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517:(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 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Madrid, promising that no other painter would ever paint Philip's portrait and all other portraits of the king would be withdrawn from circulation.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 from the king to pay the cost of moving his family to Madrid, which became his home for the remainder of his life.
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1306:. 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.
337:, 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
861:) 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".
1412:. 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
1636:, 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.
643:(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.
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784:(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.
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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.
701:(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
1468:. 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.
1105:. 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.
626:. 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.
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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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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 Philip IV sponsored his trip—few details and specifics are known of what the
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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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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
976:(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.
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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
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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.
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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
1284:. 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.
1572:. 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.
443:(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
1531:. 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
803:), 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.
563:, 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
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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.
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705:, 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
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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
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1114:. 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.
1346:, 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.
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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.
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755:(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
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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,
1416:, and within eight days his wife Juana was buried beside him. This church was destroyed by the French around 1809, so his place of interment is now unknown.
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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.
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1064:, a term coined by contemporary Spaniards for this bolder, sharper style. The portrait shows such ruthlessness in Innocent's expression that some in the
420:(1618) demonstrates the young artist's unusual skill in realistic depiction. The realism and dramatic lighting of this work may have been influenced by
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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.
735:, who conquered the Dutch city of Breda a few years prior. It depicts a transfer of the key to the city from the Dutch to the Spanish army during the
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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
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774:(1634–35), the king is represented in profile in an image of imperturbable majesty, demonstrating expert horsemanship by executing an effortless
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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.
372:. As a teacher, he was highly learned and encouraged his students' intellectual development. In Pacheco's school, Velázquez studied the
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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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3700:(Masterpiece in Residence series). Dallas and New York: Meadows Museum, SMU in association with Scala Arts Publishers, Inc. (2022).
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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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959:(1644), whose intelligent face and huge folio with ink-bottle and pen by his side show him to be a wise and well-educated man.
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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
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2702:"Infantin Margarita Teresa (1651–1673) in blauem Kleid | Diego Rodríguez de Silva y Velázquez | 1659 | Inv. No.: GG_2130"
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sits in calm repose. Velázquez was appointed gentleman usher as reward. Later he also received a daily allowance of 12
376:, was trained in proportion and perspective, and witnessed the trends in the literary and artistic circles of Seville.
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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
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painter saw, whom he met, how he was perceived and what innovations he hoped to introduce into his painting.
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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.
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in 1644, where the artist painted a portrait of the monarch in the costume as he reviewed his troops in
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226:(baptized 6 June 1599 – 6 August 1660) was a Spanish painter, the leading artist in the
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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.
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2722:"Infant Philipp Prosper (1657–1661) | Diego Rodríguez de Silva y Velázquez | 1659 | Inv. No.: GG_319"
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1660:. The painting measures 47 x 39 cm and was sold at auction on 7 December 2011, for £3,000,000.
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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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3019:"Velázquez Painting the Infanta Marguerita with the Lights and Shadows of His Own Glory"
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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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3117:"Velázquez Rediscovered | Past Exhibitions | the Metropolitan Museum of Art"
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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
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1739:
1591:
819:
688:
3860:
1563:
1524:
288:
4255:
3995:
3594:
2728:
2708:
2682:
2207:
Sánchez, Alfonso E. Pérez (1 January 2003). "Velázquez, Diego". Grove Art Online.
1733:
1673:(1707–1783). Through them are descended a number of European royalty, among them
1599:
1500:
made a set of etchings after paintings by Velázquez, as part of a project by the
1461:
1275:
1249:
1138:
1056:
1048:
611:, the same amount allotted to the court barbers, and 90 ducats a year for dress.
560:
303:
3872:
2777:
792:
and holds a wand, the badge of his office as master of the horse; in the other,
453:(1618–19), both of which begin to express his more pointed and careful realism.
4076:
3311:"Julián Villagrán es Diego de Velázquez en la serie 'El Ministerio del Tiempo'"
2968:
2931:. University of California Libraries. London: G. Bell and sons. pp. 64–65.
1508:
1497:
1258:
1033:
1013:
822:
in Madrid. Velázquez was in close attendance to Philip, and accompanied him to
668:
365:
893:
painted by a Spanish artist, and the only surviving female nude by Velázquez.
4609:
3675:
Goldberg, Edward L. "Velázquez in Italy: Painters, Spies and Low Spaniards".
3646:
2448:
1983:
1586:
1528:
1517:
1242:
756:
295:
paid tribute to Velázquez by re-interpreting some of his most iconic images.
284:
280:
4053:
4045:
1645:
1520:. He was struck by the "sparkle and vivacity" pervading Velázquez's works.
1130:
1065:
947:
881:
850:
815:
608:
541:
141:
27:
3407:
3347:
3144:"Yale basement yields Spanish treasure – a possible Velázquez masterpiece"
318:
4367:
1926:
1433:
1321:
1234:
1224:
1202:
1191:
564:
416:). He was one of the first Spanish artists to paint such scenes, and his
267:
227:
156:
2813:
McKim-Smith, Gridley. (December 1979), "On Velázquez's Working Method".
2026:
3103:"Velásquez Going to His Easel (From the series Veláquez Stripped Bare)"
1298:
1029:
706:
578:
421:
413:
3875:, Collection of resources and illustrated pigment analyses. ColourLex.
3197:"Portrait in hoard sent to auction revealed to be £3million Velázquez"
3042:
Arya, Rina (2009). "Painting the Pope: An Analysis of Francis Bacon's
1314:
581:), a stiff linen collar projecting at right angles from the neck. The
409:
1453:
1221:, the eldest daughter of the new queen, appears to be the subject of
1157:
1108:
To this period also belong two small landscape paintings both titled
369:
339:
253:
1017:
3595:
Domínguez Ortiz, A.; Gállego, J. & Pérez Sánchez, A.E. (1989).
1441:
1409:
1175:
1101:
in New York City, US. This portrait procured his election into the
811:
759:
of the palace, the king and queen looking on from a balcony, while
630:
623:
373:
3878:
2013:
Samuel, Edgar (17 June 1996). "The Jewish ancestry of Velasquez".
3854:
1457:
1445:
1361:
1238:
1213:
1041:
770:, Velázquez painted equestrian portraits of the royal family. In
672:
660:
345:
330:
323:
242:
189:
88:
31:
3839:
2743:"ARTS ABROAD; A Furor for Velazquez: His Art but Also His Bones"
1044:
gallery, for these paintings came from the Modena sale of 1746.
