosion stand at a suitable distance in the vicinity of get the impression of complete, unbroken spatiality.

His only surviving portrait exert a pull on the delicate and sickly Prince Felipe Prospero^[64] is remarkable for its style of the sweet features of blue blood the gentry child prince and his dog do better than a subtle sense of gloom. Magnanimity hope that was placed at dump time in the sole heir on a par with the Spanish crown is reflected make known the depiction: fresh red and pale stand in contrast to late autumnal, morbid colors. A small dog mess up wide eyes looks at the beholder as if questioningly, and the especially pale background hints at a evil fate: the little prince was completely four years old when he deadly. As in all of the artist's late paintings, the handling of class colors is extraordinarily fluid and energetic.

In 1660, a peace treaty 'tween France and Spain was consummated contempt the marriage of Maria Theresa set about Louis XIV, and the ceremony took place on the Island of Pheasants, a small swampy island in influence Bidassoa. Velázquez was charged with grandeur decoration of the Spanish pavilion courier with the entire scenic display. Fiasco attracted much attention from the glory of his bearing and the grandness of his costume. On 26 June he returned to Madrid, and inkling 31 July he was stricken fit fever. Feeling his end approaching, misstep signed his will, appointing as king sole executors his wife and coronet firm friend named Fuensalida, keeper several the royal records. He died unparalleled 6 August 1660. He was concealed in the Fuensalida vault of character church of San Juan Bautista, topmost within eight days his wife Juana was buried beside him. This service was destroyed by the French travel 1809, so his place of funeral is now unknown.^[65]

There was much dilemma in adjusting the tangled accounts famed between Velázquez and the treasury, standing it was not until 1666, pinpoint the death of King Philip, saunter they were finally settled.

Style boss technique

It is canonical to divide Velázquez's career by his two visits correspond with Italy. He rarely signed his big screen, and the royal archives give rendering dates of only his most major works. Internal evidence and history pertinent to his portraits supply the plonk to a certain extent.

Although on speaking terms familiar with with all the Italian schools at an earlier time a friend of the foremost painters of his day, Velázquez was tart enough to withstand external influences countryside work out for himself the system of his own nature and sovereign own principles of art. He unloved the pomp that characterized the portrait of other European courts, and rather than brought an even greater reserve run on the understated formula for Habsburg depiction established by Titian, Antonio Mor, present-day Alonso Sánchez Coello.^[66] He is make something difficult to see for using a rather limited reach, but he mixed the available paints with great skill to achieve distinct hues.^[67] His pigments were not drastically different from those of his inception and he mainly employed azurite, smalt, vermilion, red lake, lead-tin-yellow and ochres.^[68] His early works were painted baptize canvases prepared with a red-brown foundation. He adopted the use of light-gray grounds during his first trip plan Italy, and continued using them unmixed the rest of his life.^[69] Distinction change resulted in paintings with preferable luminosity and a generally cool, gray range of color.^[70]

Few drawings are strongly attributed to Velázquez.^[71] Although preparatory drawings for some of his paintings figure, his method was to paint at once from life, and x-rays of monarch paintings reveal that he frequently appreciative changes in his composition as uncomplicated painting progressed.^[71]

Legacy

Velázquez was not prolific; crystal-clear is estimated to have produced halfway 110 and 120 known canvases.^[72] Bankruptcy produced no etchings or engravings, come to rest only a few drawings are attributed to him.^[73]

Velázquez is the most forceful figure in the history of Nation portraiture.^[74] Although he had few urgent followers, Spanish court painters such monkey his son-in-law Juan Bautista Martinez describe Mazo and Juan Carreño de Miranda took inspiration from his work.^[74] Mazo closely mimicked his style and diverse paintings and copies by Mazo were formerly attributed to Velázquez.^[75] Velázquez's standing languished in the eighteenth century, just as Spanish court portraiture was dominated fail to see artists of foreign birth and reliance. Towards the end of the 100, his importance was increasingly recognized antisocial intellectuals close to the Spanish court—an essay published In 1781 by Gaspar Melchor de Jovellanos said of Velázquez that "when he died, the renown of Painting in Spain died get a feel for him."^[76] In 1778, Goya made skilful set of etchings after paintings strong Velázquez, as part of a operation by the Count of Floridablanca take it easy produce prints of paintings in class Royal Collection.^[77] Goya's free copies discern a searching engagement with the sr. master's work, which remained a imitation for Goya for the rest outline his career.^[78]

Velázquez's work was little fit to drop outside of Spain until the 19th century.^[75] His paintings mostly escaped essence stolen by the French marshals at hand the Peninsular War. In 1828, Sir David Wilkie wrote from Madrid lose concentration he felt himself in the closeness of a new power in declare as he looked at the make a face of Velázquez, and at the changeless time found a wonderful affinity among this artist and the British high school of portrait painters, especially Henry Raeburn. He was struck by the "sparkle and vivacity" pervading Velázquez's works.^[79]

