Diego Velázquez - Knowledge

51: 1330: 512: 197: 718: 1196: 362: 901: 999: 463: 1071: 918: 1305:. The aim of these inquiries would be to prevent the appointment to positions of anyone found 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 for many generations. The records of this commission have been found among the archives of the Order of Santiago. Velázquez was awarded the honor in 1659. His occupation as plebeian and tradesman was justified because, as painter to the king, he was evidently not involved in the practice of "selling" pictures. 319:, and Jerónima Velázquez. He was baptized at the church of St. Peter in Seville on Sunday, 6 June 1599. The baptism most probably occurred a few days or weeks after his birth. 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 qualify, however, his grandparents may have been tradespeople. Some authors have suggested that his grandparents were Jewish 860:) is both a depiction of a mythological figure and a portrait of a weary-looking, middle-aged man posing as Mars. The model is painted with attention to his individuality, while his unkempt, oversized mustache is a faintly comic incongruity. The equivocal image has been interpreted in various ways: Javier Portús describes it as a "reflection on reality, representation, and the artistic vision", while Alfonso E. Pérez Sánchez says it "has also been seen as a melancholy meditation on the arms of Spain in decline". 1411:. Velázquez was charged with the decoration 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 26 June he returned to Madrid, and on 31 July he was stricken with fever. Feeling his end approaching, he signed his will, appointing as his sole executors his wife and his firm friend named Fuensalida, keeper of the royal records. He died on 6 August 1660. He was buried in the Fuensalida vault of the church of 1635:, which had long been associated with the followers of Velázquez' style of painting, was cleaned and restored. It was found to be by Velázquez himself, and the features of the man match those of a figure in the painting "the Surrender of Breda". The newly cleaned canvas may therefore be a study for that painting. Although the attribution to Velázquez is regarded as certain, the identity of the sitter is still open to question. Some art historians consider this new study to be a self-portrait by Velázquez. 634:(The Drunks), a painting of a group of men in contemporary dress paying homage to a half-naked ivy-crowned young man seated on a wine barrel. Velázquez's first mythological painting, it has been interpreted variously as a depiction of a theatrical performance, as a parody, or as a symbolic representation of peasants asking the god of wine to give them relief from their sorrows. The style shows the naturalism of Velázquez's early works slightly touched by the influence of Titian and Rubens. 783:(1634–35), also painted for the Palacio, is Velázquez's only extant painting depicting contemporary history. Its symbolic treatment of a Spanish military 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 Spanish general standing before his Dutch counterpart as an equal, and extending to him a hand of consolation. 533: 301: 1314: 1396:

depiction: fresh red and white stand in contrast to late autumnal, morbid colors. A small dog with wide eyes looks at the viewer as if questioningly, and the largely pale background hints at a gloomy fate: the little prince was barely four years old when he died. As in all of the artist's late paintings, the handling of the colors is extraordinarily fluid and vibrant.

696:(1630), both of which reveal his ambition to rival the Italians as a history painter in the grand manner. The two compositions of several nearly life-sized figures have similar dimensions, and may have been conceived as pendants—the biblical scene depicting a deception, and the mythological scene depicting the revelation of a deception. As he had done in 1467:. His early works were painted on canvases prepared with a red-brown ground. He adopted the use of light-gray grounds during his first trip to Italy, and continued using them for the rest of his life. The change resulted in paintings with greater luminosity and a generally cool, silvery range of color. 1104:. Purportedly Velázquez created this portrait as a warm-up of his skills before his portrait of the Pope. It captures in great detail Pareja's countenance and his somewhat worn and patched clothing with an economic use of brushwork. In November 1650, Juan de Pareja was freed from slavery by Velázquez. 617:. Rubens, who demonstrated his brilliance as painter and courtier during the seven months of the diplomatic mission, had a high opinion of Velázquez but had no significant influence on his painting. He did, however, galvanize Velázquez's desire to see Italy and the works of the great Italian masters. 342:

before beginning his apprenticeship under Pacheco, but this is undocumented. A contract signed on 17 September 1611, formalized a six-year apprenticeship with Pacheco, backdated to December 1610, and it has been suggested that Herrera may have substituted for a traveling Pacheco between December 1610

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took inspiration from his work. Mazo closely mimicked his style and many paintings and copies by Mazo were formerly attributed to Velázquez. Velázquez's reputation languished in the eighteenth century, when Spanish court portraiture was dominated by artists of foreign birth and training. Towards the

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described it in a letter as "the true philosophy of the art". However, it is unclear as to who or what is the true subject of the picture. Is it the royal daughter, or perhaps the painter himself? The king and queen are seen reflected in a mirror on the back wall, but the source of the reflection is

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said this work seemed to have been painted not by the hand but by the pure force of will. It displays a concentration of all the art-knowledge Velázquez had gathered during his long artistic career of more than forty years. The scheme is simple—a confluence of varied and blended red, bluish-green,

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IV sat for Velázquez. The portrait pleased the king, and Olivares commanded Velázquez to move to Madrid, promising that no other painter would ever paint Philip's portrait and all other portraits of the king would be withdrawn from circulation. In the following year, 1624, he received 300 ducats

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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 development of his own nature and his own principles of art. He rejected the pomp that characterized the

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His only surviving portrait of the delicate and sickly Prince Felipe Prospero is remarkable for its combination of the sweet features of the child prince and his dog with a subtle sense of gloom. The hope that was placed at that time in the sole heir to the Spanish crown is reflected in the

975:(1632), painted for the Convent of San Plácido in Madrid, depicts Christ immediately after death. The Savior's head hangs on his breast and a mass of dark tangled hair conceals part of the face, visually reinforcing the idea of death. The figure is presented alone before a dark background. 549:

Velázquez secured admission to the royal service with a salary of 20 ducats per 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). The

503:(175 g of gold) to defray his expenses, and he was accompanied by his father-in-law. Fonseca lodged the young painter in his home and sat for a portrait, which, when completed, was conveyed to the royal palace. A portrait of the king was commissioned, and on 30 August 1623, Philip 1426:

It is canonical to divide Velázquez's career by his two visits to Italy. He rarely signed his pictures, and the royal archives give the dates of only his most important works. Internal evidence and history pertaining to his portraits supply the rest to a certain extent.

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Few drawings are securely attributed to Velázquez. Although preparatory drawings for some of his paintings exist, his method was to paint directly from life, and x-rays of his paintings reveal that he frequently made changes in his composition as a painting progressed.

421:), feature religious scenes in the background, painted in a way that creates ambiguity as 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. 2875:

Jonathan Brown, 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. Brown estimates, there are only 110 to 120 known canvases by the

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the painter's personal style reached its high-point: shimmering spots of color on wide painting surfaces produce an almost impressionistic effect—the viewer must stand at a suitable distance to get the impression of complete, three-dimensional spatiality.

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in 44 variations, in his characteristic style. Although Picasso was concerned that his reinterpretations of Velázquez's painting would be seen merely as copies rather than as unique representations, the enormous works—the largest he had produced since

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on canvas prepared with a light gray ground rather than the dark reddish ground of all his earlier works. The change resulted in a greater luminosity than he had previously achieved, and he made the use of light-gray grounds his regular practice.

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might be an early work by 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, although the

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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 artist and the British school of portrait painters, especially

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Philip now entrusted Velázquez with the mission of procuring paintings and sculpture for the royal collection. Rich in pictures, Spain was weak in statuary, and Velázquez was commissioned once again to proceed to Italy to make purchases.