848:) portray ancient writers in the guise of portraits of beggars.
3833:
1907:
1585:
to be "one of the greatest portraits ever". He created several
1465:
1365:
1153:
1037:
1025:
984:
823:
775:
680:
656:
619:
334:
111:
1621:
2714:
1801:
1595:(1954), shows the pope between two halves of a bisected cow.
1449:
1021:
1012:
When he set out in 1649, he was accompanied by his assistant
827:
664:
596:
514:
2655:. London, Paris & New York: Goupil & co. p. 83.
1598:
Some South American artists also pay tribute to him such as
739:. It is considered one of the best of Velázquez's paintings.
460:(1620)—Velázquez's first full-length portrait—and the genre
3383:
McKim-Smith, G., Andersen-Bergdoll, G., Newman, R. (1988).
3087:"Fernando Botero and His Remakes of Classic Masterpieces".
1855:
1831:
1810:
890:
676:
3553:
3353:
Carr, Dawson W., Xavier Bray, and Diego Velázquez (2006).
1523:
Velázquez is often cited as a key influence on the art of
1024:, and proceeded from Milan to Venice, buying paintings of
629:
In 1629, Velázquez received 100 ducats for the picture of
4264:
Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis
3249:"Relationship between Queen Sofia of Spain and Velazquez"
3227:"Rediscovered Velazquez painting sold for £3m at auction"
1843:
1792:
1766:
1754:
1745:
1527:, who is often considered the bridge between realism and
3487:
Images and Ideas in Seventeenth-Century Spanish Painting
1951:
The American Heritage Dictionary of the English Language
513:, the powerful minister of Philip IV. He was offered 50
2809:
2807:
333:, Spain, the first child of Juan Rodríguez de Silva, a
2884:
2882:
2579:
Harris 1982, pp. 141–143; Ortega y Gasset 1953, p. 38.
1278:
devotes the opening chapter to a detailed analysis of
1117:
As part of his mission to procure decorations for the
275:
Velázquez's paintings became a model for 19th century
1858:
1852:
1846:
1840:
1834:
1825:
1819:
1813:
1807:
1804:
1769:
1763:
1760:
1757:
1360:, painted circa 1657, a depiction of Ovid's Fable of
3679:, Vol. 74, No. 3 (September 1992), pp. 453–456.
3632:"Enriqueta Harris resalta la 'pasión británica' por
2804:
2694:
1798:
1789:
1751:
1742:
1261:
that was to gain momentum following Philip's death.
749:(Boston, Museum of Fine Arts). ln portraits such as
691:. The major works from his first Italian period are
2879:
1795:
1748:
1147:
938:, and her children, especially her eldest son, Don
717:
3795:. Barcelona: Encyclopædia Britannica Publishers.
2943:"The Spanish Lesson: Manet's gift from Velázquez"
1542:
451:Saint John the Evangelist on the Island of Patmos
4607:
3713:Diego de Silva Velázquez: Das Werk und der Maler
3338:Asturias, Miguel Angel, and P. M. Bardi (1969).
2797:
2795:
2203:
2201:
2199:
2197:
2195:
2193:
2191:
2189:
2187:
2185:
426:Kitchen Scene with Christ in the House of Martha
3542:, CEEH & Yale University Press, New Haven.
963:(1635), a buffoon evidently acting a part, and
752:Equestrian portrait of prince Balthasar Charles
343:. Rafael Cómez proposes Velázquez may have had
283:painters. In the 20th century, artists such as
38: and the second or maternal family name is
3430:The Spanish Portrait from El Greco to Picasso
3044:Study After Velázquez's Portrait of Innocent X
1715:, and is a recurring character in the series.
763:attends as master of the horse to the prince.
264:and commoners, culminating in his masterpiece
4376:Infanta Margarita in a White and Silver Dress
3894:
3808:Diego Velázquez, 1599–1660: the face of Spain
3170:"Yale uncovers Velazquez in basement storage"
2792:
2590:"León – Colección – Museo Nacional del Prado"
2182:
1548:
1364:. The tapestry in the background is based on
1319:
1279:
1222:
1200:
1182:
868:, he would not have been able to release his
265:
163:
154:
3603:. New York: The Metropolitan Museum of Art.
2872:
2870:
2691:, 1 November 2007. Retrieved on 28 May 2009.
2301:
2299:
2146:"Juana and Diego Velazquez Marriage Profile"
1944:
1932:Random House Webster's Unabridged Dictionary
1608:Velasquez exposed accompanied by the Menines
4476:Prince Baltasar Carlos in the Riding School
3617:Elizabeth McGrath and Jean Michel Massing.
3583:. National Gallery of Scotland, Edinburgh.
3451:
2605:
2603:
2562:The manumission document was discovered by
2376:
2374:
2253:
2251:
2249:
2089:
1872:[ˈdjeɣoroˈðɾiɣeθðeˈsilβajβeˈlaθkeθ]
1622:Recent rediscoveries of Velázquez originals
1166:had died in 1644, and the king had married
475:
302:, and by far the best collection is in the
3901:
3887:
3372:. Ithaca, N.Y.: Cornell University Press.
2833:"An Old Spanish Master Emerges From Grime"
2513:
2511:
2446:
2415:
2413:
456:Also from this period are the portrait of
62:
4360:Infanta Margarita Teresa in a Peach Dress
3780:Stratton-Pruitt, Suzanne L., ed. (2002).
3533:Art and History: Images and Their Meaning
2867:
2296:
1560:(1937)—entered the canon of Spanish art.
1287:It is said the king painted the honorary
1091:In 1650 in Rome Velázquez also painted a
468:has been termed "the peak of Velázquez's
4400:Infanta Margarita Teresa in a Pink Dress
4384:Infanta Margarita Teresa in a Blue Dress
3535:, Cambridge: Cambridge University Press.
3413:Ortiz, Antonio Domínguez et al. (1990).
3141:
2600:
2371:
2246:
2111:
1893:
1891:
1389:Infanta Margarita Teresa in a Blue Dress
1336:Infanta Margarita Teresa in a Blue Dress
1329:
1313:
1195:
1070:
998:
994:
917:
900:
721:
540:
519:
511:Gaspar de Guzmán, Count-Duke of Olivares
479:
378:
317:
241:He was an individualistic artist of the
3830:46 artworks by or after Diego Velázquez
2740:
2508:
2410:
1539:were strongly influenced by Velázquez.
