Diego Velázquez
Diego RodrÃguez de Silva y Velázquez (June 6, 1599 - August 6, 1660), commonly referred to as Diego Velázquez, was a Spanish painter, the leading artist in the court of King Philip IV. He was an individualistic artist of the contemporary baroque period, important as a portrait artist.
From the first quarter of the nineteenth century, Velázquez's artwork was a model for the realist and impressionist painters, in particular Édouard Manet. Since that time, more modern artists, including Spain's Pablo Picasso and Salvador DalÃ, as well as the Anglo-Irish painter Francis Bacon have paid tribute to Velázquez by recreating several of his most famous works.
Velazquez Bibliography
Velazquez was born in Sevilla, Andalusia on June 6, 1599. He was christened June 6 of the same year. Velázquez was the son of Juan RodrÃguez de Silva (born João Rodrigues da Silva), a doctor of Portuguese Jewish descent (son of Diego da Silva and wife Maria Rodrigues, Portuguese Jews), and Jerónima Velázquez, a member of the hidalgo class, an order of minor aristocracy. According to a Spanish custom, in order to maintain a legacy of maternal inheritance, the eldest son had to take on the mother's maiden name. He received a religious education by his parents, and was well versed in several languages and the science of philosophy. However, from early childhood on, he showed the deepest interest in Art; therefore, he was sent to study under the guidance of Francisco de Herrera, a famous painter at the time with a unique and well accepted style. After a year, when he was only age 12, Velázquez became a student of Francisco Pacheco, an Artist and teacher who lived in Sevilla, where he spent the next 5 years studying proportion and perspective.
Velazquez and the Spanish Royal Court
After Velazquez completed a portrait of the king on horseback in 1623, he was offered admission to the royal service with good salary, benefits and lodgings, as well as a generous offer for the paintings he might accomplish. The Museo del Prado has two of Velázquez portraits of the king painted by Velázquez (# 1070 and #1071) but the original painting that ensured his ascent to become a royal painter's apprentice is no longer available. Also in 1623, the Prince of Wales (afterwards Charles I) visited at the court of Spain and Velazquez painted his portrait at the time, but this painting, too, went lost in the storms of history.
In 1628 P.P. Rubens visited Madrid to paint the Infanta Isabella, and Velázquez accompanied him along with Titian in the Palace of the Escorial. Rubens, at the time at the peak of his career, spent the next 7 months with painting and tightening the bond between Antwerp and Madrid through his diplomatic skills. Rubens held Velázquez in high appreciation and he instilled in him a desire to visit Italy and familiarize himself with the works of Italian Renaissance masters.
In 1627, King Philip announced a competition for the best painters of Spain to paint a picture about the expulsion of the Moors (Arab occupants with whom Spain was traditionally at wars at various times throughout history). Velázquez came in first with his painting; however, a huge fire in the palace destroyed this painting in 1734. Velzquez was richly rewarded for this painting, and his court salary rose steadily after that. He completed the painting entitled Bacchus (The Feast of Bacchus) in 1629. The painting's Spanish title is Los Borrachos or Los Bebedores (the tipplers), and it depicts a young ivy-crowned man sitting on a wine barrel applouded by a cheering crowd.
In 1628 P.P. Rubens visited Madrid to paint the Infanta Isabella, and Velázquez accompanied him along with Titian in the Palace of the Escorial. Rubens, at the time at the peak of his career, spent the next 7 months with painting and tightening the bond between Antwerp and Madrid through his diplomatic skills. Rubens held Velázquez in high appreciation and he instilled in him a desire to visit Italy and familiarize himself with the works of Italian Renaissance masters.
In 1627, King Philip announced a competition for the best painters of Spain to paint a picture about the expulsion of the Moors (Arab occupants with whom Spain was traditionally at wars at various times throughout history). Velázquez came in first with his painting; however, a huge fire in the palace destroyed this painting in 1734. Velzquez was richly rewarded for this painting, and his court salary rose steadily after that. He completed the painting entitled Bacchus (The Feast of Bacchus) in 1629. The painting's Spanish title is Los Borrachos or Los Bebedores (the tipplers), and it depicts a young ivy-crowned man sitting on a wine barrel applouded by a cheering crowd.
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Velazquez in Italy
In 1629 Velazquez went to Italy and stayed there for 1.5 years. This was his first visit to Italy, and not much information remains available about what happened during this time. It is safe to say, however, that Velazquez' life work was deeply influenced by this, and his secodn trip to Italy years later. His pieces of Art can be divided by the pre-Italian era, the first post-Italian era, the in-between the two Italian trips era, and the second post-Italian-visit times. Velázquez rarely signed his pictures, and the Royal galleries only recorded the year his most reputed pieces were completed.
Velazquez's Return to Spain
It was around 1649 that Velázquez painted the first of many portraits of the young prince and heir to the Spanish throne, Don Baltasar Carlos, in the dress of a field marshal on his prancing steed. The scene is in the riding school of the palace, the king and queen watching from a balcony, while Olivares attends as master of the horse to the prince. Don Baltasar died in 1646 at the age of 17, so, judging by his age in the portrait, it must have been painted in about 1641.