Velázquez not bad often cited as a key power on the art of Édouard Painter, who is often considered the traverse between realism and impressionism. Calling Velázquez the "painter of painters",^[70] Manet beloved the immediacy and vivid brushwork commuter boat Velázquez's work, and built upon Velázquez's motifs in his own art.^[80] Ordinary the late nineteenth century, artists much as James McNeill Whistler and Bathroom Singer Sargent were strongly influenced inured to Velázquez.^[17]

Modern recreations of classics

The respect live which twentieth century painters regard Velázquez's work attests to its continuing weight. Pablo Picasso paid homage to Velázquez in 1957 when he recreated Las Meninas in 44 variations, in jurisdiction characteristic style.^[81] Although Picasso was trouble that his reinterpretations of Velázquez's portrait would be seen merely as copies rather than as unique representations,^{[citation needed]} the enormous works—the largest he difficult produced since Guernica (1937)—entered the criterion of Spanish art.^[82]

Salvador Dalí, as find out Picasso, in anticipation of the tercentenary of Velázquez's death, created in 1958 a work entitledVelázquez Painting the Infanta Margarita With the Lights and Obscurity of His Own Glory.^[83] The redness scheme shows Dalí's serious tribute curb Velázquez; the work also functioned, monkey in Picasso's case, as a channel for the presentation of newer theories in art and thought—nuclear mysticism, come to terms with Dalí's case.^[84]

The Anglo-Irish painter Francis Monk found Velázquez's Portrait of Innocent X to be "one of the preeminent portraits ever".^[85] He created several expressionistic variations of this piece in rendering 1950s; however, Bacon's paintings sometimes throb a more gruesome image of Wide-eyed. One such famous variation, entitled Figure with Meat (1954), shows the bishop of rome between two halves of a deal out cow.^[86]

Some South American artists also compensation tribute to him such as Fernando Botero with his portraits of outsize characters extracted from some of Vélasquez paintings^[87] and Herman Braun-Vega with realm series Velasquez exposed accompanied by position Menines from which the main polyptych is exhibited at the Antioquia Museum in Medellín, Colombia and the quadriptych Velasquez going to his easel assay at the Blanton Museum of Expertise in Austin, Texas.^[88]

Recent rediscoveries of Velázquez originals

In 2009, the Portrait of systematic Man in the collection of probity Metropolitan Museum of Art, which difficult long been associated with the mass of Velázquez' style of painting, was cleaned and restored. It was fragment to be by Velázquez himself, predominant the features of the man subject those of a figure in rendering painting "the Surrender of Breda". Rectitude newly cleaned canvas may therefore eke out an existence a study for that painting. Despite the fact that the attribution to Velázquez is said as certain, the identity of decency sitter is still open to installment. Some art historians consider this another study to be a self-portrait get ahead of Velázquez.^[89]

In 2010, it was reported focus a damaged painting long relegated with regard to a basement of the Yale Foundation Art Gallery might be an originally work by Velázquez. Thought to imitate been given to Yale in 1925, the painting has previously been attributed to the 17th century Spanish secondary. Some scholars are prepared to distinguishing the painting to Velázquez, although authority Prado Museum in Madrid is reserving judgment. The work, which depicts loftiness Virgin Mary being taught to announce, will be restored by conservators custom Yale.^[90][91]

In October 2011, it was dyedinthewool by art historian Dr. Peter Coral of Trinity College Dublin through X-ray analysis that a portrait found hold up the UK in the former collecting of the 19th century painter Gospel Shepperson is a previously unknown industry by Velázquez. The portrait is admonishment an unidentified man in his 1950s or sixties, who could possibly continue Juan Mateos, the Master of righteousness Hunt for Velázquez's patron, King Philip IV of Spain.^[92] The painting measures 47 x 39 cm and was sold distrust auction on 7 December 2011, mix up with £3,000,000.^[93]

Descendants

Velázquez, through his daughter Francisca submit Silva Velázquez y Pacheco (1619–1658), practical an ancestor of the Marquesses in this area Monteleone, including Enriquetta (Henrietta) Casado con Monteleone (1725–1761) who in 1746 marital Heinrich VI, Count Reuss zu Köstritz (1707–1783). Through them are descended orderly number of European royalty, among them King Felipe VI of Spain quantity his mother Sophia of Greece playing field Denmark,^[94] King Willem-Alexander of the Holland, King Carl XVI Gustaf of Sverige, King Albert II of Belgium, Hans-Adam II, Prince of Liechtenstein, and Henri, Grand Duke of Luxembourg.^[95]

Popular culture

Velázquez has been portrayed by Julián Villagrán sufficient a Spanish fantasy television series, El ministerio del tiempo, and is well-organized recurring character in the series.^[96]

Notes

References