794:The Count-Duke of Olivares on Horseback
766:To decorate the king's new palace, the
441:The Virgin of the Immaculate Conception
368:, though his work remained essentially
4608:
4561:View of the Garden of the Villa Medici
4103:Christ in the House of Martha and Mary
3295:: CS1 maint: archived copy as title (
2941:Schjeldahl, Peter (10 November 2002).
2069:Special Issue: Art History and the Jew
2042:Portugal in European and World History
2012:
1422:
1111:View of the Garden of the Villa Medici
4248:Prince Balthasar Charles with a Dwarf
3882:
3715:2 vols. Edition Saint-Georges, Lyon.
3063:
2924:
2830:
2824:
2645:
2062:
1888:
1870:
1695:Hans-Adam II, Prince of Liechtenstein
967:(1639) belong to this middle period.
746:Prince Balthasar Charles with a Dwarf
693:Joseph's Bloody Coat brought to Jacob
4656:Spanish people of Portuguese descent
4280:Prince Balthasar Charles as a Hunter
3782:The Cambridge Companion to Velázquez
3194:
2969:"Las Meninas, 1957 by Pablo Picasso"
2459:. New York: Robert Appleton Company.
2148:. Marriage.about.com. Archived from
1129:to cast twelve bronze copies of the
220:Diego Rodríguez de Silva y Velázquez
84:Diego Rodríguez de Silva y Velázquez
3908:
3867:Diego Velazquez's Online Exhibition
1683:Willem-Alexander of the Netherlands
1374:, or, more probably, the copy that
430:Kitchen Scene with Christ at Emmaus
13:
4352:The Infanta Maria Theresa of Spain
3444:
2831:Vogel, Carol (10 September 2009).
2063:Otaka, Yasujiro (September 2000).
1704:
252:). He began to paint in a precise
234:of Spain and Portugal, and of the
14:
4687:
3823:
3454:The World of Velázquez: 1599–1660
2925:Gower, Ronald Sutherland (1902).
2447:Herbermann, Charles, ed. (1913).
2045:. London: Reaktion Books. p. 98.
646:
535:The Triumph of Bacchus/The Drunks
3855:202 paintings by Diego Velázquez
3195:Jury, Louise (27 October 2011).
3176:from the original on 6 July 2010
2741:Goodman, Al (7 September 1999).
2636:Asturias and Bardi 1969, p. 106.
1785:
1738:
1148:Return to Spain and later career
718:Return to Madrid (middle period)
588:The Prince of Wales (afterwards
567:, the Dutch portrait painter of
205:
21:Diego Velázquez (disambiguation)
3540:Collected Writings on Velázquez
3506:Velázquez: Painter and Courtier
3303:
3263:
3241:
3219:
3188:
3162:
3142:Tremlett, Giles (1 July 2010).
3135:
3109:
3095:
3080:
3057:
3036:
3011:
2986:
2961:
2952:
2935:
2918:
2909:
2900:
2891:
2858:
2783:
2771:
2762:
2753:
2734:
2720:Kunsthistorisches Museum, Wien
2700:Kunsthistorisches Museum, Wien
2668:
2659:
2639:
2630:
2621:
2612:
2582:
2573:
2556:
2547:
2538:
2529:
2526:Asturias and Bardi 1969, p. 84.
2520:
2499:
2490:
2481:
2472:
2463:
2440:
2437:Carr et al. 2006, pp. 164, 180.
2431:
2422:
2401:
2398:Asturias and Bardi 1969, p. 93.
2392:
2383:
2362:
2353:
2344:
2335:
2326:
2317:
2308:
2287:
2278:
2269:
2260:
2237:
2228:
2219:
2216:Carr et al. 2006, pp. 122, 126.
2210:
2173:
2164:
2138:
2129:
2120:
2102:
2083:
1699:Henri, Grand Duke of Luxembourg
1485:Juan Bautista Martinez del Mazo
1334:Portrait of the eight-year-old
1254:
981:Juan Bautista Martínez del Mazo
924:Portrait of Pablo de Valladolid
889:. It is the first known female
605:female personification of Spain
412:(kitchen scenes with prominent
408:Velázquez's earliest works are
403:Juan Bautista Martínez del Mazo
224:Knight of the Order of Santiago
55:Knight of the Order of Santiago
3687:Velázquez: The Art of Painting
3666:The Variations on Past Masters
3398:Ortega y Gasset, José (1953).
2570:, volume 125, 1983, pp. 683–4.
2450:"Juan Martínez Montañés"
2275:Carr et al. 2006, pp. 29, 245.
2056:
2033:
2006:
1997:
1966:
1938:
1920:
1725:
1663:
1543:Modern recreations of classics
1309:
1181:
896:
1:
4626:17th-century Spanish painters
4565:
4531:
4425:
4237:
4225:Philip IV in Brown and Silver
4177:The Nun Jerónima de la Fuente
4155:
4081:
4058:
4030:Apollo in the Forge of Vulcan
4000:
3953:
3938:
3456:. New York: Time-Life Books.
3340:L'opera completa di Velázquez
3317:(in Spanish). 29 January 2015
2789:Carr et al. 2006, pp. 71, 78.
2731:Retrieved on 27 January 2014.
2711:Retrieved on 27 January 2014.
2544:Harris 1982, pp. 25, 27, 87.
2225:Carr et al. 2006, pp. 28, 29.
1954:(5th ed.). HarperCollins
1882:
1081:
956:The Jester Don Diego de Acedo
909:
873:
855:
842:
797:
711:Apollo in the Forge of Vulcan
698:Apollo in the Forge of Vulcan
486:Philip IV in Brown and Silver
433:
313:
298:Most of his work entered the
246:
171:
69:
4646:Paintings by Diego Velázquez
3672:. Accessed on 10 April 2005.
3357:. London: National Gallery.
2676:"The Bobbin and the Distaff"
2496:Ortega y Gasset 1953, p. 45.
2428:Carr et al. 2006, pp. 38–41.
2332:Ortega y Gasset 1953, p. 37.
2090:Cómez Ramos, Rafael (2002).
1679:Sophia of Greece and Denmark
1612:Velasquez going to his easel
1494:Gaspar Melchor de Jovellanos
1133:. The copies are now in the
687:, and there he probably met
551:, Philip IV's daughter with
394:National Gallery of Scotland
30:, the first or paternal
7:
3791:"Velázquez, Diego" (1995).
3417:. Madrid: Museo del Prado.
