Diego Rodriguez sobre Silva y Velázquez (1599–1660)
The spanish language painter of Portuguese descent, born in Seville. When justin was 14 he began to study underneath Francisco Pacheco, an indifferent artist in whose daughter he married.
In the beginning working closely from your life, he decorated genre moments, such as kitchen interiors, with figures and objects in realistic depth. The solid contrasts of sunshine and tone recall the chiaroscuro of Caravaggio, then simply becoming well-known in Spain. In 1622 and 1623 Velázquez visited Madrid where he painted his 1st portrait of Philip IV, which resulted in his visit as court painter and other more or less honorific sessions as his reputation grew.
Rubens frequented Madrid in 1628 great influence empowered Velázquez to go on a two-year visit to Italia (1629–31), which resulted in a softening in the harshness of his early on style: colour began to present in the shadows, light and space started to be his preoccupations, whilst the product range of themes was enlarged.
He started again his placement as hoheitsvoll painter on his return. In the royal portraits he prevents flattery but the infantes and infantas possess freshness and charm inspite of their sophisticated and formal clothes.
Velázquez was a great assiduous repr�sentant, eager for noble favours although his treatment of his professionals is unsparing. In his just surviving fight piece, the Surrender of Breda (1634–35), the chivalrous compassion depicted in the frame of mind of the victors to the defeated gives a mankind to the picture almost unidentified in artwork of this kind.
Where he is less inhibited by simply his subject, e. g. in his photographs of court jesters and buffoons (notably the shifting Calabazas, 1637, in the Prado), he is for his most reliable in incorporating realism with interpretation of character. The loose clean work from the views from the Medici Home gardens, two of his rare scenery, indicate a stylistic development to which his second visit to Italy (1648–51) may have contributed.
To the last period belong the masterpieces The Toilet of Venus (The Rokeby Abendstern, painted in Italy, his only naked, now inside the National Gallery, London), the outstanding pictures of his mulatto servant Juan sobre Pareja (1649, New York), Pope Innocent X (1650, the subject said ‘troppo vero’), Maids of Honour (Las Meninas, 1656, in the Prado, Madrid), voted in 1985 as ‘the world’s greatest painting’ simply by an international panel of experts and The Tapestry Weavers (Las Hilanderas).
Velázquez was a speedy but not very prolific artist: of a hundred and twenty-five canvasses with certainty attributed simply 98 endure. He founded no institution of painting and his wizard was not known outside Spain until the 19th century. Amongst painters deeply influenced simply by Velázquez had been Manet, Picasso, Dalí and Bacon.
Diego Rodriguez de Silva y Velázquez (1599–1660)
Spanish painter of Portuguese descent, created in Seville. At the age of 14 he began to analyze under Francisco Pacheco, an indifferent specialist whose child he committed.
At first operating closely via life, this individual painted genre scenes, just like kitchen interiors, with characters and things in genuine detail. The strong clashes of light and shade call to mind the chiaroscuro of Caravaggio, then turning into popular in Spain. In 1622 and 1623 Velázquez stopped at Madrid in which he painted his first symbol of Philip IV, which usually led to his appointment because court painter and to other more or less honorific appointments as his reputation grew.
Rubens visited Madrid in 1628 and his impact enabled Velázquez to go on a two-year visit to Italy (1629–31), which led to a treatment of the harshness of his early style: colour started to show in the shadows, mild and space became his preoccupations, whilst the range of subjects was enlarged.
This individual resumed his position since royal artist on his return. In his royal portraits he avoids flattery but the infantes and infantas have freshness and charm despite all their elaborate and formal clothes.
Velázquez was an assiduous courtier, anticipating royal favors but his treatment of his masters can be unsparing. In the only surviving battle part, the Give up of Breda (1634–35), the chivalrous compassion depicted in the attitude of the victors towards the defeated offers a humanity for the picture nearly unknown in paintings of this kind.
Where he is less inhibited by his subject, at the. g. in his pictures of court wenches and buffoons (notably the moving Calabazas, 1637, in the Prado), he’s at his most effective in combining realistic look with meaning of figure. The loose brush work of the sights of the Medici Gardens, a pair of his uncommon landscapes, suggest a stylistic development where his second visit to Italia (1648–51) may possibly have added.
To this last period belong the works of art The Toilet of Abendstern (The Rokeby Venus, coated in Italy, his only nude, right now in the Countrywide Gallery, London), the outstanding portraits of his mulatto slave Juan de Pareja (1649, New York), P�re Innocent Times (1650, this issue said ‘troppo vero’), Service personnel of Honor (Las Meninas, 1656, in the Prado, Madrid), voted in 1985 while ‘the world’s greatest painting’ by a major international panel of experts as well as the Tapestry Weavers (Las Hilanderas).
Velázquez was a rapid but not very productive painter: of 125 canvasses confidently linked only 98 survive. He founded no school of painting wonderful genius was unknown outside Spain before the 19th century. Among painters deeply inspired by Velázquez were Manet, Picasso, Dalí and Bacon.