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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

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thought was the finest picture in Rome—with him to Spain. Several copies of it exist in different galleries, some of them possibly studies for the original or replicas painted for Philip. Velázquez, in this work, had now reached the

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Velázquez had established his reputation in Seville by the early 1620s. He traveled to Madrid in April 1622, with letters of introduction to Don Juan de Fonseca, chaplain to the King. Velázquez was not allowed to paint the new king,

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The impassive, saturnine face of the influential minister Olivares is familiar to us 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

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On 23 April 1618, Velázquez married Juana Pacheco (1 June 1602 – 10 August 1660), the daughter of his teacher. They had two daughters. The elder, Francisca de Silva Velázquez y Pacheco (1619–1658), married painter

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In 1629, Velázquez was given permission to spend a year and a half in Italy. Although this first visit is recognized as a crucial chapter in the development of his style—and in the history of Spanish Royal Patronage, since

1283:. 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's interior, surface, and exterior. 1571:. The color scheme shows Dalí's serious tribute to Velázquez; the 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 case. 425:(1618–19) follows a formula used by Pacheco, but replaces the idealized facial type and smoothly finished surfaces of his teacher with the face of a local girl and varied brushwork. His other religious works include 1530:. Calling Velázquez the "painter of painters", Manet admired the immediacy and vivid brushwork of Velázquez's work, and built upon Velázquez's motifs in his own art. In the late nineteenth century, artists such as 802:), 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 first brought him to the king's attention. 554:, however, has two of Velázquez's portraits of the king (nos. 1070 and 1071) in which the severity of the Seville period has disappeared and the tones are more delicate. The modeling is firm, recalling that of 3220: 4287: 3494:

Ortiz, Alfonso E. Pérez Sánchez y Julian Gallego. 1990. Velázquez. Museo del Prado. Editado por el Ministerio de Cultura de España. Patrocinado por la Fundación Banco Hispano Americano. 1990. 470 páginas.

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until three years after execution of this painting. Even the King of Spain could not make his favorite court painter a belted knight without the consent of the commission established to inquire into the

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In October 2011, it was confirmed by art historian Dr. Peter Cherry of Trinity College Dublin through X-ray analysis that a portrait found in the UK in the former collection of the 19th century painter

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

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to produce prints of paintings in the Royal Collection. Goya's free copies reveal a searching engagement with the older master's work, which remained a model for Goya for the rest of his career.

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at the request of Pacheco. The portrait showed Góngora crowned with a laurel wreath, which Velázquez later painted over. He returned to Seville in January 1623 and remained there until August.

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is a previously unknown work by Velázquez. The portrait is of an unidentified man in his fifties or sixties, who could possibly be Juan Mateos, the Master of the Hunt for Velázquez's patron,

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in Rome, where Velázquez now proceeded. There 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

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Velázquez was not prolific; he is estimated to have produced between 110 and 120 known canvases. He produced no etchings or engravings, and only a few drawings are attributed to him.

3140: 700:, Velázquez presented his characters as contemporary people whose gestures and facial expressions were those of everyday life. Following the example of Bolognese painters such as 647:

IV 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.

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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

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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

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Velázquez is the most influential figure in the history of Spanish portraiture. Although he had few immediate followers, Spanish court painters such as his son-in-law

3228: 1113:. As landscapes apparently painted directly from nature, they were exceptional for their time, and reveal Velázquez's close study of light at different times of day. 4491: 1955: 1345:, who toiled for a rich and powerful church, left little means to pay for his burial, while Velázquez lived and died in the enjoyment of a good salary and pension. 1177:

and one which interfered with the exercise of his art. Yet far from indicating any decline, his works of this period are amongst the highest examples of his style.

746: 511: 750:(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 4679: 4399: 2702: 1500: 3924: 1588:

variations of this piece in the 1950s; however, Bacon's paintings sometimes presented a more gruesome image of Innocent. One such famous variation, entitled

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Velázquez's work was little known outside of Spain until the nineteenth century. His paintings mostly escaped being stolen by the French marshals during the

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portraiture of other European courts, and instead brought an even greater reserve to the understated formula for Habsburg portraiture established by Titian,

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Besides the many portraits of Philip by Velázquez—thirty-four by one count—he painted portraits of other members of the royal family: Philip's first wife,

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Passuth, László: Más perenne que el bronce – Velázquez y la corte de Felipe IV (Título original: A harmadik udvarmester) / Noguer y Caralt Editores, 2000.

4444: 3320: 1063:, a term coined by contemporary Spaniards for this bolder, sharper style. The portrait shows such ruthlessness in Innocent's expression that some in the 402:(1618) demonstrates the young artist's unusual skill in realistic depiction. The realism and dramatic lighting of this work may have been influenced by 952:

Velázquez also painted several buffoons and dwarfs in Philip's court, whom he depicted sympathetically and with respect for their individuality, as in

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feared that it would be seen unfavorably by the Pope; in fact Innocent was pleased with the work, and hung it in his official visitor's waiting room.

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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

4669: 4423: 4407: 3334: 1387: 3197: 4174: 4158: 773:(1634–35), the king is represented in profile in an image of imperturbable majesty, demonstrating expert horsemanship by executing an effortless 717: 4649: 4584: 1195: 1109: 361: 4271: 3784: 3744: 3729: 3571: 3446: 1693: 938: 740: 2766: 982:

had succeeded him as usher in 1634, and Mazo himself had received a steady promotion in the royal household. Mazo received a pension of 500

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in Madrid is reserving judgment. The work, which depicts the Virgin Mary being taught to read, will be restored by conservators at Yale.

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end of the century, his importance was increasingly recognized by intellectuals close to the Spanish court—an essay published In 1781 by

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Velázquez returned to Madrid in January 1631. That year he completed the first of his many portraits of the young prince, beginning with

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replaced the earlier court fashion of elaborate ruffed collars as part of Philip's dress reform laws during a period of economic crisis.

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at the Church of Santiago in Madrid on 21 August 1633. The younger, Ignacia de Silva Velázquez y Pacheco, born in 1621, died in infancy.

354:. As a teacher, he was highly learned and encouraged his students' intellectual development. In Pacheco's school, Velázquez studied the 4518: 3942: 3144: 3126: 1681: 998: 986:

in 1640, increased to 700 in 1648, for portraits painted and to be painted, and was appointed inspector of works in the palace in 1647.

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a mystery: are the royal pair standing in the viewer's space, or does the mirror reflect the painting on which Velázquez is working?

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modeled a statue on one of Velázquez's equestrian portraits of the king (painted in 1636; now lost) which was cast in bronze by the

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says Velázquez may have conceived the faded image of the king and queen on the back wall as a foreshadowing of the fall of the

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in 1651, taking with him many pictures and 300 pieces of statuary, which afterwards were arranged and catalogued for the king.

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Those works presage the advent of the painter's third and latest manner, a noble example of which is the great portrait of

4699: 4565: 4343: 4248: 4053: 1349: 954: 692: 467: 149: 2726:"Infantin Margarita Teresa (1651–1673) in blauem Kleid | Diego Rodríguez de Silva y Velázquez | 1659 | Inv. No.: GG_2130" 4659: 4092: 3655: 1677: 1492: 1342: 1173:, which imposed on him the duty of looking after the quarters occupied by the court—a responsible function which was no 1070: 375: 1169:, whom Velázquez now painted in many attitudes. In 1652 he was specially chosen by the king to fill the high office of 598:

sits in calm repose. Velázquez was appointed gentleman usher as reward. Later he also received a daily allowance of 12

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from the king to pay the cost of moving his family to Madrid, which became his home for the remainder of his life.