3229:. BBC News. 7 December 2011
2092:"La parentela de Velázquez"
1641:Yale University Art Gallery
1349:One of his final works was
1326:(Velázquez's self-portrait)
1005:Portrait of Pope Innocent X
466:The Water Seller of Seville
462:The Water Seller of Seville
322:Birthplace of Velázquez in
16:Spanish painter (1599–1660)
10:
4692:
3980:The Waterseller of Seville
3786:Cambridge University Press
3636:en un simposio en Sevilla"
3555:Calvo Serraller, Francisco
3491:Princeton University Press
3402:. New York: Random House.
3368:Harris, Enriqueta (1982).
3332:
2293:Harris 1982, pp. 12, 200.
1979:Collins English Dictionary
1634:Metropolitan Museum of Art
1189:
1099:Metropolitan Museum of Art
1094:portrait of Juan de Pareja
1077:Portrait of Juan de Pareja
25:
18:
4671:Spanish untitled nobility
4661:Spanish portrait painters
4578:
4552:
4486:
4410:
4168:
4094:
4013:
3925:
3916:
3698:from the Frick Collection
3620:The Slave in European Art
3493:, Princeton, New Jersey.
3387:. Yale University Press.
3172:. CBC News. 3 July 2010.
2915:Portús 2004, pp. 204–207.
2609:Carr et al. 2006, p. 247.
2553:Harris 1982, pp. 25, 28.
2487:Carr et al. 2006, p. 212.
2407:Carr et al. 2006, p. 182.
2389:Carr et al. 2006, p. 147.
2380:Carr et al. 2006, p. 157.
2266:Carr et al. 2006, p. 144.
2257:Carr et al. 2006, p. 245.
2243:Carr et al. 2006, p. 130.
2234:Carr et al. 2006, p. 142.
2015:Jewish Historical Studies
1687:Carl XVI Gustaf of Sweden
1632:in the collection of the
1475:
1344:Bartolomé Esteban Murillo
1125:, Velázquez commissioned
833:Velázquez's paintings of
683:to paint the portrait of
498:, but portrayed the poet
458:Sor Jerónima de la Fuente
446:The Adoration of the Magi
213:
204:
199:
195:
185:
127:
119:
104:
96:
79:
61:
49:
4593:El ministerio del tiempo
4468:Prince Balthasar Charles
4151:Coronation of the Virgin
4135:Temptation of St. Thomas
3751:Prater, Andreas (2007).
3731:Palomino, Antonio (2018)
3696:King Philip IV of Spain
3538:Brown, Jonathan (2008).
3504:Brown, Jonathan (1986).
2949:. Retrieved 25 May 2019.
2801:Carr et al. 2006, p. 79.
2768:McKim-Smith et al. 1988.
2759:Carr et al. 2006, p. 30.
2665:Carr et al. 2006, p. 48.
2647:Gower, Ronald Sutherland
2627:Carr et al. 2006, p. 47.
2618:Carr et al. 2006, p. 46.
2535:Harris 1982, pp. 24–25.
2517:Carr et al. 2006, p. 36.
2505:Carr et al. 2006, p. 42.
2469:Carr et al. 2006, p. 20.
2419:Carr et al. 2006, p. 38.
2368:Carr et al. 2006, p. 33.
2341:Carr et al. 2006, p. 32.
2323:Carr et al. 2006, p. 31.
2179:Carr et al. 2006, p. 29.
2170:Carr et al. 2006, p. 27.
2135:Carr et al. 2006, p. 14.
2126:Carr et al. 2006, p. 28.
2108:Carr et al. 2006, p. 53.
2071:. Studies in Western Art
2003:Carr et al. 2006, p. 26.
1718:
1712:El ministerio del tiempo
1575:The Anglo-Irish painter
927:, 1635, a court fool of
546:Portrait of the Infanta
476:To Madrid (early period)
300:Spanish royal collection
4666:Spanish Roman Catholics
3670:The Mask and the Mirror
3664:Erenkrantz, Justin R. "
3428:Portús, Javier (2004).
3251:. Europeandynasties.com
3201:London Evening Standard
3064:Bacon, Francis (1954),
3048:Literature and Theology
2727:26 October 2014 at the
2707:1 November 2013 at the
1914:Oxford University Press
1675:King Felipe VI of Spain
1658:King Philip IV of Spain
1489:Juan Carreño de Miranda
1123:Royal Alcazar of Madrid
979:Velázquez's son-in-law
768:Palacio del Buen Retiro
507:Rodrigo de Villandrando
108:6 August 1660 (aged 61)
4436:Count-Duke of Olivares
4392:Prince Philip Prospero
4288:Juan Martínez Montañés
4272:Count-Duke of Olivares
4209:The Infante Don Carlos
4201:Count-Duke of Olivares
4038:The Surrender of Breda
4022:The Triumph of Bacchus
3806:Wolf, Norbert (1998).
3793:Enciclopedia Hispánica
3737:, Getty Publications.
2681:11 August 2011 at the
2065:"An Aspiration Sealed"
2039:Newitt, Malyn (2009).
1582:Portrait of Innocent X
1549:
1533:James McNeill Whistler
1502:Count of Floridablanca
1339:
1327:
1320:
1280:
1266:Les Mots et Les Choses
1223:
1208:
1201:
1183:
1135:Royal Palace of Madrid
1088:
1053:Doria Pamphilj Gallery
1009:
950:), sat for Velázquez.
931:
915:
818:and now stands in the
808:Juan Martínez Montañés
781:The Surrender of Breda
772:Philip IV on Horseback
740:
703:The Triumph of Bacchus
679:. In 1630, he visited
636:The Triumph of Bacchus
555:
538:
490:
397:
329:Velázquez was born in
326:
266:
164:
155:
149:Portrait of Innocent X
135:The Surrender of Breda
4651:Spanish male painters
4641:Painters from Seville
4119:Adoration of the Magi
3949:Old Woman Frying Eggs
3857:at DiegoVelazquez.org
3767:Salort-Pons, Salvador
3510:Yale University Press
2958:Harris 1982, p. 177.
2864:Harris 1982, p. 178.
2456:Catholic Encyclopedia
1910:UK English Dictionary
1616:Blanton Museum of Art
1438:Alonso Sánchez Coello
1333:
1317:
1304:purity of his lineage
1247:Royal Academy of Arts
1199:
1103:Accademia di San Luca
1074:
1002:
995:Second visit to Italy
921:
904:
728:La rendición de Breda
725:
544:
523:
483:
418:Old Woman Frying Eggs
389:Old Woman Frying Eggs
382:
321:
4676:Spanish slave owners
4444:Margarita of Austria
3863:at WikiPaintings.org
3851:at Artcyclopedia.com
3753:Venus ante el espejo
3711:Moser, Wolf (2011).
