Diego Velázquez
Diego Velázquez | |
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Movement | Baroque |
Awards | Knight of the Order of Santiago |
Signature | |
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Diego Rodríguez de Silva y Velázquez
He was an individualistic artist of the Baroque period (c. 1600–1750). He began to paint in a precise tenebrist style, later developing a freer manner characterized by bold brushwork. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family and commoners, culminating in his masterpiece Las Meninas (1656).
Velázquez's paintings became a model for 19th century realist and impressionist painters. In the 20th century, artists such as Pablo Picasso, Salvador Dalí, and Francis Bacon paid tribute to Velázquez by re-interpreting some of his most iconic images.
Most of his work entered the Spanish royal collection, and by far the best collection is in the Museo del Prado in Madrid, although some portraits were sent abroad as diplomatic gifts, especially to the Austrian Habsburgs.
Early life

Velázquez was born in
Raised in modest circumstances, he showed an early gift for art, and was apprenticed to Francisco Pacheco, an artist and teacher in Seville. An early-18th century biographer, Antonio Palomino, said Velázquez studied for a short time under Francisco de Herrera before beginning his apprenticeship under Pacheco, but this is undocumented. A contract signed on 17 September 1611, formalized a six-year apprenticeship with Pacheco, backdated to 10 December 1610,[11] and it has been suggested that Herrera may have substituted for a traveling Pacheco between December 1610 and September 1611.[12]
Although considered a dull and undistinguished painter, Pacheco sometimes expressed a simple,
On 23 April 1618, Velázquez married Juana Pacheco (1 June 1602 – 10 August 1660), the daughter of his teacher. They had two daughters. The elder, Francisca de Silva Velázquez y Pacheco (1619–1658), married painter Juan Bautista Martínez del Mazo at the Church of Santiago in Madrid on 21 August 1633. The younger, Ignacia de Silva Velázquez y Pacheco, born in 1621, died in infancy.[15]
Velázquez's earliest works are
Also from this period are the portrait of Sor Jerónima de la Fuente (1620)—Velázquez's first full-length portrait[21]—and the genre The Water Seller of Seville (1618–1622). The Water Seller of Seville has been termed "the peak of Velázquez's bodegones" and is admired for its virtuoso rendering of volumes and textures as well as for its enigmatic gravitas.[22]
To Madrid (early period)

Velázquez had established his reputation in Seville by the early 1620s. He traveled to Madrid in April 1622, with letters of introduction to Don Juan de Fonseca, chaplain to the King. Velázquez was not allowed to paint the new king, Philip IV, but portrayed the poet Luis de Góngora at the request of Pacheco.[23] The portrait showed Góngora crowned with a laurel wreath, which Velázquez later painted over.[24] He returned to Seville in January 1623 and remained there until August.[25]
In December 1622, Rodrigo de Villandrando, the king's favorite court painter, died.[26] Velázquez received a command to come to the court from Gaspar de Guzmán, Count-Duke of Olivares, the powerful minister of Philip IV. He was offered 50 ducats (175 g of gold) to defray his expenses, and he was accompanied by his father-in-law. Fonseca lodged the young painter in his home and sat for a portrait, which, when completed, was conveyed to the royal palace.[23] A portrait of the king was commissioned, and on 30 August 1623, Philip IV sat for Velázquez.[23] The portrait pleased the king, and Olivares commanded Velázquez to move to Madrid, promising that no other painter would ever paint Philip's portrait and all other portraits of the king would be withdrawn from circulation.[27] In the following year, 1624, he received 300 ducats from the king to pay the cost of moving his family to Madrid, which became his home for the remainder of his life.