La Rendición de Breda (1634-1635, English: The Surrender of Breda) was inspired by Velázquez's first visit to Italy, in which he accompanied Ambrosio Spinola, who conquered the Dutch city of Breda a few years prior. This masterwork depicts a transfer of the key to the city from the Dutch to the Spanish army during the Siege of Breda.
The powerful minister Olivares was among the very first models of the painter. His stern face is looking at us from many portraits painted by Velázquez, as he became a regular client thus ensuring Velazquez's faithful support, which came handy for the politician later. Velázquez expressed his gratitude to Oliveras when the latter fall from grace, and strangely, the king showed no anger for this towards Velazquez who became, by then, his favorite painter.
The sculptor Montafles modeled a statue of one of Velázquez's equestrian portraits of the king, painted in 1636, which was cast in bronze by the Florentine sculptor Tacca and which now stands in the Plaza de Oriente at Madrid. The original of this portrait no longer exists, but several others do.
La Rendición de Breda (1634-1635, English: The Surrender of Breda) was inspired by Velázquez's first visit to Italy, in which he accompanied Ambrosio Spinola, who conquered the Dutch city of Breda a few years prior. This masterwork depicts a transfer of the key to the city from the Dutch to the Spanish army during the Siege of Breda.
The powerful minister Olivares was among the very first models of the painter. His stern face is looking at us from many portraits painted by Velázquez, as he became a regular client thus ensuring Velazquez's faithful support, which came handy for the politician later. Velázquez expressed his gratitude to Oliveras when the latter fall from grace, and strangely, the king showed no anger for this towards Velazquez who became, by then, his favorite painter.
The sculptor Montafles modeled a statue of one of Velázquez's equestrian portraits of the king, painted in 1636, which was cast in bronze by the Florentine sculptor Tacca and which now stands in the Plaza de Oriente at Madrid. The original of this portrait no longer exists, but several others do.
Portraits by Velazquez
Besides the forty portraits of King Philip, Velázquez painted portraits of other members of the Royal family: Philip's first wife, Isabella of Bourbon, and her children, especially her eldest son, Don Baltasar Carlos (one of these portraits is found today in a private room at Buckingham Palace). Cavaliers, soldiers, churchmen, and the prominent poet Francisco de Quevedo (now at Apsley House), were also portrayed by Velázquez.
We don't know who was the model of the portrait of a woman that is one of the most important pieces by Velazquez found today in the Wallace collection. Velázquez painted several of the King's fools and favorite dwarfs, in a respectful and sympathetic manner (e.g., El Primo (1644, English: The Favorite). Pablo de Valladolid (1635, English: Paul of Valladolid), a buffoon evidently acting a part, and El Bobo de Coria (1639, English: The Buffoon of Coria) were created during this time.
We don't know who was the model of the portrait of a woman that is one of the most important pieces by Velazquez found today in the Wallace collection. Velázquez painted several of the King's fools and favorite dwarfs, in a respectful and sympathetic manner (e.g., El Primo (1644, English: The Favorite). Pablo de Valladolid (1635, English: Paul of Valladolid), a buffoon evidently acting a part, and El Bobo de Coria (1639, English: The Buffoon of Coria) were created during this time.
Religious Paintings by Velazquez
Some of the most famous religious paintings by Velázquez were also created during his post-Italian period, such as the Cristo Crucificado (1632, English: Christ on the Cross). It is a work of tremendous originality, depicting Christ immediately after death.
Philip now entrusted Velázquez with establishing the first Academy of Art in Spain, an idea the King had grown more and more fond with the time. While there was no shortage in beautiful paintings in Spain, Velázquez was sent again to Italy to buy the founding collection for the Italian masterpieces exhibition, sculptures, paintings, whatever he deemed worthy of the King's funds.
Philip now entrusted Velázquez with establishing the first Academy of Art in Spain, an idea the King had grown more and more fond with the time. While there was no shortage in beautiful paintings in Spain, Velázquez was sent again to Italy to buy the founding collection for the Italian masterpieces exhibition, sculptures, paintings, whatever he deemed worthy of the King's funds.
Velazquez' Second Trip to Italy
Accompanied by his manservant Pareja, Velázquez left Málaga (a Spanish city well known by its excellent table wine) in 1649, arriving at Genoa, Italy. He then went from Milan to Venice, buying paintings of Titian, Tintoretto and Veronese on the trip. The Duke of Modena assigned him to paint his portrait (two of these), for the Modena Art Gallery - these two portraits now are found in the Dresden gallery, sold by Modena in 1746.
The portrait of Pope Innocent X in the Doria Pamphilj Gallery in Rome, where Velázquez now visited, is another brilliant example of his well advanced, calmer and expert brush strokes at the time. The Pope, who presented him with a medal and golden chain, and allowed Velazquez to create a copy o the painting to take home with him to to Spain. There are several other copies of this painting exhibited in various galleries all over the world, some are perhaps studies for the actual painting, or could be replicas painted for King Philip who may have been anxious to preserve at least one copy of such a masterpiece in case yet another destructive fire would eliminate the other copy.