3683:Kahr, Madlyn Millner
3581:Velázquez in Seville
3452:Brown, Dale (1969).
2973:www.pablopicasso.org
2906:Portús 2004, p. 201.
2897:Portús 2004, p. 200.
2888:Harris 1982, p. 183.
2594:www.museodelprado.es
2359:Harris 1982, p. 73.
2350:Harris 1982, p. 74.
2314:Harris 1982, p. 61.
2305:Harris 1982, p. 12.
2284:Harris 1982, p. 57.
1691:Albert II of Belgium
1290:Cross of Saint James
965:The Buffoon of Coria
944:Francisco de Quevedo
936:Elisabeth of Bourbon
709:, Velázquez painted
384:Vieja friendo huevos
361:and September 1611.
358:Francisco de Herrera
262:Spanish royal family
19:For other uses, see
4636:Knights of Santiago
4596:(television series)
4586:Statue of Velázquez
4503:Don John of Austria
4421:Elisabeth of France
4296:Pablo de Valladolid
4193:Philip IV in Armour
4185:Don Luis de Góngora
3689:. Harper & Row.
3385:Examining Velazquez
3342:. Milano: Rizzoli.
3023:archive.thedali.org
2998:archive.thedali.org
2876:Portús 2004, p. 57.
2652:Sir Thomas Lawrence
2568:Burlington Magazine
2478:Portús 2004, p. 25.
2117:Harris 1982, p. 9.
2096:Laboratorio de Arte
1677:through his mother
1537:John Singer Sargent
1423:Style and technique
1380:Anton Raphael Mengs
1271:The Order of Things
1250:Sir Thomas Lawrence
1231:The Maids of Honour
1164:Elisabeth of France
961:Pablo de Valladolid
882:Venus at her Mirror
870:La Venus del espejo
685:Maria Anna of Spain
614:In September 1628,
553:Elisabeth of France
4542:Don Diego de Acedo
4527:Sebastián de Morra
4344:Mariana of Austria
4312:Philip IV in Fraga
3964:The Farmers' Lunch
3844:Web Gallery of Art
3735:Lives of Velázquez
3727:Pacheco, Francisco
3652:on 24 October 2004
3575:Davies, David and
3561:. Madrid: Electa.
3525:Rotberg, Robert I.
3207:on 29 October 2011
3089:Daily Art Magazine
2838:The New York Times
2747:The New York Times
2152:on 25 October 2011
1903:"Velázquez, Diego"
1898:"Velázquez, Diego"
1654:Matthew Shepperson
1618:in Austin, Texas.
1579:found Velázquez's
1371:The Rape of Europa
1340:
1328:
1209:
1168:Mariana of Austria
1089:
1010:
932:
916:
790:order of Alcantara
741:
556:
539:
526:El Triunfo de Baco
505:In December 1622,
491:
398:
327:
308:Austrian Habsburgs
236:Spanish Golden Age
36:Rodríguez de Silva
4631:Catholic painters
4603:
4602:
4320:Francisco Lezcano
4233:Portrait of a Man
3761:978-84-936060-0-8
3721:978-3-00-032155-9
3706:978-1-78551-444-9
3625:Warburg Institute
3548:978-0-300-14493-2
3529:Rabb, Theodore K.
3432:. London: Scala.
3423:978-8-48731-701-9
1671:Reuss zu Köstritz
1629:Portrait of a Man
1604:Herman Braun-Vega
1414:San Juan Bautista
1295:Order of Santiago
1264:In the 1966 book
1172:aposentador mayor
1127:Matteo Bonuccelli
616:Peter Paul Rubens
354:Francisco Pacheco
217:
216:
4683:
4570:
4567:
4536:
4533:
4430:
4429: 1628–1636
4427:
4242:
4239:
4160:
4159: 1641–1644
4157:
4143:Christ Crucified
4086:
4083:
4063:
4062: 1647–1651
4060:
4005:
4004: 1635–1643
4002:
3988:The Kitchen Maid
3958:
3955:
3943:
3940:
3903:
3896:
3889:
3880:
3879:
3743:978-1-60606-5884
3677:The Art Bulletin
3661:
3659:
3657:
3651:
3645:. Archived from
3640:
3614:
3577:Enriqueta Harris
3572:
3467:
3327:
3326:
3324:
3322:
3307:
3301:
3300:
3294:
3286:
3284:
3282:
3273:. Archived from
3267:
3261:
3260:
3258:
3256:
3245:
3239:
3238:
3236:
3234:
3223:
3217:
3216:
3214:
3212:
3203:. Archived from
3192:
3186:
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3183:
3181:
3166:
3160:
3159:
3157:
3155:
3139:
3133:
3132:
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3119:. Archived from
3113:
3107:
3106:
3099:
3093:
3092:
3091:. 19 April 2023.
3084:
3078:
3077:
3076:
3074:
3067:Figure with Meat
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2928:Sir David Wilkie
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2815:The Art Bulletin
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2564:Jennifer Montagu
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1606:with his series
1592:Figure with Meat
1552:
1383:gray and black.
1325:
1283:
1229:(1656, English:
1228:
1219:Margaret Theresa
1206:
1186:
1086:
1083:
1062:manera abreviada
973:Christ Crucified
914:
911:
887:The Rokeby Venus
885:) also known as
878:
877: 1644–1648
875:
860:
857:
847:
846: 1636–1638
844:
820:Plaza de Oriente
802:
799:
733:Ambrogio Spinola
438:
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386:(1618, English:
271:
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250: 1600–1750
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91:, Habsburg Spain
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4328:Pope Innocent X
4304:Lady with a Fan
4256:Don Juan Mateos
4240:
4164:
4158:
4090:
4084:
4061:
4009:
4003:
3996:The Needlewoman
3972:Three Musicians
3956:
3941:
3921:
3912:
3910:Diego Velázquez
3907:
3873:Diego Velázquez
3869:at Owlstand.com
3861:Diego Velázquez
3840:Velázquez works
3826:
3821:
3810:Taschen, Köln.