Velázquez secured admission to the royal service with a salary of 20 ducats per month, lodgings and payment for the pictures he might paint. His portrait of Philip was exhibited on the steps of San Felipe and received with enthusiasm. It is now lost (as is the portrait of Fonseca).
The Prince of Wales (afterwards Charles I) arrived at the court of Spain in 1623. Records indicate that he sat for Velázquez, but the picture is now lost.[28]
In 1627, Philip set a competition for the best painters of Spain with the subject to be the expulsion of the
In September 1628,
In 1629, Velázquez received 100 ducats for the picture of Bacchus (The Triumph of Bacchus), also called Los Borrachos (The Drunks), a painting of a group of men in contemporary dress paying homage to a half-naked ivy-crowned young man seated on a wine barrel. Velázquez's first mythological painting,[32] it has been interpreted variously as a depiction of a theatrical performance, as a parody, or as a symbolic representation of peasants asking the god of wine to give them relief from their sorrows.[33] The style shows the naturalism of Velázquez's early works slightly touched by the influence of Titian and Rubens.[34]
Italian period
In 1629, Velázquez was given permission to spend a year and a half in Italy. Although this first visit is recognized as a crucial chapter in the development of his style—and in the history of Spanish Royal Patronage, since Philip IV sponsored his trip—few details and specifics are known of what the painter saw, whom he met, how he was perceived and what innovations he hoped to introduce into his painting.
He traveled to Venice, Ferrara, Cento, Loreto, Bologna, and Rome.[18] In 1630, he visited Naples to paint the portrait of Maria Anna of Spain, and there he probably met Ribera.[18] The major works from his first Italian period are Joseph's Bloody Coat brought to Jacob (1629–30) and Apollo in the Forge of Vulcan (1630), both of which reveal his ambition to rival the Italians as a history painter in the grand manner.[35] The two compositions of several nearly life-sized figures have similar dimensions, and may have been conceived as pendants—the biblical scene depicting a deception, and the mythological scene depicting the revelation of a deception.[36] As he had done in The Triumph of Bacchus, Velázquez presented his characters as contemporary people whose gestures and facial expressions were those of everyday life.[37] Following the example of Bolognese painters such as Guido Reni, Velázquez painted Apollo in the Forge of Vulcan on canvas prepared with a light gray ground rather than the dark reddish ground of all his earlier works. The change resulted in a greater luminosity than he had previously achieved, and he made the use of light-gray grounds his regular practice.[36]
Return to Madrid (middle period)
Velázquez returned to Madrid in January 1631.
To decorate the king's new palace, the
The impassive, saturnine face of the influential minister Olivares is familiar to us from the many portraits painted by Velázquez. Two are notable: one is full-length, stately and dignified, in which he wears the green cross of the
The sculptor Juan Martínez Montañés modeled a statue on one of Velázquez's equestrian portraits of the king (painted in 1636; now lost) which was cast in bronze by the Florentine sculptor Pietro Tacca and now stands in the Plaza de Oriente in Madrid.[43] Velázquez was in close attendance to Philip, and accompanied him to Aragon in 1644, where the artist painted a portrait of the monarch in the costume as he reviewed his troops in Fraga.[44]
Velázquez's paintings of Aesop and Menippus (both c. 1636–1638) portray ancient writers in the guise of portraits of beggars.
Had it not been for his royal appointment, which enabled Velázquez to escape the censorship of the
Portraiture


Besides the many portraits of Philip by Velázquez—thirty-four by one count
Velázquez also painted several buffoons and dwarfs in Philip's court, whom he depicted sympathetically and with respect for their individuality, as in The Jester Don Diego de Acedo (1644), whose intelligent face and huge folio with ink-bottle and pen by his side show him to be a wise and well-educated man.[48] Pablo de Valladolid (1635), a buffoon evidently acting a part, and The Buffoon of Coria (1639) belong to this middle period.
As court painter, Velázquez had fewer commissions for religious works than any of his contemporaries.[49] Christ Crucified (1632), painted for the Convent of San Plácido in Madrid, depicts Christ immediately after death. The Savior's head hangs on his breast and a mass of dark tangled hair conceals part of the face, visually reinforcing the idea of death.[49] The figure is presented alone before a dark background.
Velázquez's son-in-law
Philip now entrusted Velázquez with the mission of procuring paintings and sculpture for the royal collection. Rich in pictures, Spain was weak in statuary, and Velázquez was commissioned once again to proceed to Italy to make purchases.[51]
Second visit to Italy
When he set out in 1649, he was accompanied by his assistant Juan de Pareja who at this point in time was a slave and who had been trained in painting by Velázquez.[52] Velázquez sailed from Málaga, landed at Genoa, and proceeded from Milan to Venice, buying paintings of Titian, Tintoretto and Veronese as he went.[53] At Modena he was received with much favor by the duke, and here he painted the portrait of the duke at the Modena gallery and two portraits that now adorn the Dresden gallery, for these paintings came from the Modena sale of 1746.
Those works presage the advent of the painter's third and latest manner, a noble example of which is the great portrait of

