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
The Fable of Arachne a.k.a. The Tapestry Weavers or The Spinners Date ca. 1657(1657)
Medium Oil on canvas
Dimensions Height: 220 cm (86.6 in). Width: 289 cm (113.8 in).
cjr
Painting ID:: 83151
The_Fable_of_Arachne_a.k.a._The_Tapestry_Weavers_or_The_Spinners Date ca. 1657(1657)
Medium Oil on canvas
Dimensions Height: 220 cm (86.6 in). Width: 289 cm (113.8 in).
cjr
Portrat des Hofzwerges Francisco Lezcano, Kind des Vallecas Date 1643-1645
Medium Oil on canvas
Dimensions Deutsch: 107,5 x 83,5 cm
cjr
Painting ID:: 83529
Democrito Date between 1628(1628) and 1629(1629)
Medium Oil on canvas
Dimensions Height: 101 cm (39.8 in). Width: 81 cm (31.9 in).
cjr
Painting ID:: 84108
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