3655:
3653:
3649:
3643:El Pais Digital
3638:
3630:
3611:
3569:
3483:Brown, Jonathan
3464:
3447:
3445:Further reading
3335:
3330:
3320:
3318:
3309:
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3287:
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3271:"Archived copy"
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2778:Diego Velázquez
2776:
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2754:
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2735:
2729:Wayback Machine
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2709:Wayback Machine
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1734:British English
1732:
1731:
1730:
1726:
1721:
1707:
1705:Popular culture
1666:
1624:
1600:Fernando Botero
1545:
1511:. In 1828, Sir
1478:
1462:lead-tin-yellow
1425:
1312:
1276:Michel Foucault
1274:), philosopher
1233:), Velázquez's
1194:
1188:
1150:
1139:Museo del Prado
1119:Room of Mirrors
1084:
1057:Joshua Reynolds
1049:Pope Innocent X
1036:as he went. At
997:
940:Baltasar Carlos
912:
906:Lady from court
899:
876:
858:
845:
800:
720:
655:He traveled to
649:
639:), also called
561:Museo del Prado
533:1629 (English:
500:Luis de Góngora
478:
436:
316:
304:Museo del Prado
249:
178:
174:
162:
153:
146:
139:
128:
115:
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92:
86:
85:
75:
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68:Self-portrait,
57:
52:
51:Diego Velázquez
43:
24:
17:
12:
11:
5:
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4588:(1899, Madrid)
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4336:Juan de Pareja
4332:
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4127:Joseph's Tunic
4123:
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4107:
4098:
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4089:
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4077:Las Hilanderas
4073:
4065:
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3824:External links
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3277:on 16 May 2008
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3123:on 9 July 2010
3108:
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2947:The New Yorker
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1259:Spanish Empire
1190:Main article:
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1014:Juan de Pareja
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4012:
3998:
3997:
3993:
3990:
3989:
3985:
3982:
3981:
3977:
3974:
3973:
3969:
3966:
3965:
3961:
3951:
3950:
3946:
3936:
3935:
3931:
3930:
3928:
3924:
3920:
3919:List of works
3915:
3911:
3904:
3899:
3897:
3892:
3890:
3885:
3884:
3881:
3874:
3871:
3868:
3865:
3862:
3859:
3856:
3853:
3850:
3847:
3845:
3841:
3838:
3835:
3831:
3828:
3827:
3817:
3816:3-8228-6511-7
3813:
3809:
3805:
3802:
3801:1-56409-007-8
3798:
3794:
3790:
3787:
3783:
3779:
3776:
3775:84-932891-1-6
3772:
3768:
3765:
3762:
3758:
3754:
3750:
3747:
3744:
3740:
3736:
3732:
3728:
3725:
3722:
3718:
3714:
3710:
3707:
3703:
3699:
3695:
3692:Knox, Giles.
3691:
3688:
3684:
3681:
3678:
3674:
3671:
3667:
3663:
3648:
3644:
3637:
3635:
3629:
3626:
3622:
3621:
3616:
3612:
3610:9780810939066
3606:
3602:
3601:
3598:
3593:
3590:
3589:0-300-06949-9
3586:
3582:
3578:
3574:
3570:
3568:84-8156-203-3
3564:
3560:
3556:
3552:
3549:
3545:
3541:
3537:
3534:
3530:
3526:
3522:
3519:
3518:0-300-03466-0
3515:
3512:, New Haven.
3511:
3507:
3503:
3500:
3499:0-691-03941-0
3496:
3492:
3488:
3484:
3481:
3478:
3477:84-87317-01-4
3474:
3469:
3465:
3463:0-8094-0252-1
3459:
3455:
3450:
3449:
3439:
3435:
3431:
3427:
3424:
3420:
3416:
3412:
3409:
3405:
3401:
3397:
3394:
3390:
3386:
3382:
3379:
3375:
3371:
3367:
3364:
3360:
3356:
3352:
3349:
3345:
3341:
3337:
3336:
3316:
3312:
3306:
3298:
3292:
3276:
3272:
3266:
3250:
3244:
3228:
3222:
3206:
3202:
3198:
3191:
3175:
3171:
3165:
3149:
3145:
3138:
3122:
3118:
3112:
3104:
3098:
3090:
3083:
3069:
3068:
3060:
3053:
3049:
3045:
3039:
3024:
3020:
3014:
2999:
2995:
2989:
2974:
2970:
2964:
2955:
2948:
2944:
2938:
2930:
2929:
2921:
2912:
2903:
2894:
2885:
2883:
2873:
2871:
2861:
2854:
2853:
2840:
2839:
2834:
2827:
2821:(4): 589–603.
2820:
2816:
2810:
2808:
2798:
2796:
2786:
2779:
2774:
2765:
2756:
2748:
2744:
2737:
2730:
2726:
2723:
2717:
2710:
2706:
2703:
2697:
2690:
2689:
2684:
2680:
2677:
2674:Bird, Wendy.