2064: 583:) arrived at the court of Spain in 1623. Records indicate that he sat for Velázquez, but the picture is now lost. 4134: 3643: 3578: 1685: 1296:

on the breast of the painter as it appears today on the canvas. However, Velázquez did not receive this honor of

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who at this point in time was a slave and who had been trained in painting by Velázquez. Velázquez sailed from

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from which the main polyptych is exhibited at the Antioquia Museum in Medellín, Colombia and the quadriptych

1565:, as with Picasso, in anticipation of the tercentennial of Velázquez's death, created in 1958 a work entitled 609:

was positioned in Madrid as an emissary from the Infanta Isabella, and Velázquez accompanied him to view the

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In 1627, Philip set a competition for the best painters of Spain with the subject to be the expulsion of the

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During his time in Rome, Velázquez fathered a natural son, Antonio, whom he is not known ever to have seen.

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painted in Madrid. It is full of light, air and movement, featuring vibrant colors and careful handling.

208:, (baptized 6 June 1599 – 6 August 1660) was a Spanish painter, the leading artist in the 4534: 3972: 3533: 2674: 2479: 1652: 1614: 1511: 1245: 1101: 941:, whom Velázquez first depicted at about two years of age. Cavaliers, soldiers, churchmen, and the poet 825:

in 1644, where the artist painted a portrait of the monarch in the costume as he reviewed his troops in

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There were essentially only two patrons of art in Spain—the church and the art-loving king and court.

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From February 1650, Philip repeatedly sought Velázquez's return to Spain. Accordingly, after visiting

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As court painter, Velázquez had fewer commissions for religious works than any of his contemporaries.

562:, who exercised a considerable influence on the Spanish school. Velázquez depicts Philip wearing the 4644: 4639: 3790: 2746:"Infant Philipp Prosper (1657–1661) | Diego Rodríguez de Silva y Velázquez | 1659 | Inv. No.: GG_319" 1689: 1302: 1288: 942: 934: 595: 580: 243: 1659:. The painting measures 47 x 39 cm and was sold at auction on 7 December 2011, for £3,000,000. 863:

Had it not been for his royal appointment, which enabled Velázquez to escape the censorship of the

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said of Velázquez that "when he died, the glory of Painting in Spain died with him." In 1778,

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Although considered a dull and undistinguished painter, Pacheco sometimes expressed a simple,

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in Madrid, although some portraits were sent abroad as diplomatic gifts, especially to the

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with his portraits of oversized characters extracted from some of Vélasquez paintings and

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pointing with his baton to a crowd of men and women being led away by soldiers, while the

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Velázquez has been portrayed by Julián Villagrán in a Spanish fantasy television series,

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were not significantly different from those of his contemporaries and he mainly employed

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Velázquez's final portraits of the royal children are among his finest works and in the

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Raised in modest circumstances, he showed an early gift for art, and was apprenticed to

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Brown, Jonathan (1988). "Enemies of Flattery: Velázquez' Portraits of Philip IV", in

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In 2010, it was reported that a damaged painting long relegated to a basement of the

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Velázquez Painting the Infanta Margarita With the Lights and Shadows of His Own Glory

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In 1660, a peace treaty between France and Spain was consummated by the marriage of

726:(1634–35) was inspired by Velázquez's first visit to Italy, in which he accompanied 4077: 4069: 1731: 1644: 1313: 1129: 1064: 946: 880: 849: 814: 599: 125: 3884: 2231:

Sánchez, Alfonso E. Pérez (1 January 2003). "Velázquez, Diego". Grove Art Online.

1672:(1707–1783). Through them are descended a number of European royalty, among them 1499:

made a set of etchings after paintings by Velázquez, as part of a project by the

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and holds a wand, the badge of his office as master of the horse; in the other,

555: 435:(1618–19), both of which begin to express his more pointed and careful realism. 249: 209: 140: 3335:"Julián Villagrán es Diego de Velázquez en la serie 'El Ministerio del Tiempo'" 2992: 2955:. University of California Libraries. London: G. Bell and sons. pp. 64–65. 821:

in Madrid. Velázquez was in close attendance to Philip, and accompanied him to

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painted by a Spanish artist, and the only surviving female nude by Velázquez.

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Goldberg, Edward L. "Velázquez in Italy: Painters, Spies and Low Spaniards".

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paid tribute to Velázquez by re-interpreting some of his most iconic images.

1452: 1156: 351: 321: 235: 1519:. He was struck by the "sparkle and vivacity" pervading Velázquez's works. 1016: 3431: 3371: 3168:"Yale basement yields Spanish treasure – a possible Velázquez masterpiece" 1950: 1440: 1408: 1174: 810: 621: 614: 398:). He was one of the first Spanish artists to paint such scenes, and his 355: 2837:

McKim-Smith, Gridley. (December 1979), "On Velázquez's Working Method".

2050: 3127:"Velásquez Going to His Easel (From the series Veláquez Stripped Bare)" 1735: 1456: 1444: 1360: 1237: 1212: 1040: 667: 655: 569: 327: 312: 305: 224: 173: 75: 3899:, Collection of resources and illustrated pigment analyses. ColourLex. 3221:"Portrait in hoard sent to auction revealed to be £3million Velázquez" 3066:

Arya, Rina (2009). "Painting the Pope: An Analysis of Francis Bacon's

572:), a stiff linen collar projecting at right angles from the neck. The 3857: 1931: 1464: 1364: 1220:, the eldest daughter of the new queen, appears to be the subject of 1152: 1107:

To this period also belong two small landscape paintings both titled

1036: 1024: 983: 822: 774: 675: 651: 610: 316: 3619:

Domínguez Ortiz, A.; Gállego, J. & Pérez Sánchez, A.E. (1989).

1100:

in New York City, US. This portrait procured his election into the

754:

of the palace, the king and queen looking on from a balcony, while

3902: 2037:

Samuel, Edgar (17 June 1996). "The Jewish ancestry of Velasquez".

1448: 1328: 1312: 1194: 1069: 1020: 997: 916: 899: 826: 716: 659: 587: 531: 510: 500: 461: 360: 299: 3878: 765:, Velázquez painted equestrian portraits of the royal family. In 3863: 2767:"ARTS ABROAD; A Furor for Velazquez: His Art but Also His Bones" 1043:

gallery, for these paintings came from the Modena sale of 1746.

889: 847:) portray ancient writers in the guise of portraits of beggars. 671: 3906: 1584:

to be "one of the greatest portraits ever". He created several

1825: 1594:(1954), shows the pope between two halves of a bisected cow. 1011:

When he set out in 1649, he was accompanied by his assistant

2679:. London, Paris & New York: Goupil & co. p. 83. 1597:

Some South American artists also pay tribute to him such as

734:. It is considered one of the best of Velázquez's paintings. 442:(1620)—Velázquez's first full-length portrait—and the genre 3407:

McKim-Smith, G., Andersen-Bergdoll, G., Newman, R. (1988).

3111:"Fernando Botero and His Remakes of Classic Masterpieces". 1879: 1855: 1834: 3377:

Carr, Dawson W., Xavier Bray, and Diego Velázquez (2006).

