Velasquez
1599-1660,Spanish painter. He was apprenticed to Francisco Herrera the Elder before being trained by Francisco Pacheco. His early works were mostly religious or genre scenes. After arriving in Madrid in 1623, he painted a portrait of Philip IV that won him immediate success and an appointment as court painter. His position gave him access to the royal collections, including works by Titian, who exerted the greatest influence on his style. In his portraits from this period, only the faces and hands of the figures are accentuated, and the dark figures stand out against a light background. A visit to Italy (1629 ?C 31) further developed his style, and on his return to Madrid he entered his most productive period. Velazquez created a new type of informal royal portrait for Philip hunting lodge, and his portraits of court dwarfs display the same discerning eye as those of his royal subjects. On a second visit to Rome (1649 ?C 51) he painted a portrait of Pope Innocent X. The powerful head, brilliant combinations of crimson of the curtain, chair, and cope are painted with fluent technique and almost imperceptible brushstrokes that go far beyond the late manner of Titian and announce the last stage in Velazquez development. This portrait was copied innumerable times and won him immediate and lasting renown in Italy. In his last years he created his masterpiece, Las Meninas (The Maids of Honour, 1656). In this casual scene, the artist is shown painting the king and queen in the presence of the infanta Margarita and her attendants; the nearly life size figures are painted in more or less detail according to their relation to the central figure of the infanta and to the source of light, creating a remarkable illusion of reality never surpassed by Velazquez or any other artist of his age. He is universally acknowledged as one of the giants of Western art.
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Velasquez The spirit of Christ and supervision oil painting


The spirit of Christ and supervision
mk267 1628 years linen canvas 165 x 206 cm National Museum of London
Painting ID::  59516 		Velasquez
The spirit of Christ and supervision
mk267 1628 years linen canvas 165 x 206 cm National Museum of London
   
   
     
Velasquez The Louise Asia gram raises oil painting


The Louise Asia gram raises
mk267 linen canvas 50.3 x 40.5 cm collection of the Boston Museum of Art
Painting ID::  59523 		Velasquez
The Louise Asia gram raises
mk267 linen canvas 50.3 x 40.5 cm collection of the Boston Museum of Art
   
   
     
Velasquez Philip IV oil painting


Philip IV
mk267 1623 linen canvas 198 x 101.5 cm Prado Museum Madrid
Painting ID::  59527 		Velasquez
Philip IV
mk267 1623 linen canvas 198 x 101.5 cm Prado Museum Madrid
   
   
     
Velasquez Dionysus oil painting


Dionysus
mk267 1629 years linen canvas 1655 x 227.5 cm Prado Museum in Madrid
Painting ID::  59528 		Velasquez
Dionysus
mk267 1629 years linen canvas 1655 x 227.5 cm Prado Museum in Madrid
   
   
     
Velasquez Jacob give Joseph a coat of blood oil painting


Jacob give Joseph a coat of blood
mk267 1630 years linen canvas 213.5 x 284 cm collection of the Spanish monastery
Painting ID::  59534 		Velasquez
Jacob give Joseph a coat of blood
mk267 1630 years linen canvas 213.5 x 284 cm collection of the Spanish monastery
   
   
     
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     Velasquez
     1599-1660,Spanish painter. He was apprenticed to Francisco Herrera the Elder before being trained by Francisco Pacheco. His early works were mostly religious or genre scenes. After arriving in Madrid in 1623, he painted a portrait of Philip IV that won him immediate success and an appointment as court painter. His position gave him access to the royal collections, including works by Titian, who exerted the greatest influence on his style. In his portraits from this period, only the faces and hands of the figures are accentuated, and the dark figures stand out against a light background. A visit to Italy (1629 ?C 31) further developed his style, and on his return to Madrid he entered his most productive period. Velazquez created a new type of informal royal portrait for Philip hunting lodge, and his portraits of court dwarfs display the same discerning eye as those of his royal subjects. On a second visit to Rome (1649 ?C 51) he painted a portrait of Pope Innocent X. The powerful head, brilliant combinations of crimson of the curtain, chair, and cope are painted with fluent technique and almost imperceptible brushstrokes that go far beyond the late manner of Titian and announce the last stage in Velazquez development. This portrait was copied innumerable times and won him immediate and lasting renown in Italy. In his last years he created his masterpiece, Las Meninas (The Maids of Honour, 1656). In this casual scene, the artist is shown painting the king and queen in the presence of the infanta Margarita and her attendants; the nearly life size figures are painted in more or less detail according to their relation to the central figure of the infanta and to the source of light, creating a remarkable illusion of reality never surpassed by Velazquez or any other artist of his age. He is universally acknowledged as one of the giants of Western art.

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