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 Vulcan s smelter oil painting


Vulcan s smelter
mk267 1630 years linen canvas 223 x 290 cm Prado Museum in Madrid
Painting ID::  59537 		Velasquez
Vulcan s smelter
mk267 1630 years linen canvas 223 x 290 cm Prado Museum in Madrid
   
   
     
Velasquez Carlos Prince Buster oil painting


Carlos Prince Buster
mk267 mk267 1631-1632 years linen canvas 128 x 101.9 cm Art Museum of Boston
Painting ID::  59544 		Velasquez
Carlos Prince Buster
mk267 mk267 1631-1632 years linen canvas 128 x 101.9 cm Art Museum of Boston
   
   
     
Velasquez Christ on the Cross oil painting


Christ on the Cross
mk267 1631 years linen canvas 248 x 169 cm Prado Museum Madrid
Painting ID::  59552 		Velasquez
Christ on the Cross
mk267 1631 years linen canvas 248 x 169 cm Prado Museum Madrid
   
   
     
Velasquez St. Thomas s confusing oil painting


St. Thomas s confusing
mk267 1631 years linen canvas 244 x 203 cm London, National Gallery collection
Painting ID::  59555 		Velasquez
St. Thomas s confusing
mk267 1631 years linen canvas 244 x 203 cm London, National Gallery collection
   
   
     
Velasquez Philip IV oil painting


Philip IV
mk267 linen canvas 195 x 110 cm London, National Gallery collection
Painting ID::  59556 		Velasquez
Philip IV
mk267 linen canvas 195 x 110 cm London, National Gallery collection
   
   
     
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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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