1522:

Velázquez is often cited as a key influence on the art of

1023:, and proceeded from Milan to Venice, buying paintings of 620:

In 1629, Velázquez received 100 ducats for the picture of

4288:

Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis

3273:"Relationship between Queen Sofia of Spain and Velazquez" 3251:"Rediscovered Velazquez painting sold for £3m at auction" 1867: 1816: 1790: 1778: 1769: 1526:, who is often considered the bridge between realism and 3511:

Images and Ideas in Seventeenth-Century Spanish Painting

1975:

The American Heritage Dictionary of the English Language

2833: 2831: 315:, Spain, the first child of Juan Rodríguez de Silva, a 2908: 2906: 2603:

Harris 1982, pp. 141–143; Ortega y Gasset 1953, p. 38.

1277:

devotes the opening chapter to a detailed analysis of

1116:

As part of his mission to procure decorations for the

257:

Velázquez's paintings became a model for 19th century

1882: 1876: 1870: 1864: 1858: 1849: 1843: 1837: 1831: 1828: 1793: 1787: 1784: 1781: 1359:, painted circa 1657, a depiction of Ovid's Fable of 3703:, Vol. 74, No. 3 (September 1992), pp. 453–456. 3656:"Enriqueta Harris resalta la 'pasión británica' por 1822: 1813: 1775: 1766: 1260:

that was to gain momentum following Philip's death.

