|
|
|
|
|
|
Diego Velazquez
The Surrender of Breda
mk244
1634/35
Oil on canvas
307.5x370.5cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
Las Meninas
mk244
318x276cm
Oil on canvas
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
christ on the cross
mk247
c.1632 ,oil on canvas,98.375x66.875 in,25x170 cm ,museo del prado,madrid,spain
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
the surrender of breda
mk247
1634 to 1635,oil on canvas,120.875x144.5 in,307x367 cm,museo del prado ,madrid,spain
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
portrait of pope innocet x
mk247
1650,oil on canvas,55.5x46.875 in,141x119 cm,galleria doria pamphilj,vatican city,ltaly
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
las meninas
1656,oil on canvas,126x108.625 in,320x276 cm,museo del prado ,madrid,spain
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
margarita teresa i bla klanning
mk248 infantinnan margarita den cbarmermerande centralgestan i hovdamerna framstar bar som fjar ocb insparrad i sin formella bovklanning. valazquez bade uppdraget att regelbundet mala portratt av prinsessan, som sandes till bovet i osterrike for att man skulle kunna folja bennes uppvaxt. hon bade redan som spadbarn trolovats med prins leopold.
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
gammal kvinna tillagar agg
mk248 den bar sortens malning kallas for bodegon, bokstavligen spanska for vardsbus men i allmanbet anvant i betydelsen stilleben med koksmotiv. alla foremalen ar starkt belysta framifran tillsammans uppvisar de en mangfald av ytor ocb material. men tror att velazquez malade tavlan som ett slags reklamskylt avsedd att demonstrera bans skickligbet, ocb att ban bade den med sig nar ban for till madrid ibopp om att finna en uppbojd mecenat.
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
Vieja friendo huevos
Vieja friendo huevos (1618, English: An Old Woman Frying Eggs). National Gallery of Scotland, Edinburgh.
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
Philip IV in Brown and Silver,
Philip IV in Brown and Silver, 1632
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
Los Borrachos
Los Borrachos 1629 (English: The Drinkers/The Drunks)
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
Portrait of the Infanta Maria Theresa of Spain, Philip IV daughter
Portrait of the Infanta Maria Theresa of Spain, Philip IV's daughter
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
La rendicion de Breda was inspired by Velazquez first visit to Italy,
La rendicien de Breda (1634-1635, English: The Surrender of Breda) was inspired by Velazquez's first visit to Italy, in which he accompanied Ambrogio Spinola, who conquered the Dutch city of Breda a few years prior. This masterwork depicts a transfer of the key to the city from the Dutch to the Spanish army during the Siege of Breda. It is considered one of the best of Velezquez's paintings.
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
Juan de Pareja
Juan de Pareja (1650)
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
Portrait of Pablo de Valladolid,
Portrait of Pablo de Valladolid, 1635, a court fool of Philip IV.
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
Lady from court,
Lady from court, c. 1635
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
Portrait of Pope Innocent X,
Portrait of Pope Innocent X, 1650
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
Las Meninas
Las Meninas (1656, English: The Maids of Honour)
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
Infanta
1630 Oil on canvas, 60 x 46 cm Museo del Prado, Madrid When the Infanta Do?a Mar?a, daughter of Philip III and Queen Margarita, set out for Vienna in December 1629 to meet the husband who had been chosen for her long before, the king of Hungary, later Emperor Ferdinand III, her journey included a stay of several months in Naples in 1630. Vel?zquez made haste to Naples to portray his sovereign's sister', who was famous for her beauty. He worked with the utmost care to emphasize the enamel-like smoothness of her fine features. Every detail, for instance the typically protuberant Habsburg lower lip, shows a striking similarity to the living model. The delicate carmine of her lips, the beautiful Titian shade of her hair, depicted in relaxed brushstrokes with dark brown shadows and bright yellow highlights, all display the artistic skill now at the command of Vel?zquez in his harmonious combination of state splendour with the individuality of his sitter. The carefully modelled face in this head-and-shoulders portrait was to serve as the basis for several full-length portraits of the Infanta, workshop copies that may have been intended as gifts to royal residences abroad
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Diego Velazquez
Juan
109 x 107 cm Museo del Prado, Madrid Monta??s was the greatest Spanish sculptor of the 17th century, known as 'el dios de la madera' (the god of wood) on account of his mastery as a carver. He worked for most of his long and productive career in Seville. Vel?zquez painted this portrait in Madrid when the sculptor made a portrait head of King Philip IV
|
| |
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
| Diego Velazquez
|
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
|
