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Diego Velazquez
Las Meninas.Ausschnitt:Kopf der Infantin
mk92
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Diego Velazquez
The Toilet of venus
mk96
about 1647-1651
123x177cm
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Diego Velazquez
Pope Innocent x
mk96
1650
140x120cm
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Diego Velazquez
Democritus
1628-29
Oil on canvas
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Diego Velazquez
Yong Man
c. 1629
Oil on canvas
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Diego Velazquez
The Triumph of Bacchus
c. 1629
Oil on canvas, 165 x 225 cm
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Diego Velazquez
Gaspar de Guzman,Count-Duke of Olivares,on Horseback
mk149
1635
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Diego Velazquez
Infanta Margarita Teresa in a blue dress
mk150
1659
Canvas
127x107cm
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Diego Velazquez
Infanta Margarita Teresa in a pink dress
mk150
c.1653/4
Canvas
128.5x100cm
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Diego Velazquez
Infante Felipe Prospero
mk150
1659
Canvas
128.5x99.5cm
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Diego Velazquez
Christ in the House of Mary and Marthe
mk156
1618
Oil on canvas
60x103.5cm
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Diego Velazquez
The Drunkards
mk156
1629
Oil on canvas
165x227cm
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Diego Velazquez
The Surrender of Breda
mk156
c.1634
Oil on canvas
307x367cm
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Diego Velazquez
The Toilet of Venus
mk156
1647-51
Oil on canvas
122.5x177cm
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Diego Velazquez
Las Meninas
mk156
1656
Oil on canvas
318x276cm
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Diego Velazquez
Luncheon
mk159
c.1617
Oil on canvas
108.5x102cm
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Diego Velazquez
The adoracion of the Kings Magicians
mk166
1619 I Wave on cloth 203x125cm Prado Madrid
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Diego Velazquez
The Toilet of Venus
mk170
1647-1651
Oil on canvas
122.5x177cm
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Diego Velazquez
Saint john the Evangelist on the Island of Patmos
mk170
circa 1618
Oil on canvas
135.5x102.2cm
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Diego Velazquez
Kitchen Scene with Christ in the House of Martha and Hary
mk170
circa 1618
Oil on canvas
60x103.5cm
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| Diego Velazquez
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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
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