velazquez
TRANSCRIPT
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V E L Á Z Q U E Z
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Characteristics:
•Claroscuro (light and shade) •Dark chromatic range•Tenebrismo (tenebrism effects). •Drawing control and verism/realism in mundane scenes.
DIEGO RODRÍGUEZ DE SILVA Y VELÁZQUEZ (1599-1660)
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STAGES AND STYLISTIC EVOLUTION:
•Early period (1617-1629)
•First visit to Italy (1629)
•Second period(1629-1649)
•Second visit to Italy (1649)
•Third period (1649-1660+)
DIEGO RODRÍGUEZ DE SILVA Y VELÁZQUEZ (1599-1660)
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• Born in Seville
• Burguesía
• At 12 study under Francisco de
Herrera and Francisco Pacheco.
• Amusing type scenes
•Early period (1617-1629)
• Tenebrism, shadows and lights • Ochres, browns, • Simple composition
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• Painted at 18• Sacred scene in the background (typical
Velazquez)
La mulata, 1617
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El almuerzoÓleo sobre lienzo
1617183 x 116 cm
The Hermitage, St. Petersburg
Browns and ochres
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Old woman frying eggs(1618)
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Still-life and Naturalism.
Realistis objects
Tenebrism
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Sor Francisca Jerónima de la Fuente
oil on canvas,1620160 x 110 cm
Museo del Prado, Madrid
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Cristo en casa de Marta y Maríaoil on canvas. 1620 60 x 103,5 cm
National Gallery, London
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La adoración de los Magos(1619)
oil on canvas,203 x 125 cm
Museo del Prado, Madrid
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Madrid(1622)
• With letters of introduction to Don Juan de Fonseca, himself from Seville, who was chaplain to the King, Velazquez went to Madrid (=court)
• Velázquez painted the portrait of the famous poet Luis de Góngora.
• Velázquez painted the portrait of Fonseca.
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Don Juan de Fonseca
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Madrid(1623)
• Villandrando, the king's favorite court painter, died.
• Fonseca asked Velazquez to visit Count-Duke of Olivares, minister of king
Philip IV.
• Olivares saw the paintings and a portrait of the king was commissioned.
• 1623, Philip IV sat for Velázquez. Completed in one day, the portrait was just
a successful head sketch.
• Velazquez moved to Madrid paid by Olivares. He became court painter.
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• Simple composition
• Realism
• “Empty” backgrounds
• Elegance and stylishness
• Static portraits (full body, busts or ¾)
• Buffoons and dwarfs in Felipe’s court and
portraits of the king
Philip IV
In this period
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Infante Don Carlos1626-27
Óleo sobre lienzo 209 x 125 cm
Museo del Prado, Madrid
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Felipe IV1628
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Retrato de hombre joven1627-1628
Óleo sobre lienzoAlte Pinakothek, Munich
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Doña María de Austria, reina de Hungría
1630Óleo sobre lienzo
58 x 44 cmMuseo del Prado, Madrid
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El Triunfo de Baco
1628 Velazquez meets Rubens
Influence:
•humanism and mitology,
•trip to ItalyBefore Italy he painted Los Borrachos [Baccus triumph] (1629).Baccus is represented with andalusian peasants and country men
main carachteristic: ironic and burlesque mitology
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First italian visit(1629-1631)
1629 - 1631 he saw renaissance paintings of Roman and Venetian painters (Tiziano).
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La fragua de Vulcano
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Miguel Ángel, ignudi de la Capilla Sixtina (s. XVI)
• Complex composition• Naked bodies• Expressions
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Mitology?
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With colour, shadows and light“builds” the volumes and the figures
COLOUR over LINES
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La túnica de José
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Second period, Madrid(1631-1648)
It’s the height, the zenith.Italian influence •more fluid drawing,•Less rigid figures•Space is full with “air”•“smoother” style
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Crucified Christ1632
248 x 169 cmMuseo del Prado,
Madrid
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The surrender of Breda (1634-35).