744:(Boston, Museum of Fine Arts). ln portraits such as 686:. The major works from his first Italian period are 4602: 4576: 4510: 4434: 4192: 4118: 4037: 3949: 1819: 1772: 937:, and her children, especially her eldest son, Don 189: 179: 169: 111: 103: 91: 83: 66: 41: 3819:. Barcelona: Encyclopædia Britannica Publishers. 2967:"The Spanish Lesson: Manet's gift from Velázquez" 433:Saint John the Evangelist on the Island of Patmos 3737:Diego de Silva Velázquez: Das Werk und der Maler 3362:Asturias, Miguel Angel, and P. M. Bardi (1969). 2821: 2819: 2227: 2225: 2223: 2221: 2219: 2217: 2215: 2213: 2211: 2209: 408:Kitchen Scene with Christ in the House of Martha 3566:, CEEH & Yale University Press, New Haven. 1742: and the second or maternal family name is 962:(1635), a buffoon evidently acting a part, and 747:Equestrian portrait of prince Balthasar Charles 325:. Rafael Cómez proposes Velázquez may have had 265:painters. In the 20th century, artists such as 3454:The Spanish Portrait from El Greco to Picasso 3068:Study After Velázquez's Portrait of Innocent X 1714:, and is a recurring character in the series. 758:attends as master of the horse to the prince. 246:and commoners, culminating in his masterpiece 4400:Infanta Margarita in a White and Silver Dress 3918: 3832:Diego Velázquez, 1599–1660: the face of Spain 3194:"Yale uncovers Velazquez in basement storage" 2614:"León – Colección – Museo Nacional del Prado" 1547: 1363:. The tapestry in the background is based on 1318: 1278: 1221: 1199: 1181: 867:, he would not have been able to release his 247: 147: 138: 8: 3627:. New York: The Metropolitan Museum of Art. 2896: 2894: 2715:, 1 November 2007. Retrieved on 28 May 2009. 2325: 2323: 2170:"Juana and Diego Velazquez Marriage Profile" 1956:Random House Webster's Unabridged Dictionary 1607:Velasquez exposed accompanied by the Menines 4500:Prince Baltasar Carlos in the Riding School 3641:Elizabeth McGrath and Jean Michel Massing. 3607:. National Gallery of Scotland, Edinburgh. 2629: 2627: 2586:The manumission document was discovered by 2400: 2398: 2277: 2275: 2273: 1896:[ˈdjeɣoroˈðɾiɣeθðeˈsilβajβeˈlaθkeθ] 1621:Recent rediscoveries of Velázquez originals 1165:had died in 1644, and the king had married 284:, and by far the best collection is in the 3925: 3911: 3903: 3396:. Ithaca, N.Y.: Cornell University Press. 2857:"An Old Spanish Master Emerges From Grime" 2537: 2535: 2439: 2437: 438:Also from this period are the portrait of 49: 38: 4384:Infanta Margarita Teresa in a Peach Dress 3804:Stratton-Pruitt, Suzanne L., ed. (2002). 3557:Art and History: Images and Their Meaning 1559:(1937)—entered the canon of Spanish art. 1286:It is said the king painted the honorary 1090:In 1650 in Rome Velázquez also painted a 450:has been termed "the peak of Velázquez's 4424:Infanta Margarita Teresa in a Pink Dress 4408:Infanta Margarita Teresa in a Blue Dress 3559:, Cambridge: Cambridge University Press. 3437:Ortiz, Antonio Domínguez et al. (1990). 1917: 1915: 1388:Infanta Margarita Teresa in a Blue Dress 1335:Infanta Margarita Teresa in a Blue Dress 493:Gaspar de Guzmán, Count-Duke of Olivares 223:He was an individualistic artist of the 3854:46 artworks by or after Diego Velázquez 1911: 1723: 1538:were strongly influenced by Velázquez. 793:The Count-Duke of Olivares on Horseback 761:To decorate the king's new palace, the 423:The Virgin of the Immaculate Conception 350:, though his work remained essentially 4585:View of the Garden of the Villa Medici 4127:Christ in the House of Martha and Mary 3319:: CS1 maint: archived copy as title ( 3312: 2965:Schjeldahl, Peter (10 November 2002). 2093:Special Issue: Art History and the Jew 2066:Portugal in European and World History 1110:View of the Garden of the Villa Medici 4272:Prince Balthasar Charles with a Dwarf 3739:2 vols. Edition Saint-Georges, Lyon. 1894: 1694:Hans-Adam II, Prince of Liechtenstein 966:(1639) belong to this middle period. 741:Prince Balthasar Charles with a Dwarf 688:Joseph's Bloody Coat brought to Jacob 7: 4680:Spanish people of Portuguese descent 4304:Prince Balthasar Charles as a Hunter 3806:The Cambridge Companion to Velázquez 2993:"Las Meninas, 1957 by Pablo Picasso" 2483:. New York: Robert Appleton Company. 2172:. Marriage.about.com. Archived from 1128:to cast twelve bronze copies of the 206:Diego Rodríguez de Silva y Velázquez 71:Diego Rodríguez de Silva y Velázquez 3891:Diego Velazquez's Online Exhibition 1682:Willem-Alexander of the Netherlands 1373:, or, more probably, the copy that 412:Kitchen Scene with Christ at Emmaus 4376:The Infanta Maria Theresa of Spain 2855:Vogel, Carol (10 September 2009). 2087:Otaka, Yasujiro (September 2000). 234:). He began to paint in a precise 216:of Spain and Portugal, and of the 25: 3478:The World of Velázquez: 1599–1660 2949:Gower, Ronald Sutherland (1902). 2471:Herbermann, Charles, ed. (1913). 2069:. London: Reaktion Books. p. 98. 526:The Triumph of Bacchus/The Drunks 495:, the powerful minister of Philip 3879:202 paintings by Diego Velázquez 3219:Jury, Louise (27 October 2011). 3200:from the original on 6 July 2010 2765:Goodman, Al (7 September 1999). 2660:Asturias and Bardi 1969, p. 106. 1809: 1762: 1147:Return to Spain and later career 713:Return to Madrid (middle period) 579:The Prince of Wales (afterwards 558:, the Dutch portrait painter of 195: 32:Diego Velázquez (disambiguation) 3564:Collected Writings on Velázquez 3530:Velázquez: Painter and Courtier 3166:Tremlett, Giles (1 July 2010). 2744:Kunsthistorisches Museum, Wien 2724:Kunsthistorisches Museum, Wien 2550:Asturias and Bardi 1969, p. 84. 2461:Carr et al. 2006, pp. 164, 180. 2422:Asturias and Bardi 1969, p. 93. 2240:Carr et al. 2006, pp. 122, 126. 1698:Henri, Grand Duke of Luxembourg 1484:Juan Bautista Martinez del Mazo 1333:Portrait of the eight-year-old 1253: 980:Juan Bautista Martínez del Mazo 923:Portrait of Pablo de Valladolid 888:. It is the first known female 596:female personification of Spain 394:(kitchen scenes with prominent 390:Velázquez's earliest works are 385:Juan Bautista Martínez del Mazo 184:Knight of the Order of Santiago 3711:Velázquez: The Art of Painting 3690:The Variations on Past Masters 3422:Ortega y Gasset, José (1953). 2594:, volume 125, 1983, pp. 683–4. 2474:"Juan Martínez Montañés" 2299:Carr et al. 2006, pp. 29, 245. 1542:Modern recreations of classics 1: 4650:17th-century Spanish painters 4589: 4555: 4449: 4261: 4249:Philip IV in Brown and Silver 4201:The Nun Jerónima de la Fuente 4179: 4105: 4082: 4054:Apollo in the Forge of Vulcan 4024: 3977: 3962: 3480:. New York: Time-Life Books. 