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Velasquez
Smelt Factory
mk212
1630
Oil on canvas
222.9x289.9cm
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Velasquez
The Warter-seller of Seville
mk216
Oil on canvas
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Velasquez
The Water-seller of Seville
mk223
Oil on canvas
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Velasquez
St. Thomas
mk267 Years 1618-1620 linen canvas 105 x 85 cm Orleans Museum of Art Collection
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Velasquez
Those who sell water
mk267 Years 1618-1622 linen canvas 107.7 x 81.3 cm Wellington Museum London
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Velasquez
Omelette woman
mk267 linen canvas 99 x 128 cm National Museum of London
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Velasquez
Assumption
mk267 1618 years linen canvas 135 x 101.6 cm London, National Gallery collection
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Velasquez
Jesus and Maria Mada at home
mk267 1619-1620 years linen canvas 60 x 103.5 cm London, National Gallery collection
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Velasquez
St. John in Bai Temu Si
mk267 1619 years linen canvas 135.5 x 102.2 cm London, National Gallery collection
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Velasquez
Three Oriental doctor's blessing
mk267 1619 years linen canvas 203 x 125 cm Prado Museum in Madrid
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Velasquez
The spirit of Christ and supervision
mk267 1628 years linen canvas 165 x 206 cm National Museum of London
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Velasquez
The Louise Asia gram raises
mk267 linen canvas 50.3 x 40.5 cm collection of the Boston Museum of Art
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Velasquez
Philip IV
mk267 1623 linen canvas 198 x 101.5 cm Prado Museum Madrid
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Velasquez
Dionysus
mk267 1629 years linen canvas 1655 x 227.5 cm Prado Museum in Madrid
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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
Vulcan s smelter
mk267 1630 years linen canvas 223 x 290 cm Prado Museum in Madrid
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Velasquez
Carlos Prince Buster
mk267 mk267 1631-1632 years linen canvas 128 x 101.9 cm Art Museum of Boston
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Velasquez
Christ on the Cross
mk267 1631 years linen canvas 248 x 169 cm Prado Museum Madrid
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Velasquez
St. Thomas s confusing
mk267 1631 years linen canvas 244 x 203 cm London, National Gallery collection
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Velasquez
Philip IV
mk267 linen canvas 195 x 110 cm London, National Gallery collection
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| Velasquez
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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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