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Diego Velazquez
Los Borrachos
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Los Borrachos 1629 (English: The Drinkers/The Drunks)
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Diego Velazquez
Portrait of the Infanta Maria Theresa of Spain, Philip IV daughter
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Portrait of the Infanta Maria Theresa of Spain, Philip IV's daughter
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Diego Velazquez
La rendicion de Breda was inspired by Velazquez first visit to Italy,
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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.
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Diego Velazquez
Juan de Pareja
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Juan de Pareja (1650)
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Diego Velazquez
Portrait of Pablo de Valladolid,
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Portrait of Pablo de Valladolid, 1635, a court fool of Philip IV.
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Diego Velazquez
Lady from court,
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Lady from court, c. 1635
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Diego Velazquez
Portrait of Pope Innocent X,
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Portrait of Pope Innocent X, 1650
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Diego Velazquez
Las Meninas
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Las Meninas (1656, English: The Maids of Honour)
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Diego Velazquez
Infanta
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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
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Diego Velazquez
Juan
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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
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Diego Velazquez
Philip III on Horseback
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1634-35 Oil on canvas Museo del Prado, Madrid Author: VEL?ZQUEZ
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Diego Velazquez
Prince Baltasar Carlos with the Count
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Duke of Olivares at the Royal Mews (detail) c. 1636 Oil on canvas Collection of the Duke of Westminster, London The Count-Duke of Olivares stands in the middle ground to the right of the picture, with his master-at-arms; figures on the balcony above him include Philip IV, Queen Isabel and several courtiers who cannot be identified for certain
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Diego Velazquez
Prince Baltasar Carlos with the Count
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Duke of Olivares at the Royal Mews (detail) c. 1636 Oil on canvas Collection of the Duke of Westminster, London The dwarf in the painting is probably Don Diego de Acedo, called El Primo
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Diego Velazquez
Pope Innocent X c
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49,2 x 41,3 cm National Gallery of Art, Washington Perhaps the preeminent Spanish artist of the seventeenth century, Vel?zquez was, from 1623 on, court painter to Philip IV in Madrid. In 1650 Vel?zquez was sent to Italy to buy paintings for one of his monarch's palaces; while in Rome the artist was commissioned to portray the Pope. The final version (now in the Galleria Doria, Rome) was preceded by several small sketches. This canvas was executed probably by someone in his circle. Vel?zquez was given the unenviable task of depicting the most powerful and, according to contemporaries, the ugliest man in Rome. The artist was successful, for when the Pontiff saw the portrait he is said to have remarked, "troppo vero" (all too true!).
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Diego Velazquez
the infanta maria teresa, c
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1659-60
madrid. prado
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Diego Velazquez
El Cardenal Infante Fernando de Austria, vencedor de Nordlingen
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1632-1636
191 x 107 cm
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Diego Velazquez
las meninas
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se
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Diego Velazquez
Viejafriendohuevos
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Old Woman frying Eggs, 1618, Diego Velezquez
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Diego Velazquez
Asop
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Technique Deutsch: ol auf Leinwand
Dimensions 179,5 ?? 94
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Diego Velazquez
Pablo de Valladolid
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Medium Oil on canvas
Dimensions 213,5 ?? 125 cm
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Diego Velazquez
Portrat des Infanten Don Carlos
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Medium Oil on canvas
Dimensions Deutsch: 210,5 ?? 126,5 cm
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Diego Velazquez
don felipe prospero
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olja pa duk 99.5x128.5cm
1659
se
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Diego Velazquez
infanta margarita vid tre ars alder
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olja pa duk 99.5x128cm
1816
se
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Diego Velazquez
infantan margarita vid atta ars alder
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olja pa duk 107x127cm
1700-talet
se
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Diego Velazquez
Portrat des Infanten Don Fernando de Austria
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Date 1632-1636
Medium Deutsch: Öl auf Leinwand
Dimensions Deutsch: 191 X 107 cm
cyf
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Diego Velazquez
Portrat des Hofnarren Don Juan de Austria
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1643(1643)
Oil on canvas
209 X 123 cm
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Diego Velazquez
Dona Antonia de Ipenarrieta y Galdos y su hijo don Luis
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1631-1632
Oil on canvas
205 ?? 115 cm (80.7 ?? 45.3 in)
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Diego Velazquez
Portrait of the Count-Duke of Olivares
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1624(1624)
Oil on canvas
203 ?? 106 cm (79.92 ?? 41.73 in)
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Diego Velazquez
Portrat des Hofnarren Don Juan de Austria
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Date 1643(1643)
Medium Oil on canvas
Dimensions Deutsch: 209 ?? 123 cm
cyf
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Diego Velazquez
Las Meninas
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Las Meninas" by Diego Vel??zquez, 1656, Oil on canvas, 318 x 276 cm, Museo del Prado, Madrid
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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
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