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La reina Isabel de Borbón a
caballo1634-1635
301 x 314 cmMuseo del
Prado, Madrid
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Retrato ecuestre de Felipe IV
1635-36301 x 314 cm
Museo del Prado, Madrid
alla prima
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Retrato ecuestre de Felipe IV1635-36
301 x 314 cmMuseo del Prado, Madrid
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Príncipe Baltasar Carlos a caballo
1635-36209 x 173 cm
Museo del Prado, Madrid
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The Count-Duke of Olivares
1638313 x 239 cm
Museo del Prado, Madrid
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Philip IV hunting1634-35
191 x 126 cmMuseo del Prado, Madrid
Cardenal Infante Fernando de Austria hunting
1632-36 - 191 x 107 cmMuseo del Prado, Madrid
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Príncipe Baltasar Carlos hunting
1635-36191 x 103 cm
Museo del Prado, Madrid
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Philip IV in brown and silver1631-32
Óleo sobre lienzo, 200 x 113 cmNational Gallery, Londres
• The paper in the king’s hand says «Señor/Diego Velázquez/ Pintor de V. Mg».
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Juan Martinez Montañés
c. 1635109 x 107 cm
Museo del Prado, Madrid
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Barbarroja Buffonc. 1634
198 x 121 cmMuseo del Prado,
Madrid
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Pablo de Valladolidc. 1635
209 x 123 cmMuseo del Prado, Madrid
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El enano Francisco Lezcano, apodado "El Niño de
Vallecas"(ca. 1636)
107 x 83 cmMuseo del Prado, Madrid
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Diego de Acedo (El Primo)1644
107 x 82 cmMuseo del Prado,
Madrid
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El enano Sebastián de Morra
1643-44106,5 x 81,5 cm
Museo del Prado, Madrid
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Esopo1640179 x 94 cmMuseo del Prado, Madrid
Menipo1636-40
179 x 94 cmMuseo del Prado,
Madrid
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Mars, god of war 1640
179 x 95 cmMuseo del Prado,
Madrid
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Second visit to Italy and third period in Madrid
(1648-1660)• Velázquez visit Italy 1649 y 1651 in order to buy art for
the Spanish collection
• He painted Pope Inocencio X, Velazquez’s servant
Juan Pareja and Villa Médicis gardens, considered
antecedent of Impressionism
• He painted the only female nude: Venus with a mirror
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Retrato de Inocencio X
c. 1650141 x 119 cm
Galleria Doria-Pamphili, Roma
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Francis BACON, (1953)
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Juan de Pareja1650
81.3 x 69.9 cmMetropolitan Museum
of Art, New York
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Médici gardens1650-51
44 x 38 cmMuseo del Prado,
Madrid
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Medici gardens1650
48 x 42 cm
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Venus with a mirror1649-51 - 122,5 x 177 cm - National Gallery, Londres
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Mary Richardson 1904
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The last period(1651-1660)
Velázquez returned to Madrid in 1651, He’s now considered the best painter alive.
Las Meninas (1656),
Las Hilanderas (1657).
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La reina Doña Mariana de Austria1652-53
231 x 131 cmMuseo del Prado, Madrid
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La reina Doña Mariana de Austria(detalle)
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La infanta María Teresa de España
1652-53127 x 98,5 cm
Kunsthistorisches Museum, Vienna
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Retrato de Felipe IV1652-53
47 x 37,5 cmKunsthistorisches Museum,
Vienna
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Felipe IV1655-60
Óleo sobre lienzo, 69 x 56 cm.
Museo del Prado
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Felipe IVca. 1656
Óleo sobre lienzo, 64´1 x 53´7 cm.