In 1650 in Rome Velázquez also painted a portrait of Juan de Pareja, now in the Metropolitan Museum of Art in New York City, US. This portrait procured his election into the Accademia di San Luca. Purportedly Velázquez created this portrait as a warm-up of his skills before his portrait of the Pope. It captures in great detail Pareja's countenance and his somewhat worn and patched clothing with an economic use of brushwork. In November 1650, Juan de Pareja was freed from slavery by Velázquez.[54]
To this period also belong two small landscape paintings both titled View of the Garden of the Villa Medici. As landscapes apparently painted directly from nature, they were exceptional for their time, and reveal Velázquez's close study of light at different times of day.[55]
As part of his mission to procure decorations for the Room of Mirrors at the
During his time in Rome, Velázquez fathered a natural son, Antonio, whom he is not known ever to have seen.[57]
Return to Spain and later career
From February 1650, Philip repeatedly sought Velázquez's return to Spain.[57] Accordingly, after visiting Naples—where he saw his old friend Jose Ribera—and Venice, Velázquez returned to Spain via Barcelona in 1651, taking with him many pictures and 300 pieces of statuary, which afterwards were arranged and catalogued for the king.
Las Meninas

One of the
In the 1966 book Les Mots et Les Choses (The Order of Things), philosopher Michel Foucault devotes the opening chapter to a detailed analysis of Las Meninas. He describes the ways in which the painting problematizes issues of representation through its use of mirrors, screens, and the subsequent oscillations that occur between the image's interior, surface, and exterior.[citation needed]
It is said the king painted the honorary
Final years