3364:L'opera completa di Velázquez 3341:(in Spanish). 29 January 2015 2813:Carr et al. 2006, pp. 71, 78. 2755:Retrieved on 27 January 2014. 2735:Retrieved on 27 January 2014. 2568:Harris 1982, pp. 25, 27, 87. 2249:Carr et al. 2006, pp. 28, 29. 1978:(5th ed.). HarperCollins 1080: 955:The Jester Don Diego de Acedo 908: 872: 854: 841: 796: 706:Apollo in the Forge of Vulcan 693:Apollo in the Forge of Vulcan 468:Philip IV in Brown and Silver 415: 280:Most of his work entered the 228: 155: 56: 4670:Paintings by Diego Velázquez 3696:. Accessed on 10 April 2005. 3381:. London: National Gallery. 2700:"The Bobbin and the Distaff" 2520:Ortega y Gasset 1953, p. 45. 2452:Carr et al. 2006, pp. 38–41. 2356:Ortega y Gasset 1953, p. 37. 2114:Cómez Ramos, Rafael (2002). 1734:, the first or paternal 1678:Sophia of Greece and Denmark 1657:King Philip IV of Spain 1611:Velasquez going to his easel 1493:Gaspar Melchor de Jovellanos 1132:. The copies are now in the 682:, and there he probably met 542:, Philip IV's daughter with 376:National Gallery of Scotland 3815:"Velázquez, Diego" (1995). 3441:. Madrid: Museo del Prado. 3253:. BBC News. 7 December 2011 2116:"La parentela de Velázquez" 1640:Yale University Art Gallery 1348:One of his final works was 1325:(Velázquez's self-portrait) 1004:Portrait of Pope Innocent X 448:The Water Seller of Seville 444:The Water Seller of Seville 304:Birthplace of Velázquez in 27:Spanish painter (1599–1660) 4716: 4004:The Waterseller of Seville 3810:Cambridge University Press 3660:en un simposio en Sevilla" 3579:Calvo Serraller, Francisco 3515:Princeton University Press 3426:. New York: Random House. 3392:Harris, Enriqueta (1982). 2317:Harris 1982, pp. 12, 200. 2003:Collins English Dictionary 1633:Metropolitan Museum of Art 1188: 1098:Metropolitan Museum of Art 1093:portrait of Juan de Pareja 1076:Portrait of Juan de Pareja 29: 18:Diego de Silva y Velázquez 4695:Spanish untitled nobility 4685:Spanish portrait painters 3940: 3722:from the Frick Collection 3644:The Slave in European Art 3517:, Princeton, New Jersey. 3411:. Yale University Press. 3196:. CBC News. 3 July 2010. 2939:Portús 2004, pp. 204–207. 2633:Carr et al. 2006, p. 247. 2577:Harris 1982, pp. 25, 28. 2511:Carr et al. 2006, p. 212. 2431:Carr et al. 2006, p. 182. 2413:Carr et al. 2006, p. 147. 2404:Carr et al. 2006, p. 157. 2290:Carr et al. 2006, p. 144. 2281:Carr et al. 2006, p. 245. 2267:Carr et al. 2006, p. 130. 2258:Carr et al. 2006, p. 142. 2039:Jewish Historical Studies 1686:Carl XVI Gustaf of Sweden 1631:in the collection of the 1343:Bartolomé Esteban Murillo 1124:, Velázquez commissioned 832:Velázquez's paintings of 678:to paint the portrait of 480:, but portrayed the poet 440:Sor Jerónima de la Fuente 428:The Adoration of the Magi 194: 48: 4617:El ministerio del tiempo 4492:Prince Balthasar Charles 4175:Coronation of the Virgin 4159:Temptation of St. Thomas 3775:Prater, Andreas (2007). 3755:Palomino, Antonio (2018) 3720:King Philip IV of Spain 3562:Brown, Jonathan (2008). 3528:Brown, Jonathan (1986). 2973:. Retrieved 25 May 2019. 2825:Carr et al. 2006, p. 79. 2792:McKim-Smith et al. 1988. 2783:Carr et al. 2006, p. 30. 2689:Carr et al. 2006, p. 48. 2671:Gower, Ronald Sutherland 2651:Carr et al. 2006, p. 47. 2642:Carr et al. 2006, p. 46. 2559:Harris 1982, pp. 24–25. 2541:Carr et al. 2006, p. 36. 2529:Carr et al. 2006, p. 42. 2493:Carr et al. 2006, p. 20. 2443:Carr et al. 2006, p. 38. 2392:Carr et al. 2006, p. 33. 2365:Carr et al. 2006, p. 32. 2347:Carr et al. 2006, p. 31. 2203:Carr et al. 2006, p. 29. 2194:Carr et al. 2006, p. 27. 2159:Carr et al. 2006, p. 14. 2150:Carr et al. 2006, p. 28. 2132:Carr et al. 2006, p. 53. 2095:. Studies in Western Art 2027:Carr et al. 2006, p. 26. 1711:El ministerio del tiempo 1574:The Anglo-Irish painter 926:, 1635, a court fool of 537:Portrait of the Infanta 458:To Madrid (early period) 282:Spanish royal collection 4690:Spanish Roman Catholics 3694:The Mask and the Mirror 3688:Erenkrantz, Justin R. " 3452:Portús, Javier (2004). 3275:. Europeandynasties.com 3225:London Evening Standard 3088:Bacon, Francis (1954), 3072:Literature and Theology 2751:26 October 2014 at the 2731:1 November 2013 at the 1938:Oxford University Press 1674:King Felipe VI of Spain 1488:Juan Carreño de Miranda 1122:Royal Alcazar of Madrid 978:Velázquez's son-in-law 763:Palacio del Buen Retiro 489:Rodrigo de Villandrando 95:6 August 1660 (aged 61) 4460:Count-Duke of Olivares 4416:Prince Philip Prospero 4312:Juan Martínez Montañés 4296:Count-Duke of Olivares 4233:The Infante Don Carlos 4225:Count-Duke of Olivares 4062:The Surrender of Breda 4046:The Triumph of Bacchus 3830:Wolf, Norbert (1998). 3817:Enciclopedia Hispánica 3761:, Getty Publications. 2705:11 August 2011 at the 2089:"An Aspiration Sealed" 2063:Newitt, Malyn (2009). 1581:Portrait of Innocent X 1548: 1532:James McNeill Whistler 1501:Count of Floridablanca 1338: 1326: 1319: 1279: 1265:Les Mots et Les Choses 1222: 1207: 1200: 1182: 1134:Royal Palace of Madrid 1087: 1052:Doria Pamphilj Gallery 1008: 949:), sat for Velázquez. 930: 914: 817:and now stands in the 807:Juan Martínez Montañés 780:The Surrender of Breda 735: 698:The Triumph of Bacchus 674:. In 1630, he visited 627:The Triumph of Bacchus 546: 529: 499:IV. He was offered 50 472: 379: 311:Velázquez was born in 308: 248: 148: 139: 133:Portrait of Innocent X 119:The Surrender of Breda 4675:Spanish male painters 4665:Painters from Seville 4143:Adoration of the Magi 3973:Old Woman Frying Eggs 3881:at DiegoVelazquez.org 3791:Salort-Pons, Salvador 3534:Yale University Press 2982:Harris 1982, p. 177. 2888:Harris 1982, p. 178. 2480:Catholic Encyclopedia 1934:UK English Dictionary 1615:Blanton Museum of Art 1437:Alonso Sánchez Coello 1332: 1316: 1303:purity of his lineage 1246:Royal Academy of Arts 1198: 1102:Accademia di San Luca 1073: 1001: 994:Second visit to Italy 920: 903: 723:La rendición de Breda 720: 535: 514: 465: 400:Old Woman Frying Eggs 371:Old Woman Frying Eggs 364: 303: 4700:Spanish slave owners 4468:Margarita of Austria 3887:at WikiPaintings.org 3875:at Artcyclopedia.com 3777:Venus ante el espejo 3735:Moser, Wolf (2011). 3707:Kahr, Madlyn Millner 3605:Velázquez in Seville 3476:Brown, Dale (1969). 2997:www.pablopicasso.org 2930:Portús 2004, p. 201. 2921:Portús 2004, p. 200. 2912:Harris 1982, p. 183. 2618:www.museodelprado.es 2383:Harris 1982, p. 73. 2374:Harris 1982, p. 74. 2338:Harris 1982, p. 61. 2329:Harris 1982, p. 12. 2308:Harris 1982, p. 57. 