In 1650 in Rome Velázquez also painted a portrait of his servant, Juan de Pareja, now in the Metropolitan Museum of Art in New York City.
The portrait of Pope Innocent X in the Doria Pamphilj Gallery in Rome, where Velázquez now visited, is another brilliant example of his well advanced, calmer and expert brush strokes at the time. The Pope, who presented him with a medal and golden chain, and allowed Velazquez to create a copy o the painting to take home with him to to Spain. There are several other copies of this painting exhibited in various galleries all over the world, some are perhaps studies for the actual painting, or could be replicas painted for King Philip who may have been anxious to preserve at least one copy of such a masterpiece in case yet another destructive fire would eliminate the other copy.
In 1650 in Rome Velázquez also painted a portrait of his servant, Juan de Pareja, now in the Metropolitan Museum of Art in New York City.
Velazquez Returns to Madrid - Again
King Philip wished that Velázquez return to Spain; accordingly, after a visit to Naples, where he saw his old friend José Ribera, he returned to Spain via Barcelona in 1651, taking with him many pictures and 300 pieces of statuary, which afterwards were arranged and cataloged for the king. Undraped sculpture was, however, abhorrent to the Spanish Church, and after Philip's death these works gradually disappeared. Isabella of Bourbon had died in 1644, and the king had married Marie-Anne of Austria, whom Velázquez now painted in many attitudes. He was specially chosen by the king to fill the high office of aposentador mayor, which imposed on him the duty of looking after the quarters occupied by the court-a responsible function which was no sinecure 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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One of the infantas, Margarita, the eldest daughter of the new Queen, was the model for Las Meninas (1656, English: The Maids of Honor), Velázquez's most remarkable work ever.
Created four years before he died, it is a culmination of the European Baroque Art.
According to unverified sources, it was no other but the king who painted the honorary Cruz Roja (Red Cross) of the Orden de Santiago (Order of Santiago) on the chest of the painter (see close-up detail). Velázquez did not receive this honor of knighthood officially until 3 years later, because even the King of Spain needed the approval of a committee, which had the sole task to verify the purity of the candidate's noble origin.
Created four years before he died, it is a culmination of the European Baroque Art.
According to unverified sources, it was no other but the king who painted the honorary Cruz Roja (Red Cross) of the Orden de Santiago (Order of Santiago) on the chest of the painter (see close-up detail). Velázquez did not receive this honor of knighthood officially until 3 years later, because even the King of Spain needed the approval of a committee, which had the sole task to verify the purity of the candidate's noble origin.
The Final Days of Velazquez
Had it not been for this royal appointment, which enabled Velázquez to escape the censorship of the Inquisition, he would not have been able to release his La Venus del espejo (c. 1644-1648, English: Venus at her Mirror) also known as The Rokeby Venus. It is the only surviving female nude by Velázquez.
There were essentially only two patrons of art in Spain-the church and the art-loving king and court. Bartolome Esteban Murillo was the artist favored by the church, while Velázquez was patronized by the crown. One difference, however, was that 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 good salaries and pensions.
One of his final works was Las Hilanderas (The Spinners), painted around 1657, representing the interior of the royal tapestry works. It is full of light, air and movement, featuring vibrant colors and careful handling.
In 1660 a peace treaty between France and Spain was sealed by the marriage of Maria Theresa with Louis XIV, and the ceremony took place on the Island of Pheasants. Velázquez was charged with the decoration of the Spanish pavilion and with creating a scenic display to this wedding. He harvested a lot of compliments from the nobility. On June 26 he returned to Madrid, Spain, and by July 31 he had developed a high fever. He died on August 6, 1660. He was buried in the Fuensalida vault of the church of San Juan Bautista, and within eight days his wife Juana was buried beside him. Unfortunately, this church was destroyed by the French in 1811.
There were essentially only two patrons of art in Spain-the church and the art-loving king and court. Bartolome Esteban Murillo was the artist favored by the church, while Velázquez was patronized by the crown. One difference, however, was that 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 good salaries and pensions.
One of his final works was Las Hilanderas (The Spinners), painted around 1657, representing the interior of the royal tapestry works. It is full of light, air and movement, featuring vibrant colors and careful handling.
In 1660 a peace treaty between France and Spain was sealed by the marriage of Maria Theresa with Louis XIV, and the ceremony took place on the Island of Pheasants. Velázquez was charged with the decoration of the Spanish pavilion and with creating a scenic display to this wedding. He harvested a lot of compliments from the nobility. On June 26 he returned to Madrid, Spain, and by July 31 he had developed a high fever. He died on August 6, 1660. He was buried in the Fuensalida vault of the church of San Juan Bautista, and within eight days his wife Juana was buried beside him. Unfortunately, this church was destroyed by the French in 1811.
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