National Gallery de Londres
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Retrato de la Infanta Margarita
c. 1660 121 x 107 cm
Museum of Fine Arts, Budapest
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Infante Felipe Próspero
1660128,5 x 99,5 cm
Kunsthistorisches Museum,
Vienna
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La Infanta Doña Margarita de Austria
c. 1660212 x 147 cm
Museo del Prado, Madrid
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Infanta Margarita Teresac. 1654
128,5 x 100 cmKunsthistorisches Museum, Vienna
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Las Meninas, 1656
Philip IV’s royal family [Las Meninas]
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Agustina Sarmiento (Menina)
Infanta Margarita
Marcela de Ulloa (Guardadamas)
Isabel de Velasco (Menina)
Maribárbola
Nicolás de Portosanto
Don Diego Ruiz de Arcona (servant)
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VELÁZQUEZ
Los Reyes: Mariana de Austria y Felipe IV
D. José Nieto? Aposentador de la Reina
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TWO SPACES“INSIDE” and “OUTSIDE”
SPACE
INTERIOR
EXTERIOR
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A space outside the scene
The spaceContinues
trough the door
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VAN EYCK:ARNOLFINI,
SIGLO XV
LAS MENINAS,SIGLO XVII
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The light creates the space
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…and the aerial perspective creates the
space…
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Dynamism:
Psycologic effectThey’re
looking at us…
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Colour structures the composition as well…
see the red spots…
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«Al pintar Las Meninas, Velázquez tiene a los reyes de las Españas delante de las narices, pero no los enseña. Nos da a conocer su reflejo en el espejo que está al fondo de la sala. Se trata de un reflejo al que un juego de perspectivas invertidas de arriba abajo y de destellos casi imperceptibles al ojo le permiten al aire ser el protagonista del cuadro, señorear y disolver cualquier ilusión de poder.»
Antoni Llena (pintor)
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Brush-stroke…
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Picasso
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Dalí
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En Las Hilanderas sitúa el mito de Aracné, la habilidosa tejedora perseguida por Atenea, en el taller de tapices de Santa Bárbara.El mito va tejiéndose en las formas de un tapiz al fondo, mientras en un primer plano las obreras trabajan: lo real y lo mítico se funden en tonos amortiguados y templados que tienen toda su delicadeza en el tapiz, donde se desarrolla la escena principal, con los protagonistas rodeados de una intensa luz.La rueca, en constante movimiento, se convierte en el elemento que mejor ejemplifica la “instantaneidad” del momento; esa rueca, al girar, genera un vacío que lo absorbe todo, la realidad y el mito.La estancia, iluminada por la vaporosa luz que penetra, se llena de aire. Velázquez logra pintar la atmósfera, el aire que envuelve a las figuras.La pincelada suelta, de apariencia inacabada; las manchas de color, que sugieren detalles o formas, todo en esta obra se aproxima a un lenguaje nuevo que todavía está por nacer: el impresionismo.
Las hilanderas (1657)
[Las hilanderas]
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ATENEA ARACNE
Las hilanderas(1657) / Prado
(¿Atenea?) (¿Aracne?)
Viola
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HE PAINTED THE SENSATION OF SPEED!!!!!
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DIEGO VELAZQUEZ
FRANCISCA DE SILVA
MARÍA TERESA MARTÍNEZ DEL MAZO
Juan Bautista Martínez del Mazo
Pedro Casado y Acevedo
ISIDRO CASADO vizconde de Alcázar y marqués de Monteleón María Francisca de Velasco
Enriqueta Margarita Huguetau ANTONIO CASADO Marqués de Monteleón
Enrique de Reuss-Küstritz, señor de Reichenfels ENRIQUETA SUSANA CASADO
Juan Christian, conde de Solms-Baruth FEDERICA LUISA DE REUSS-KOSTRITZ
príncipe Carlos Luis de Hohenlohe-Langenburg AMELIA DE SOLMS-BARUTH
ERNESTO CHRISTIAN CARLOS, PRíNCIPE DE HOHENLOHE-LANGENBURG
princesa Feodora de Leiningen
ADELAIDA VICTORIA, PRINCESA DE HOHENLOHE-LANGENBURG príncipe Federico Christian, duque de
Schleswig-Holstein-Sonderburgo-Augustenburgo
AUGUSTA VICTORIA, PRINCESA DE SCHLESWIG-HOLSTEIN Guillermo II, Emperador alemán y Rey de Prusia
VICTORIA LUISA, PRINCESA IMPERIAL DE ALEMANIA Y PRINCESA REAL DE PRUSIA Ernesto Augusto, duque de Brunswick y Luneburgo
FEDERICA, PRINCESA REAL DE HANNOVER Rey Pablo I de Grecia
Juan Carlos I de Borbón, Rey de España SOFíA, REINA DE ESPAÑA
FELIPE DE BORBÓN Y GRECIA