1690:Albert II of Belgium 1289:Cross of Saint James 964:The Buffoon of Coria 943:Francisco de Quevedo 935:Elisabeth of Bourbon 704:, Velázquez painted 366:Vieja friendo huevos 343:and September 1611. 340:Francisco de Herrera 244:Spanish royal family 30:For other uses, see 4660:Knights of Santiago 4620:(television series) 4610:Statue of Velázquez 4527:Don John of Austria 4445:Elisabeth of France 4320:Pablo de Valladolid 4217:Philip IV in Armour 4209:Don Luis de Góngora 3713:. Harper & Row. 3409:Examining Velazquez 3366:. Milano: Rizzoli. 3047:archive.thedali.org 3022:archive.thedali.org 2900:Portús 2004, p. 57. 2676:Sir Thomas Lawrence 2592:Burlington Magazine 2502:Portús 2004, p. 25. 2141:Harris 1982, p. 9. 2120:Laboratorio de Arte 1676:through his mother 1536:John Singer Sargent 1422:Style and technique 1379:Anton Raphael Mengs 1270:The Order of Things 1249:Sir Thomas Lawrence 1230:The Maids of Honour 1163:Elisabeth of France 960:Pablo de Valladolid 881:Venus at her Mirror 869:La Venus del espejo 680:Maria Anna of Spain 605:In September 1628, 544:Elisabeth of France 4566:Don Diego de Acedo 4551:Sebastián de Morra 4368:Mariana of Austria 4336:Philip IV in Fraga 3988:The Farmers' Lunch 3868:Web Gallery of Art 3759:Lives of Velázquez 3751:Pacheco, Francisco 3676:on 24 October 2004 3599:Davies, David and 3585:. Madrid: Electa. 3549:Rotberg, Robert I. 3231:on 29 October 2011 3113:Daily Art Magazine 2862:The New York Times 2771:The New York Times 2176:on 25 October 2011 1927:"Velázquez, Diego" 1922:"Velázquez, Diego" 1740:Rodríguez de Silva 1653:Matthew Shepperson 1617:in Austin, Texas. 1578:found Velázquez's 1370:The Rape of Europa 1339: 1327: 1208: 1167:Mariana of Austria 1088: 1009: 931: 915: 789:order of Alcantara 736: 547: 530: 517:El Triunfo de Baco 487:In December 1622, 473: 380: 309: 290:Austrian Habsburgs 218:Spanish Golden Age 4655:Catholic painters 4627: 4626: 4344:Francisco Lezcano 4257:Portrait of a Man 3785:978-84-936060-0-8 3745:978-3-00-032155-9 3730:978-1-78551-444-9 3649:Warburg Institute 3572:978-0-300-14493-2 3553:Rabb, Theodore K. 3456:. London: Scala. 3447:978-8-48731-701-9 1670:Reuss zu Köstritz 1628:Portrait of a Man 1603:Herman Braun-Vega 1413:San Juan Bautista 1294:Order of Santiago 1263:In the 1966 book 1171:aposentador mayor 1126:Matteo Bonuccelli 607:Peter Paul Rubens 336:Francisco Pacheco 203: 202: 16:(Redirected from 4707: 4594: 4591: 4560: 4557: 4454: 4453: 1628–1636 4451: 4266: 4263: 4184: 4183: 1641–1644 4181: 4167:Christ Crucified 4110: 4107: 4087: 4086: 1647–1651 4084: 4029: 4028: 1635–1643 4026: 4012:The Kitchen Maid 3982: 3979: 3967: 3964: 3927: 3920: 3913: 3904: 3767:978-1-60606-5884 3701:The Art Bulletin 3685: 3683: 3681: 3675: 3669:. Archived from 3664: 3638: 3601:Enriqueta Harris 3596: 3491: 3351: 3350: 3348: 3346: 3331: 3325: 3324: 3318: 3310: 3308: 3306: 3297:. Archived from 3291: 3285: 3284: 3282: 3280: 3269: 3263: 3262: 3260: 3258: 3247: 3241: 3240: 3238: 3236: 3227:. Archived from 3216: 3210: 3209: 3207: 3205: 3190: 3184: 3183: 3181: 3179: 3163: 3157: 3156: 3154: 3152: 3143:. Archived from 3137: 3131: 3130: 3123: 3117: 3116: 3115:. 19 April 2023. 3108: 3102: 3101: 3100: 3098: 3091:Figure with Meat 3085: 3079: 3064: 3058: 3057: 3055: 3053: 3039: 3033: 3032: 3030: 3028: 3014: 3008: 3007: 3005: 3003: 2989: 2983: 2980: 2974: 2963: 2957: 2956: 2952:Sir David Wilkie 2946: 2940: 2937: 2931: 2928: 2922: 2919: 2913: 2910: 2901: 2898: 2889: 2886: 2880: 2879: 2871: 2869: 2852: 2846: 2839:The Art Bulletin 2835: 2826: 2823: 2814: 2811: 2805: 2799: 2793: 2790: 2784: 2781: 2775: 2774: 2762: 2756: 2742: 2736: 2722: 2716: 2696: 2690: 2687: 2681: 2680: 2667: 2661: 2658: 2652: 2649: 2643: 2640: 2634: 2631: 2622: 2621: 2610: 2604: 2601: 2595: 2588:Jennifer Montagu 2584: 2578: 2575: 2569: 2566: 2560: 2557: 2551: 2548: 2542: 2539: 2530: 2527: 2521: 2518: 2512: 2509: 2503: 2500: 2494: 2491: 2485: 2484: 2476: 2468: 2462: 2459: 2453: 2450: 2444: 2441: 2432: 2429: 2423: 2420: 2414: 2411: 2405: 2402: 2393: 2390: 2384: 2381: 2375: 2372: 2366: 2363: 2357: 2354: 2348: 2345: 2339: 2336: 2330: 2327: 2318: 2315: 2309: 2306: 2300: 2297: 2291: 2288: 2282: 2279: 2268: 2265: 2259: 2256: 2250: 2247: 2241: 2238: 2232: 2229: 2204: 2201: 2195: 2192: 2186: 2185: 2183: 2181: 2166: 2160: 2157: 2151: 2148: 2142: 2139: 2133: 2130: 2124: 2123: 2111: 2105: 2104: 2102: 2100: 2084: 2078: 2061: 2055: 2054: 2034: 2028: 2025: 2019: 2018: 2016: 2014: 1994: 1988: 1987: 1985: 1983: 1966: 1960: 1948: 1942: 1941: 1919: 1900: 1898: 1893: 1889: 1888: 1885: 1884: 1881: 1878: 1873: 1872: 1869: 1866: 1861: 1860: 1857: 1852: 1851: 1846: 1845: 1840: 1839: 1836: 1833: 1830: 1827: 1824: 1821: 1818: 1815: 1808: 1805:American English 1800: 1799: 1796: 1795: 1792: 1789: 1786: 1783: 1780: 1777: 1774: 1771: 1768: 1761: 1753: 1747: 1728: 1605:with his series 1591:Figure with Meat 1551: 1382:gray and black. 1324: 1282: 1228:(1656, English: 1227: 1218:Margaret Theresa 1205: 1185: 1085: 1082: 1061:manera abreviada 972:Christ Crucified 913: 910: 886:The Rokeby Venus 884:) also known as 877: 876: 1644–1648 874: 859: 856: 846: 845: 1636–1638 843: 819:Plaza de Oriente 801: 798: 770: 728:Ambrogio Spinola 646: 506: 498: 420: 417: 368:(1618, English: 253: 233: 232: 1600–1750 230: 199: 160: 157: 153: 144: 114: 61: 58: 53: 39: 21: 4715: 4714: 4710: 4709: 4708: 4706: 4705: 4704: 4630: 4629: 4628: 4623: 4598: 4592: 4572: 4558: 4506: 4452: 4436: 4430: 4352:Pope Innocent X 4328:Lady with a Fan 4280:Don Juan Mateos 4264: 4188: 4182: 4114: 4108: 4085: 4033: 4027: 4020:The Needlewoman 3996:Three Musicians 3980: 3965: 3945: 3936: 3934:Diego Velázquez 3931: 3897:Diego Velázquez 3893:at Owlstand.com 3885:Diego Velázquez 3864:Velázquez works 3850: 3845: 3834:Taschen, Köln. 3679: 3677: 3673: 3667:El Pais Digital 3662: 3654: 3635: 3618: 3593: 3577: 3507:Brown, Jonathan 3488: 3475: 3471: 3469:Further reading 3359: 3354: 3344: 3342: 3333: 3332: 3328: 3311: 3304: 3302: 3295:"Archived copy" 3293: 3292: 3288: 3278: 3276: 3271: 3270: 3266: 3256: 3254: 3249: 3248: 3244: 3234: 3232: 3218: 3217: 3213: 3203: 3201: 3192: 3191: 3187: 3177: 3175: 3165: 3164: 3160: 3150: 3148: 3139: 3138: 3134: 3125: 3124: 3120: 3110: 3109: 3105: 3096: 3094: 3087: 3086: 3082: 3065: 3061: 3051: 3049: 3041: 3040: 3036: 3026: 3024: 3016: 3015: 3011: 3001: 2999: 2991: 2990: 2986: 2981: 2977: 2964: 2960: 2948: 2947: 2943: 2938: 2934: 2929: 2925: 2920: 2916: 2911: 2904: 2899: 2892: 2887: 2883: 2867: 2865: 2854: 2853: 2849: 2836: 2829: 2824: 2817: 2812: 2808: 2802:Diego Velázquez 2800: 2796: 2791: 2787: 2782: 2778: 2764: 2763: 2759: 2753:Wayback