According to López-Rey, "[The Arnolfini Portrait] has little in common with Velázquez' composition, the closest and most meaningful antecedent to which is to be found within his own oeuvre in Christ in the House of Martha and Mary, painted almost forty years earlier, in Seville, before he could have seen the Arnolfini portrait in Madrid". [74]

Yale uncovers Velazquez in basement storage". CBC News. July 3, 2010. Archived from the original on July 6, 2010 . Retrieved December 22, 2010.Arya, Rina (2009). "Painting the Pope: An Analysis of Francis Bacon's Study After Velázquez's Portrait of Innocent X". Literature and Theology, 23 (1), 33–50. In 1617, Velázquez finished his apprenticeship and was granted the right to set up his own studio. A year later, he married Pacheco's daughter Juana and by 1621, the couple had two daughters.

From February 1650, Philip repeatedly sought Velázquez's return to Spain. [57] Accordingly, after visiting Naples—where he saw his old friend Jose Ribera—and Venice, Velázquez returned to Spain via Barcelona in 1651, taking with him many pictures and 300 pieces of statuary, which afterwards were arranged and catalogued for the king. Forgetting Velázquez. Las Meninas". Museu Picasso of Barcelona. 2008. Archived from the original on 15 February 2009 . Retrieved 22 October 2009. Editorial (January 1985). "The cleaning of 'Las Meninas' ". The Burlington Magazine. Burlington Magazine Publications Ltd. 127 (982): 2–3, 41. JSTOR 881920. During the 1640s and 1650s, Velázquez served as both court painter and curator of PhilipIV's expanding collection of European art. He seems to have been given an unusual degree of freedom in the role. He supervised the decoration and interior design of the rooms holding the most valued paintings, adding mirrors, statues and tapestries. He was also responsible for the sourcing, attribution, hanging and inventory of many of the Spanish king's paintings. By the early 1650s, Velázquez was widely respected in Spain as a connoisseur. Much of the collection of the Prado today—including works by Titian, Raphael, and Rubens—were acquired and assembled under Velázquez's curatorship. [11] Provenance and condition [ edit ] Detail showing PhilipIV's daughter, the Infanta Margaret Theresa. Most of her left cheek was repainted after being damaged in the fire of 1734. 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 Las Meninas in 44 variations, in his characteristic style. [82] Although Picasso was concerned that his reinterpretations of Velázquez's painting would be seen merely as copies rather than as unique representations, [ citation needed] the enormous works—the largest he had produced since Guernica (1937)—entered the canon of Spanish art. [83]

Abolition connections

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Velázquez Painting the Infanta Marguerita with the Lights and Shadows of His Own Glory". archive.thedali.org . Retrieved 2023-08-29. On April 23, 1618, Velázquez married Juana Pacheco (June 1, 1602–August 10, 1660), the daughter of his teacher. They had two daughters. The elder, Francisca de Silva Velázquez y Pacheco (1619–1658), married painter Juan Bautista Martínez del Mazo at the Church of Santiago in Madrid on August 21, 1633. The younger, Ignacia de Silva Velázquez y Pacheco, born in 1621, died in infancy. [15] Antes de la apertura hemos realizado la desinfección completa en nuestras instalaciones, incluyendo el aire acondicionado y máquinas de extracción de aire. Honour, Hugh; Fleming, John (1982). A World History of Art. London: Macmillan. ISBN 978-1-85669-451-3.Velázquez produced notable works during this time. Known for his compositions of amusing genre scenes, also called bodegones, such as Old Woman Frying Eggs, his sacred subjects include Adoración de los Reyes (1619, The Adoration of the Magi) and Jesús y los peregrinos de Emaús (1626, Christ and the Pilgrims of Emmaus), both of which begin to express his more pointed and careful realism.

The 14 masterpieces of the Prado museum in mega high resolution on Google Earth". Museo de Prado. Archived from the original on 1 February 2021 . Retrieved 14 February 2021.a b Dambe, Sira (December 2006). "Enslaved sovereign: aesthetics of power in Foucault, Velázquez and Ovid". Journal of Literary Studies. 22 (3–4): 229–256. doi: 10.1080/02564710608530402. S2CID 143516350. Archived from the original on 24 March 2021 . Retrieved 17 March 2021. The name is sometimes given in print as Las Meniñas, but there is no word " meniña" in Spanish. The word means "girl from a noble family brought up to serve at court" ( Oxford Concise Spanish Dictionary) and comes from menina ( Portuguese for 'girl'). This misspelling may be due to confusion with niña ( Spanish for 'girl') There were essentially only two patrons of art in Spain—the church and the art-loving king and court. Bartolomé Esteban Murillo, 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. Gower, Ronald Sutherland (1902). Sir David Wilkie. University of California Libraries. London: G. Bell and sons. pp.64–65.