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Diego Velazquez
Spanish Baroque Era Painter, 1599-1660
Spanish painter. He was one of the most important European artists of the 17th century, spending his career from 1623 in the service of Philip IV of Spain. His early canvases comprised bodegones and religious paintings, but as a court artist he was largely occupied in executing portraits, while also producing some historical, mythological and further religious works. His painting was deeply affected by the work of Rubens and by Venetian artists, especially Titian, as well as by the experience of two trips (1629-31 and 1649-51) to Italy. Under these joint influences he developed a uniquely personal style characterized by very loose, expressive brushwork. Although he had no immediate followers, he was greatly admired by such later painters as Goya and Manet
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Venus at her Mirror
mk86
c.1644-1648
Oil on canvas
122.5x177cm
London,National Gallery
Painting ID:: 33646
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Venus_at_her_Mirror
mk86
c.1644-1648
Oil on canvas
122.5x177cm
London,National Gallery
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Las Meninas
mk86
1656/57
Ol on canvas
318x276cm
Madrid,Museo del Prado
Painting ID:: 33647
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Las_Meninas
mk86
1656/57
Ol on canvas
318x276cm
Madrid,Museo del Prado
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Die Ubergabe von Breda.Ausschnitt:Die Beiden Feldherren
mk921634/5
Madrid
Prado
Painting ID:: 34353
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Die_Ubergabe_von_Breda.Ausschnitt:Die_Beiden_Feldherren
mk921634/5
Madrid
Prado
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Die Ubergabe von Breda.Gesamtbild
mk92
307x367cm
Painting ID:: 34354
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Die_Ubergabe_von_Breda.Gesamtbild
mk92
307x367cm
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Las Meninas.Die Hoffraulein
mk92
1656
318x276cm
Madrid
Prado
Painting ID:: 34355
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Las_Meninas.Die_Hoffraulein
mk92
1656
318x276cm
Madrid
Prado
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Diego_Velazquez
Spanish Baroque Era Painter, 1599-1660
Spanish painter. He was one of the most important European artists of the 17th century, spending his career from 1623 in the service of Philip IV of Spain. His early canvases comprised bodegones and religious paintings, but as a court artist he was largely occupied in executing portraits, while also producing some historical, mythological and further religious works. His painting was deeply affected by the work of Rubens and by Venetian artists, especially Titian, as well as by the experience of two trips (1629-31 and 1649-51) to Italy. Under these joint influences he developed a uniquely personal style characterized by very loose, expressive brushwork. Although he had no immediate followers, he was greatly admired by such later painters as Goya and Manet
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