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
Konigin Maria Anna von Spanien in hellrotem Kleid Deutsch: um 1655/1660
Medium Deutsch: Leinwand
Dimensions Deutsch: allseitig beschnitten, obere Ecken ergänzt: 128,5 x 99 cm
cyf
Painting ID:: 80425
Konigin_Maria_Anna_von_Spanien_in_hellrotem_Kleid Deutsch: um 1655/1660
Medium Deutsch: Leinwand
Dimensions Deutsch: allseitig beschnitten, obere Ecken ergänzt: 128,5 x 99 cm
cyf
Prince Baltasar Carlos with the Count-Duke of Olivares at the Royal Mews Date 1636(1636)
Medium Oil on canvas
Dimensions 144 x 96.5 cm (56.7 x 38 in)
cjr
Painting ID:: 81528
Prince_Baltasar_Carlos_with_the_Count-Duke_of_Olivares_at_the_Royal_Mews Date 1636(1636)
Medium Oil on canvas
Dimensions 144 x 96.5 cm (56.7 x 38 in)
cjr
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