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Money Booth
new21/Velasquez-732645.jpg
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Money_Booth
mk2671939 in linen canvas 178.5 x 93.5 cm Madrid Prado Museum
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Aesop
new21/Velasquez-586364.jpg
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Aesop
mk267 in linen canvas 179.5 x 94 cm Prado Museum in Madrid
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Dwarf Juarez
new21/Velasquez-797352.jpg
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Dwarf_Juarez
mk267 1636 -1644 in linen canvas 107 x 83.5 cm Madrid Prado Museum
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Archbishop of Cape Verde
new21/Velasquez-547952.jpg
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Archbishop_of_Cape_Verde
mk267 1640-1645 years linen canvas 63.5 x 59.6 cm National Museum of London
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Our Lady of Dai Guanzhong map
new21/Velasquez-687723.jpg
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Our_Lady_of_Dai_Guanzhong_map
mk267 1641-1642 years linen canvas 176 x 124 cm Prado Museum in Madrid
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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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