Yale uncovers Velazquez in basement storage". CBC News. July 3, 2010. Archived from the original on July 6, 2010 . Retrieved December 22, 2010. By the time Velázquez painted Las Meninas, he'd been working at the court of King Philip IV for over 30 years. In that time, he'd made himself indispensable and had been by the king's side, as his first wife and their only son had died. At the time of the painting, King Philip had remarried Mariana of Austria, and Margaret Theresa (the young girl at the center of the painting) was their first and only daughter.

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] He was an individualistic artist of the Baroque period (c. 1600–1750). He began to paint in a precise tenebrist 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 portraits of the Spanish royal family and commoners, culminating in his masterpiece Las Meninas (1656). Commissioned by Philip, the painting was hung in his private office at his summer palace. Until 1819 it remained in the royal palace, after which time it went into the collection of the Prado Museum. Much of what we know about the painting is owed to Spanish writer Antonio Palomino, who dedicated an entire section of his book on Spanish artists to Las Meninas. He not only gave the year that the painting was created, but also identified most of the people within the canvas. It's also thanks to Palomino that we know that it shows a room located within the Royal Alcázar. This fortress turned palace was the seat of the Habsburg rulers. 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. Nuestras señoritas le ofrecen, también, la posibilidad de acompañarle con absoluta discreción y saber estar en su hotel o domicilio particular. Nos avalan más de 10 años de experiencia para garantizarle que todas las señoritas siempre se irán correctamente vestidas, discretas y adecuadas para la ocasión, sin aparentar en absoluto, ser chicas de compañía, ni nada parecido. Nuestra prioridad siempre es ofrecer la misma calidad de servicio donde el cliente nos indique, durante 24 horas, todos los días de la semana. Estaremos encantadas de atenderle en Málaga Capital, Zona Aeropuerto, Guadalmar, Torremolinos, Benalmádena, Fuengirola, Mijas, Churriana, La Cala del Moral y Rincón de la Victoria.In 2004, the video artist Eve Sussman filmed 89 Seconds at Alcázar, a high-definition video tableau inspired by Las Meninas. The work is a recreation of the moments leading up to and directly following the approximately 89 seconds when the royal family and their courtiers would have come together in the exact configuration of Velázquez's painting. Sussman had assembled a team of 35, including an architect, a set designer, a choreographer, a costume designer, actors, and a film crew. [90] In 1629, Velázquez was given permission to spend a year and a half in Italy. Though 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 painter saw, whom he met, how he was perceived and what innovations he hoped to introduce into his painting.

Snyder, Joel; Cohen, Ted (Winter 1980). "Reflexions on Las Meninas: Paradox Lost". Critical Inquiry. The University of Chicago Press. 7 (2): 429–447. doi: 10.1086/448107. JSTOR 1343136. S2CID 161395640. In 1692, the Neapolitan painter Luca Giordano became one of the few allowed to view paintings held in PhilipIV's private apartments, and was greatly impressed by Las Meninas. Giordano described the work as the "theology of painting", [44] and was inspired to paint A Homage to Velázquez ( National Gallery, London). [79] By the early 18th century his oeuvre was gaining international recognition, and later in the century British collectors ventured to Spain in search of acquisitions. Since the popularity of Italian art was then at its height among British connoisseurs, they concentrated on paintings that showed obvious Italian influence, largely ignoring others such as Las Meninas. [80] Queremos pediros vuestra comprensión, paciencia y colaboración que serán muy importantes para que todas estas medidas sean efectivas y nos permitan reducir la probabilidad de contagios y así salvaguardar la salud de las personas. We are looking at a picture in which the painter is in turn looking out at us. A mere confrontation, eyes catching one another's glance, direct looks superimposing themselves upon one another as they cross. And yet this slender line of reciprocal visibility embraces a whole complex network of uncertainties, exchanges, and feints. The painter is turning his eyes towards us only in so far as we happen to occupy the same position as his subject. [67] [68] In 1643 Velázquez was promoted again, to Gentleman of the Bedchamber. He was also made superintendent of the palace works. In 1647 he was put in charge of a project to modernise the old Alcázar palace.

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Wolf, Norbert (1998) Diego Velázquez, 1599–1660: the face of Spain Taschen, Köln. ISBN 3-8228-6511-7.

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. a b Jonathan Miller, for example, in 1998, continued to regard the inset picture as a reflection in a mirror. [76] 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.Velázquez's final portraits of the royal children are among his finest works and in the Infanta Margarita Teresa in a Blue Dress [64] 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. Most of his work entered the Spanish royal collection, and by far the best collection is in the Museo del Prado in Madrid, though some portraits were sent abroad as diplomatic gifts, especially to the Austrian Habsburgs. Pacheco, Francisco and Palomino, Antonio (2018). Lives of Velázquez, Getty Publications. ISBN 978-1-60606-5884. Carr, Dawson W. (2006). "Painting and Reality: The Art and Life of Velázquez". In Carr, Dawson W.; Bray, Xavier (eds.). Velázquez. London: National Gallery. ISBN 978-1-85709-303-2. Forgetting Velázquez. Las Meninas". Museu Picasso of Barcelona. 2008. Archived from the original on 15 February 2009 . Retrieved 22 October 2009.