Velasquez

1599-1660,Spanish painter. He was apprenticed to Francisco Herrera the Elder before being trained by Francisco Pacheco. His early works were mostly religious or genre scenes. After arriving in Madrid in 1623, he painted a portrait of Philip IV that won him immediate success and an appointment as court painter. His position gave him access to the royal collections, including works by Titian, who exerted the greatest influence on his style. In his portraits from this period, only the faces and hands of the figures are accentuated, and the dark figures stand out against a light background. A visit to Italy (1629 ?C 31) further developed his style, and on his return to Madrid he entered his most productive period. Velazquez created a new type of informal royal portrait for Philip hunting lodge, and his portraits of court dwarfs display the same discerning eye as those of his royal subjects. On a second visit to Rome (1649 ?C 51) he painted a portrait of Pope Innocent X. The powerful head, brilliant combinations of crimson of the curtain, chair, and cope are painted with fluent technique and almost imperceptible brushstrokes that go far beyond the late manner of Titian and announce the last stage in Velazquez development. This portrait was copied innumerable times and won him immediate and lasting renown in Italy. In his last years he created his masterpiece, Las Meninas (The Maids of Honour, 1656). In this casual scene, the artist is shown painting the king and queen in the presence of the infanta Margarita and her attendants; the nearly life size figures are painted in more or less detail according to their relation to the central figure of the infanta and to the source of light, creating a remarkable illusion of reality never surpassed by Velazquez or any other artist of his age. He is universally acknowledged as one of the giants of Western art.


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Velasquez Princess Marian oil


Princess Marian
Painting ID::  59574
Princess Marian
mk267 1653 years linen canvas 127 x 98.5 cm Dallas Museum
mk267_1653_years_linen_canvas_127_x_98.5_cm_Dallas_Museum
   
   
     

Velasquez Female Textile oil


Female Textile
Painting ID::  59575
Female Textile
mk267 linen canvas 220 x 289 cm Prado Museum in Madrid
mk267_linen_canvas_220_x_289_cm_Prado_Museum_in_Madrid
   
   
     

Velasquez Palace lady oil


Palace lady
Painting ID::  59576
Palace lady
mk267 linen canvas 105 x 88 cm Prado Museum in Madrid
mk267_linen_canvas_105_x_88_cm_Prado_Museum_in_Madrid
   
   
     

Velasquez Princess Margaret oil


Princess Margaret
Painting ID::  59577
Princess Margaret
mk267 1659 years linen canvas 129 x107 cm
mk267_1659_years_linen_canvas_129_x107_cm
   
   
     

Velasquez Perrone Prince oil


Perrone Prince
Painting ID::  59578
Perrone Prince
mk267 1659 years linen canvas 128.5 x 99.5 cm
mk267_1659_years_linen_canvas_128.5_x_99.5_cm
   
   
     

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     Velasquez
     1599-1660,Spanish painter. He was apprenticed to Francisco Herrera the Elder before being trained by Francisco Pacheco. His early works were mostly religious or genre scenes. After arriving in Madrid in 1623, he painted a portrait of Philip IV that won him immediate success and an appointment as court painter. His position gave him access to the royal collections, including works by Titian, who exerted the greatest influence on his style. In his portraits from this period, only the faces and hands of the figures are accentuated, and the dark figures stand out against a light background. A visit to Italy (1629 ?C 31) further developed his style, and on his return to Madrid he entered his most productive period. Velazquez created a new type of informal royal portrait for Philip hunting lodge, and his portraits of court dwarfs display the same discerning eye as those of his royal subjects. On a second visit to Rome (1649 ?C 51) he painted a portrait of Pope Innocent X. The powerful head, brilliant combinations of crimson of the curtain, chair, and cope are painted with fluent technique and almost imperceptible brushstrokes that go far beyond the late manner of Titian and announce the last stage in Velazquez development. This portrait was copied innumerable times and won him immediate and lasting renown in Italy. In his last years he created his masterpiece, Las Meninas (The Maids of Honour, 1656). In this casual scene, the artist is shown painting the king and queen in the presence of the infanta Margarita and her attendants; the nearly life size figures are painted in more or less detail according to their relation to the central figure of the infanta and to the source of light, creating a remarkable illusion of reality never surpassed by Velazquez or any other artist of his age. He is universally acknowledged as one of the giants of Western art.

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