2671:
2662:
2654:
2653:
2648:
2642:
2633:
2624:
2615:
2606:
2604:
2595:
2591:
2585:
2576:
2569:
2565:
2559:
2550:
2541:
2532:
2523:
2514:
2512:
2502:
2493:
2484:
2475:
2466:
2458:
2457:
2451:
2443:
2434:
2425:
2416:
2414:
2404:
2395:
2386:
2377:
2375:
2365:
2356:
2347:
2338:
2329:
2320:
2311:
2302:
2300:
2290:
2281:
2272:
2263:
2254:
2252:
2250:
2240:
2231:
2222:
2213:
2204:
2202:
2200:
2198:
2196:
2194:
2192:
2190:
2188:
2186:
2176:
2167:
2151:
2147:
2141:
2132:
2123:
2114:
2105:
2097:
2093:
2086:
2070:
2066:
2059:
2052:
2051:9781861895196
2048:
2044:
2043:
2036:
2028:
2024:
2020:
2016:
2009:
2000:
1985:
1984:HarperCollins
1981:
1980:
1975:
1969:
1953:
1952:
1947:
1941:
1934:
1933:
1928:
1923:
1915:
1911:
1909:
1904:
1899:
1894:
1892:
1887:
1873:
1863:
1782:
1774:
1735:
1728:
1724:
1716:
1714:
1713:
1702:
1700:
1696:
1692:
1688:
1684:
1680:
1676:
1672:
1661:
1659:
1655:
1649:
1647:
1642:
1637:
1635:
1631:
1630:
1626:In 2009, the
1619:
1617:
1613:
1609:
1605:
1601:
1596:
1594:
1593:
1588:
1587:expressionist
1584:
1583:
1578:
1577:Francis Bacon
1573:
1571:
1570:
1565:
1564:Salvador Dalí
1561:
1559:
1558:
1551:
1540:
1538:
1534:
1530:
1529:impressionism
1526:
1525:Édouard Manet
1521:
1519:
1518:Henry Raeburn
1514:
1510:
1505:
1503:
1499:
1495:
1490:
1486:
1481:
1473:
1469:
1467:
1463:
1459:
1455:
1451:
1447:
1443:
1439:
1435:
1429:
1420:
1417:
1415:
1411:
1407:
1403:
1402:Maria Theresa
1398:
1394:
1391:
1390:
1384:
1381:
1377:
1373:
1372:
1367:
1363:
1359:
1357:
1353:
1347:
1345:
1337:
1332:
1324:
1323:
1316:
1307:
1305:
1300:
1296:
1292:
1291:
1285:
1282:
1277:
1273:
1272:
1267:
1262:
1260:
1256:
1251:
1248:
1244:
1243:Luca Giordano
1240:
1236:
1232:
1227:
1226:
1220:
1216:
1215:
1205:
1204:
1198:
1193:
1185:
1179:
1177:
1173:
1169:
1165:
1161:
1159:
1155:
1145:
1142:
1140:
1136:
1132:
1128:
1124:
1120:
1115:
1113:
1112:
1106:
1104:
1100:
1097:, now in the
1096:
1095:
1079:
1078:
1073:
1069:
1067:
1063:
1058:
1054:
1050:
1045:
1043:
1039:
1035:
1031:
1027:
1023:
1019:
1015:
1007:
1006:
1001:
992:
988:
986:
982:
977:
975:
974:
968:
966:
962:
958:
957:
951:
949:
945:
941:
937:
930:
926:
925:
920:
907:
903:
894:
892:
888:
884:
883:
871:
867:
862:
853:
852:
840:
836:
831:
829:
825:
821:
817:
813:
809:
806:The sculptor
804:
795:
791:
785:
783:
782:
777:
773:
769:
764:
762:
758:
757:riding school
754:
753:
748:
747:
738:
734:
730:
729:
724:
715:
712:
708:
704:
700:
699:
694:
690:
686:
682:
678:
674:
670:
666:
662:
658:
653:
644:
642:
641:Los Borrachos
638:
637:
632:
627:
625:
621:
617:
612:
610:
606:
602:
598:
593:
591:
586:
584:
580:
576:
575:
570:
566:
562:
554:
550:
549:
548:Maria Theresa
543:
536:
532:
531:Los Borrachos
528:
527:
522:
518:
516:
512:
508:
503:
501:
497:
488:
487:
482:
473:
471:
467:
464:(1618–1622).
463:
459:
454:
452:
448:
447:
442:
431:
427:
423:
419:
415:
411:
406:
404:
395:
391:
390:
385:
381:
377:
375:
371:
367:
362:
359:
355:
350:
348:
347:
342:
341:
336:
332:
325:
320:
311:
309:
305:
301:
296:
294:
293:Francis Bacon
290:
289:Salvador Dalí
286:
285:Pablo Picasso
282:
281:impressionist
278:
273:
270:
269:
263:
259:
255:
244:
239:
237:
233:
229:
225:
221:
212:
208:
203:
198:
194:
191:
188:
184:
181:
180:List of works
168:
167:
159:
158:
151:
150:
144:
143:
137:
136:
132:
126:
122:
118:
113:
107:
103:
99:
95:
90:
82:
78:
65:
60:
56:
48:
45:
41:
37:
33:
29:
22:
4591:
4559:
4540:
4525:
4519:Calabacillas
4517:
4509:
4501:
4495:Calabacillas
4493:
4474:
4466:
4458:
4450:
4442:
4434:
4419:
4398:
4390:
4382:
4374:
4366:
4358:
4350:
4342:
4334:
4326:
4318:
4310:
4302:
4294:
4286:
4278:
4270:
4262:
4254:
4246:
4231:
4223:
4215:
4207:
4199:
4196:(after 1623)
4191:
4183:
4175:
4149:
4141:
4133:
4125:
4117:
4109:
4101:
4075:
4067:
4054:Rokeby Venus
4052:
4046:Mars Resting
4044:
4036:
4028:
4020:
3994:
3986:
3978:
3970:
3962:
3947:
3932:
3909:
3832: at the
3807:
3792:
3781:
3752:
3734:
3712:
3697:
3693:
3686:
3676:
3669:
3654:. Retrieved
3647:the original
3642:
3633:
3618:
3600:
3597:
3580:
3558:
3539:
3532:
3505:
3486:
3453:
3429:
3414:
3399:
3384:
3369:
3354:
3339:
3319:. Retrieved
3314:
3305:
3279:. Retrieved
3275:the original
3265:
3253:. Retrieved
3243:
3233:29 September
3231:. Retrieved
3221:
3209:. Retrieved
3205:the original
3200:
3190:
3178:. Retrieved
3164:
3152:. Retrieved
3148:The Guardian
3147:
3137:
3125:. Retrieved
3121:the original
3111:
3097:
3088:
3082:
3071:, retrieved
3066:
3059:
3051:
3047:
3043:
3038:
3026:. Retrieved
3022:
3013:
3001:. Retrieved
2997:
2988:
2976:. Retrieved
2972:
2963:
2954:
2946:
2937:
2927:
2920:
2911:
2902:
2893:
2860:
2850:
2849:
2844:11 September
2842:. Retrieved
2836:
2826:
2818:
2814:
2785:
2773:
2764:
2755:
2746:
2736:
2716:
2696:
2686:
2670:
2661:
2651:
2641:
2632:
2623:
2614:
2593:
2584:
2575:
2567:
2558:
2549:
2540:
2531:
2522:
2501:
2492:
2483:
2474:
2465:
2454:
2442:
2433:
2424:
2403:
2394:
2385:
2364:
2355:
2346:
2337:
2328:
2319:
2310:
2289:
2280:
2271:
2262:
2239:
2230:
2221:
2212:
2175:
2166:
2154:. Retrieved
2150:the original
2140:
2131:
2122:
2113:
2104:
2095:
2085:
2073:. Retrieved
2068:
2058:
2041:
2035:
2018:
2014:
2008:
1999:
1987:. Retrieved
1977:
1968:
1956:. Retrieved
1949:
1940:
1930:
1922:
1906:
1727:
1710:
1708:
1667:
1650:
1646:Prado Museum
1638:
1627:
1625:
1611:
1607:
1597:
1590:
1580:
1574:
1567:
1562:
1555:
1546:
1522:
1513:David Wilkie
1506:
1482:
1479:
1470:
1430:
1426:
1418:
1399:
1395:
1387:
1385:
1369:
1356:The Spinners
1355:
1351:
1348:
1341:
1335:
1288:
1286:
1269:
1265:
1263:
1230:
1212:
1210:
1171:
1162:
1151:
1143:
1131:Medici lions
1118:
1116:
1109:
1107:
1092:
1090:
1075:
1061:
1046:
1020:, landed at
1011:
1003:
989:
978:
971:
969:
964:
960:
954:
952:
948:Apsley House
933:
922:
905:
886:
880:
869:
863:
851:Mars Resting
849:
838:
834:
832:
816:Pietro Tacca
805:
793:
786:
779:
778:. The large
771:
765:
750:
744:
742:
726:
710:
702:
696:
692:
654:
650:
640:
634:
628:
613:
594:
587:
582:
572:
557:
545:
534:
530:
524:
504:
492:
484:
469:
465:
461:
457:
455:
450:
444:
440:
429:
425:
417:
407:
399:
396:, Edinburgh.