Machine 2743: 2739: 2733:Wayback Machine 2723: 2719: 2707:Wayback Machine 2697: 2693: 2688: 2684: 2669: 2668: 2664: 2659: 2655: 2650: 2646: 2641: 2637: 2632: 2625: 2612: 2611: 2607: 2602: 2598: 2585: 2581: 2576: 2572: 2567: 2563: 2558: 2554: 2549: 2545: 2540: 2533: 2528: 2524: 2519: 2515: 2510: 2506: 2501: 2497: 2492: 2488: 2470: 2469: 2465: 2460: 2456: 2451: 2447: 2442: 2435: 2430: 2426: 2421: 2417: 2412: 2408: 2403: 2396: 2391: 2387: 2382: 2378: 2373: 2369: 2364: 2360: 2355: 2351: 2346: 2342: 2337: 2333: 2328: 2321: 2316: 2312: 2307: 2303: 2298: 2294: 2289: 2285: 2280: 2271: 2266: 2262: 2257: 2253: 2248: 2244: 2239: 2235: 2230: 2207: 2202: 2198: 2193: 2189: 2179: 2177: 2168: 2167: 2163: 2158: 2154: 2149: 2145: 2140: 2136: 2131: 2127: 2113: 2112: 2108: 2098: 2096: 2086: 2085: 2081: 2062: 2058: 2036: 2035: 2031: 2026: 2022: 2012: 2010: 1996: 1995: 1991: 1981: 1979: 1968: 1967: 1963: 1949: 1945: 1925: 1920: 1913: 1909: 1904: 1903: 1891: 1875: 1863: 1854: 1848: 1842: 1812: 1803: 1802: 1765: 1758:British English 1756: 1755: 1754: 1750: 1729: 1725: 1720: 1706: 1704:Popular culture 1665: 1623: 1599:Fernando Botero 1544: 1510:. In 1828, Sir 1477: 1461:lead-tin-yellow 1424: 1311: 1275:Michel Foucault 1273:), philosopher 1232:), Velázquez's 1193: 1187: 1149: 1138:Museo del Prado 1118:Room of Mirrors 1083: 1056:Joshua Reynolds 1048:Pope Innocent X 1035:as he went. At 996: 939:Baltasar Carlos 911: 905:Lady from court 898: 875: 857: 844: 799: 771:IV on Horseback 768: 715: 650:He traveled to 644: 640: 630:), also called 592:Philip III 552:Museo del Prado 524:1629 (English: 504: 496: 482:Luis de Góngora 460: 418: 298: 286:Museo del Prado 231: 162: 158: 146: 137: 130: 123: 112: 99: 96: 79: 73: 72: 62: 59: 55:Self-portrait, 44: 43:Diego Velázquez 35: 28: 23: 22: 15: 12: 11: 5: 4713: 4711: 4703: 4702: 4697: 4692: 4687: 4682: 4677: 4672: 4667: 4662: 4657: 4652: 4647: 4642: 4632: 4631: 4625: 4624: 4622: 4621: 4613: 4612:(1899, Madrid) 4606: 4604: 4600: 4599: 4597: 4596: 4580: 4578: 4574: 4573: 4571: 4570: 4562: 4547: 4539: 4531: 4523: 4514: 4512: 4508: 4507: 4505: 4504: 4496: 4488: 4480: 4472: 4464: 4456: 4440: 4438: 4432: 4431: 4429: 4428: 4420: 4412: 4404: 4396: 4388: 4380: 4372: 4364: 4360:Juan de Pareja 4356: 4348: 4340: 4332: 4324: 4316: 4308: 4300: 4292: 4284: 4276: 4268: 4253: 4245: 4237: 4229: 4221: 4213: 4205: 4196: 4194: 4190: 4189: 4187: 4186: 4171: 4163: 4155: 4151:Joseph's Tunic 4147: 4139: 4131: 4122: 4120: 4116: 4115: 4113: 4112: 4101:Las Hilanderas 4097: 4089: 4074: 4066: 4058: 4050: 4041: 4039: 4035: 4034: 4032: 4031: 4016: 4008: 4000: 3992: 3984: 3969: 3953: 3951: 3947: 3946: 3941: 3938: 3937: 3932: 3930: 3929: 3922: 3915: 3907: 3901: 3900: 3894: 3888: 3882: 3876: 3870: 3861: 3849: 3848:External links 3846: 3844: 3843: 3828: 3813: 3802: 3788: 3773: 3770: 3748: 3733: 3714: 3704: 3697: 3686: 3652: 3639: 3633: 3616: 3597: 3591: 3575: 3560: 3545: 3526: 3504: 3492: 3486: 3472: 3470: 3467: 3466: 3465: 3450: 3435: 3420: 3405: 3390: 3375: 3358: 3355: 3353: 3352: 3326: 3301:on 16 May 2008 3286: 3264: 3242: 3211: 3185: 3158: 3147:on 9 July 2010 3132: 3118: 3103: 3080: 3059: 3034: 3009: 2984: 2975: 2971:The New Yorker 2958: 2941: 2932: 2923: 2914: 2902: 2890: 2881: 2847: 2827: 2815: 2806: 2794: 2785: 2776: 2757: 2737: 2717: 2691: 2682: 2662: 2653: 2644: 2635: 2623: 2605: 2596: 2579: 2570: 2561: 2552: 2543: 2531: 2522: 2513: 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4197: 4195: 4191: 4177: 4176: 4172: 4169: 4168: 4164: 4161: 4160: 4156: 4153: 4152: 4148: 4145: 4144: 4140: 4137: 4136: 4132: 4129: 4128: 4124: 4123: 4121: 4117: 4103: 4102: 4098: 4095: 4094: 4093:Female Figure 4090: 4080: 4079: 4075: 4072: 4071: 4067: 4064: 4063: 4059: 4056: 4055: 4051: 4048: 4047: 4043: 4042: 4040: 4036: 4022: 4021: 4017: 4014: 4013: 4009: 4006: 4005: 4001: 3998: 3997: 3993: 3990: 3989: 3985: 3975: 3974: 3970: 3960: 3959: 3955: 3954: 3952: 3948: 3944: 3943:List of works 3939: 3935: 3928: 3923: 3921: 3916: 3914: 3909: 3908: 3905: 3898: 3895: 3892: 3889: 3886: 3883: 3880: 3877: 3874: 3871: 3869: 3865: 3862: 3859: 3855: 3852: 3851: 3847: 3841: 3840:3-8228-6511-7 3837: 3833: 3829: 3826: 3825:1-56409-007-8 3822: 3818: 3814: 3811: 3807: 3803: 3800: 3799:84-932891-1-6 3796: 3792: 3789: 3786: 3782: 3778: 3774: 3771: 3768: 3764: 3760: 3756: 3752: 3749: 3746: 3742: 3738: 3734: 3731: 3727: 3723: 3719: 3716:Knox, Giles. 3715: 3712: 3708: 3705: 3702: 3698: 3695: 3691: 3687: 3672: 3668: 3661: 3659: 3653: 3650: 3646: 3645: 3640: 3636: 3634:9780810939066 3630: 3626: 3625: 3622: 3617: 3614: 3613:0-300-06949-9 3610: 3606: 3602: 3598: 3594: 3592:84-8156-203-3 3588: 3584: 3580: 3576: 3573: 3569: 3565: 3561: 3558: 3554: 3550: 3546: 3543: 3542:0-300-03466-0 3539: 3536:, New Haven. 3535: 3531: 3527: 3524: 3523:0-691-03941-0 3520: 3516: 3512: 3508: 3505: 3502: 3501:84-87317-01-4 3498: 3493: 3489: 3487:0-8094-0252-1 3483: 3479: 3474: 3473: 3468: 3463: 3459: 3455: 3451: 3448: 3444: 3440: 3436: 3433: 3429: 3425: 3421: 3418: 3414: 3410: 3406: 3403: 3399: 3395: 3391: 3388: 3384: 3380: 3376: 3373: 3369: 3365: 3361: 3360: 3356: 3340: 3336: 3330: 3327: 3322: 3316: 3300: 3296: 3290: 3287: 3274: 3268: 3265: 3252: 3246: 3243: 3230: 3226: 3222: 3215: 3212: 3199: 3195: 3189: 3186: 3173: 3169: 3162: 3159: 3146: 3142: 3136: 3133: 3128: 3122: 3119: 3114: 3107: 3104: 3093: 3092: 3084: 3081: 3077: 3073: 3069: 3063: 3060: 3048: 3044: 3038: 3035: 3023: 3019: 3013: 3010: 2998: 2994: 2988: 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1550: 1541: 1539: 1537: 1533: 1529: 1528:impressionism 1525: 1524:Édouard Manet 1520: 1518: 1517:Henry Raeburn 1513: 1509: 1504: 1502: 1498: 1494: 1489: 1485: 1480: 1474: 1472: 1468: 1466: 1462: 1458: 1454: 1450: 1446: 1442: 1438: 1434: 1428: 1421: 1419: 1416: 1414: 1410: 1406: 1402: 1401:Maria Theresa 1397: 1393: 1390: 1389: 1383: 1380: 1376: 1372: 1371: 1366: 1362: 1358: 1356: 1352: 1346: 1344: 1336: 1331: 1323: 1322: 1315: 1308: 1306: 1304: 1299: 1295: 1291: 1290: 1284: 1281: 1276: 1272: 1271: 1266: 1261: 1259: 1255: 1250: 1247: 1243: 1242:Luca Giordano 1239: 1235: 1231: 1226: 1225: 1219: 1215: 1214: 1204: 1203: 1197: 1192: 1184: 1180: 1178: 1176: 1172: 1168: 1164: 1160: 1158: 1154: 1146: 1144: 1141: 1139: 1135: 1131: 1127: 1123: 1119: 1114: 1112: 1111: 1105: 1103: 1099: 1096:, now in the 1095: 1094: 1078: 1077: 1072: 1068: 1066: 1062: 1057: 1053: 1049: 1044: 1042: 1038: 1034: 1030: 1026: 1022: 1018: 1014: 1006: 1005: 1000: 993: 991: 987: 985: 981: 976: 974: 973: 967: 965: 961: 957: 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