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Smelt Factory
new18/Velasquez-364779.jpg
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Smelt_Factory
mk212
1630
Oil on canvas
222.9x289.9cm
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The Warter-seller of Seville
new18/Velasquez-322453.jpg
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The_Warter-seller_of_Seville
mk216
Oil on canvas
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The Water-seller of Seville
new19/Velasquez-757232.jpg
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The_Water-seller_of_Seville
mk223
Oil on canvas
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St. Thomas
new21/Velasquez-934263.jpg
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St._Thomas
mk267 Years 1618-1620 linen canvas 105 x 85 cm Orleans Museum of Art Collection
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Those who sell water
new21/Velasquez-729262.jpg
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Those_who_sell_water
mk267 Years 1618-1622 linen canvas 107.7 x 81.3 cm Wellington Museum London
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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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