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130:, in that it adopts the softer and more colourful palette of the Venetian school. There is some evidence that the portrait may have taken a number of years to complete, accounting for the uncertainty. Life size, it is unlike most portraits of Philip IV, in that it does not show him in his usual wholly black costume. Instead it shows him in a brown and silver embroidered costume (thus giving the portrait its name), painted with small rapid strokes, and wearing the insignia of the
200:"Part of the problem was that Academicians thought that an artist should run the gallery (as indeed had usually been the case), rather than an art historian, and they actually enjoyed spats. The painting that aroused their feelings was the Velázquez portrait of Philip , the so-called 'Silver Philip', that had just received the attentions of Ruhemann. The
218:, who preferred to view the Old Masters through the golden glow of discoloured varnish, and even threatened the establishment of a Society for the Protection of Old Masters. A lot of ink was spilled on the matter of whether 'glazes' or varnish had been removed from the Velázquez. Clark defended the gallery in the letters page of
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Neil MacGregor, the director of The
National Gallery from 1981 to 1987, acknowledged that Clark had been privately concerned about the restoration, stating that Clark was, “fearful of what might be found if the golden veils of dirt and varnish were ever to be removed”. However, years after the
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that fine tune the composition. The signature is on the letter Philip holds, a fictive petition from the painter to him. This is a sign of the importance Velázquez attached to the work, as he only signed a few of his paintings.
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The date of the work is not certain – the
National Gallery website gives 1631–32, whilst Carrassat gives 1635 – but it was definitely the first portrait the artist produced after his first trip to
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controversy, Clark himself said, "I do not regard cleaning controversies as of any importance. They are epidemics that take place about every twenty-five years."
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The picture was included in an exhibition at the
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had been stirring up controversy by inviting well-known artists to voice their opinions on the subject. Critics included
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333:"Why is the Metropolitan Museum of Art afraid of public disclosures on its picture restorers' cleaning materials?"
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Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, Barrie and Rockliffe, London, 1961
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outside Madrid from the mid-17th century until 1809, when it was removed on the orders of
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wrote an express approval of 'the Silver Philip'...The matter rumbled on for over a year.
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in 1936, which created significant controversy. Clark employed art restorer
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199 cm Ă— 113 cm (78 in Ă— 44 in)
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It was almost certainly the painting on display in the library at
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169:. It was bought by the National Gallery for ÂŁ6,300 at the 1882
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Sale, a very high price for a
Spanish painting at the time.
157:, who had been placed on the throne of Spain by his brother
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Doña
Antonia de Ipeñarrieta y Galdós and Her Son Don Luis
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at the time, oversaw a cleaning and restoration of the
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1011:Infanta Margarita Teresa in a Blue Dress
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1188:View of the Garden of the Villa Medici
730:Christ in the House of Martha and Mary
499:Philip IV of Spain in Brown and Silver
319:MacLaren, 114, 116; Reitlinger, I, 135
134:on a golden chain. There are several
100:Philip IV of Spain in Brown and Silver
875:Prince Balthasar Charles with a Dwarf
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335:. ArtWatchUK Online. 5 February 2011
979:The Infanta Maria Theresa of Spain
442:, 1970, National Gallery, London,
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393:Ana Baeza Ruiz (1 January 2017).
281:"Silver: The colour of betrayal?"
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252:List of works by Diego Velázquez
425:, Spes Editorial, S.L., 2005.
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16:Painting by Diego Velázquez
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607:The Waterseller of Seville
502:– National Gallery webpage
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1220:El ministerio del tiempo
1095:Prince Balthasar Charles
778:Coronation of the Virgin
762:Temptation of St. Thomas
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359:Stourton, James (1974).
1263:Oil on canvas paintings
224:Sir William Rothenstein
163:William Thomas Beckford
1063:Count-Duke of Olivares
1019:Prince Philip Prospero
915:Juan MartĂnez Montañés
899:Count-Duke of Olivares
836:The Infante Don Carlos
828:Count-Duke of Olivares
665:The Surrender of Breda
649:The Triumph of Bacchus
423:Maestros de la pintura
240:Philip IV when Elderly
746:Adoration of the Magi
576:Old Woman Frying Eggs
400:. University of Leeds
167:10th Duke of Hamilton
88:Portrait of Philip IV
1071:Margarita of Austria
177:Cleaning controversy
1223:(television series)
1213:Statue of Velázquez
1130:Don John of Austria
1048:Elisabeth of France
923:Pablo de Valladolid
820:Philip IV in Armour
812:Don Luis de GĂłngora
421:Carrassat, P.F.R.,
103:) is a portrait of
1169:Don Diego de Acedo
1154:Sebastián de Morra
971:Mariana of Austria
939:Philip IV in Fraga
591:The Farmers' Lunch
453:Reitlinger, Gerald
236:Philip IV of Spain
115:and is now in the
105:Philip IV of Spain
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1082:(1634–1635)
995:Las Meninas
990:(1653–1654)
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886:(1632–1633)
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712: 1657
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584: 1618
569: 1617
378:January 20,
107:painted by
1237:Categories
1206:Portrayals
1180:Landscapes
1138:Barbarroja
1079:Philip III
1038:Equestrian
844:Maria Anna
738:Saint Paul
484:Velázquez
416:References
404:20 January
339:20 January
287:18 January
145:Provenance
137:pentimenti
62:Dimensions
1087:Philip IV
1040:portraits
796:Portraits
722:Religious
561:The Lunch
470:Velázquez
220:The Times
246:See also
159:Napoleon
70:Location
1114:Jesters
855:(1630s)
641:History
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214:, and
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398:(PDF)
283:. BBC
258:Notes
128:Italy
474:ISBN
444:ISBN
427:ISBN
406:2022
380:2022
367:ISBN
341:2022
289:2022
222:and
85:The
49:1635
46:Year
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