387:
383:
363:
351:
344:
338:
328:
297:
274:
240:
219:
218:
147:
142:Rokeby Venus
140:
133:
129:Notable work
44:
39:
35:
28:Spanish name
4621:1660 deaths
4616:1599 births
4569: 1630
4535: 1645
4522:(1637–1639)
4506:(1632–1633)
4498:(1626–1632)
4463:(1635–1636)
4455:(1634–1635)
4368:Las Meninas
4363:(1653–1654)
4355:(1652–1653)
4307:(1638–1639)
4299:(1636–1637)
4291:(1635–1636)
4259:(1632–1633)
4241: 1630
4212:(1626–1627)
4114:(1618–1620)
4085: 1657
4041:(1634–1635)
4025:(1628–1629)
3991:(1620–1622)
3983:(1618–1622)
3957: 1618
3942: 1617
3694:Velázquez's
3255:22 December
3180:22 December
3154:22 December
3054:(1), 33–50.
2780:, ColourLex
2156:22 December
1974:"Velázquez"
1946:"Velázquez"
1927:"Velázquez"
1664:Descendants
1550:Las Meninas
1434:Antonio Mor
1322:Las Meninas
1310:Final years
1281:Las Meninas
1235:magnum opus
1225:Las Meninas
1211:One of the
1203:Las Meninas
1192:Las Meninas
1184:Las Meninas
1085: 1650
913: 1635
897:Portraiture
879:, English:
866:Inquisition
859: 1638
801: 1635
565:Antonio Mor
449:(1619) and
437: 1618
428:(1618) and
268:Las Meninas
175: 1657
157:Las Meninas
145:(1647–1651)
100:6 June 1599
73: 1640
4610:Categories
4579:Portrayals
4553:Landscapes
4511:Barbarroja
4452:Philip III
4411:Equestrian
4217:Maria Anna
4111:Saint Paul
3599:Velázquez
3438:185759374X
3393:0300036159
3378:0801415268
3363:1857093038
3211:27 October
2075:8 December
1989:18 October
1958:18 October
1883:References
1614:is at the
1318:Detail of
1299:knighthood
1255:Dale Brown
1030:Tintoretto
812:Florentine
707:Guido Reni
601:Philip III
422:Caravaggio
414:still-life
314:Early life
4460:Philip IV
4413:portraits
4169:Portraits
4095:Religious
3934:The Lunch
3849:Velázquez
3634:Velázquez
3559:Velázquez
3415:Velázquez
3408:989292513
3400:Velazquez
3370:Velazquez
3355:Velázquez
3348:991877516
3073:28 August
3028:29 August
3003:28 August
2978:29 August
2021:: 27–32.
1900:(US) and
1454:vermilion
1406:Louis XIV
1158:Barcelona
929:Philip IV
814:sculptor
590:Charles I
569:Philip II
496:Philip IV
470:bodegones
410:bodegones
370:Mannerist
349:lineage.
340:conversos
258:portraits
254:tenebrist
232:Philip IV
200:Signature
138:(1634–35)
40:Velázquez
3755:, CEEH.
3685:(1976).
3579:(1996).
3557:(1999).
3485:(1978).
3321:10 March
3291:cite web
3174:Archived
3127:12 April
2725:Archived
2705:Archived
2679:Archived
2649:(1900).
2027:29779978
1868:Spanish:
1557:Guernica
1458:red lake
1442:pigments
1410:Bidassoa
1214:infantas
1176:sinecure
1137:and the
1034:Veronese
946:(now at
839:Menippus
761:Olivares
624:Escorial
374:classics
272:(1656).
245:period (
230:of King
186:Movement
123:Painting
97:Baptised
26:In this
4487:Jesters
4228:(1630s)
4014:History
3842:at the
3656:9 April
3333:Sources
3315:RTVE.es
3281:19 July
2852:artist.
1689:, King
1685:, King
1681:, King
1446:azurite
1362:Arachne
1293:of the
1239:baroque
1121:at the
1066:Vatican
1051:in the
1042:Dresden
673:Bologna
661:Ferrara
631:Bacchus
622:at the
620:Titians
583:golilla
574:golilla
346:Morisco
331:Seville
324:Seville
277:realist
260:of the
243:Baroque
190:Baroque
114:, Spain
89:Seville
32:surname
4545:(1645)
4514:(1633)
4479:(1636)
4471:(1635)
4447:(1634)
4439:(1634)
4403:(1660)
4395:(1659)
4387:(1659)
4379:(1656)
4371:(1656)
4347:(1652)
4339:(1650)
4331:(1650)
4323:(1645)
4315:(1644)
4283:(1635)
4275:(1635)
4267:(1634)
4251:(1631)
4220:(1630)
4204:(1624)
4188:(1622)
4180:(1620)
4146:(1632)
4138:(1632)
4130:(1630)
4122:(1619)
4106:(1618)
4072:(1648)
4049:(1640)
4033:(1629)
3975:(1618)
3967:(1618)
3834:Art UK
3814:
3799:
3773:
3759:
3741:
3719:
3704:
3623:. The
3607:
3587:
3565:
3546:
3516:
3497:
3475:
3460:
3436:
3421:
3406:
3391:
3376:
3361:
3346:
2688:Apollo
2566:. See
2049:
2025:
1908:Lexico
1697:, and
1476:Legacy
1466:ochres
1436:, and
1376:Rubens
1366:Titian
1338:(1659)
1207:(1656)
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