There were essentially only two patrons of art in Spain—the church and the art-loving king and court. Bartolomé Esteban Murillo, who toiled for a rich and powerful church, left little means to pay for his burial, while Velázquez lived and died in the enjoyment of a good salary and pension.
One of his final works was
Velázquez's final portraits of the royal children are among his finest works and in the Infanta Margarita Teresa in a Blue Dress[64] the painter's personal style reached its high-point: shimmering spots of color on wide painting surfaces produce an almost impressionistic effect—the viewer must stand at a suitable distance to get the impression of complete, three-dimensional spatiality.
His only surviving portrait of the delicate and sickly Prince Felipe Prospero[65] is remarkable for its combination of the sweet features of the child prince and his dog with a subtle sense of gloom. The hope that was placed at that time in the sole heir to the Spanish crown is reflected in the depiction: fresh red and white stand in contrast to late autumnal, morbid colors. A small dog with wide eyes looks at the viewer as if questioningly, and the largely pale background hints at a gloomy fate: the little prince was barely four years old when he died. As in all of the artist's late paintings, the handling of the colors is extraordinarily fluid and vibrant.
In 1660, a peace treaty between France and Spain was consummated by the marriage of
There was much difficulty in adjusting the tangled accounts outstanding between Velázquez and the treasury, and it was not until 1666, after the death of King Philip, that they were finally settled.
Style and technique
It is canonical to divide Velázquez's career by his two visits to Italy. He rarely signed his pictures, and the royal archives give the dates of only his most important works. Internal evidence and history pertaining to his portraits supply the rest to a certain extent.
Although acquainted with all the Italian schools and a friend of the foremost painters of his day, Velázquez was strong enough to withstand external influences and work out for himself the development of his own nature and his own principles of art. He rejected the pomp that characterized the portraiture of other European courts, and instead brought an even greater reserve to the understated formula for Habsburg portraiture established by Titian,
Few drawings are securely attributed to Velázquez.[72] Although preparatory drawings for some of his paintings exist, his method was to paint directly from life, and x-rays of his paintings reveal that he frequently made changes in his composition as a painting progressed.[72]
Legacy
Velázquez was not prolific; he is estimated to have produced between 110 and 120 known canvases.[73] He produced no etchings or engravings, and only a few drawings are attributed to him.[74]
Velázquez is the most influential figure in the history of Spanish portraiture.
Velázquez's work was little known outside of Spain until the nineteenth century.[76] His paintings mostly escaped being stolen by the French marshals during the Peninsular War. In 1828, Sir David Wilkie wrote from Madrid that he felt himself in the presence of a new power in art as he looked at the works of Velázquez, and at the same time found a wonderful affinity between this artist and the British school of portrait painters, especially Henry Raeburn. He was struck by the "sparkle and vivacity" pervading Velázquez's works.[80]
Velázquez is often cited as a key influence on the art of Édouard Manet, who is often considered the bridge between realism and impressionism. Calling Velázquez the "painter of painters",[71] Manet admired the immediacy and vivid brushwork of Velázquez's work, and built upon Velázquez's motifs in his own art.[81] In the late nineteenth century, artists such as James McNeill Whistler and John Singer Sargent were strongly influenced by Velázquez.[18]
Modern recreations of classics
The respect with which twentieth century painters regard Velázquez's work attests to its continuing importance. Pablo Picasso paid homage to Velázquez in 1957 when he recreated Las Meninas in 44 variations, in his characteristic style.[82] Although Picasso was concerned that his reinterpretations of Velázquez's painting would be seen merely as copies rather than as unique representations,[citation needed] the enormous works—the largest he had produced since Guernica (1937)—entered the canon of Spanish art.[83]
Salvador Dalí, as with Picasso, in anticipation of the tercentennial of Velázquez's death, created in 1958 a work entitled Velázquez Painting the Infanta Margarita With the Lights and Shadows of His Own Glory.[84] The color scheme shows Dalí's serious tribute to Velázquez; the work also functioned, as in Picasso's case, as a vehicle for the presentation of newer theories in art and thought—nuclear mysticism, in Dalí's case.[85]
The Anglo-Irish painter Francis Bacon found Velázquez's Portrait of Innocent X to be "one of the greatest portraits ever".[86] He created several expressionist variations of this piece in the 1950s; however, Bacon's paintings sometimes presented a more gruesome image of Innocent. One such famous variation, entitled Figure with Meat (1954), shows the pope between two halves of a bisected cow.[87]
Some South American artists also paid tribute to him such as Fernando Botero with his portraits of oversized characters extracted from some of Vélasquez paintings[88] and Herman Braun-Vega with his series Velasquez stripped bare accompanied by the Menines from which the main polyptych is exhibited at the Museum of Antioquia in Medellín, Colombia[89] and the quadriptych Velasquez going to his easel is at the Blanton Museum of Art in Austin, Texas.[90]
Recent rediscoveries of Velázquez originals
In 2009, the Portrait of a Man in the collection of the Metropolitan Museum of Art, which had long been associated with the followers of Velázquez' style of painting, was cleaned and restored. It was found to be by Velázquez himself, and the features of the man match those of a figure in the painting "the Surrender of Breda". The newly cleaned canvas may therefore be a study for that painting. Although the attribution to Velázquez is regarded as certain, the identity of the sitter is still open to question. Some art historians consider this new study to be a self-portrait by Velázquez.[91]
In 2010, it was reported that a damaged painting long relegated to a basement of the
In October 2011, it was confirmed by art historian Dr. Peter Cherry of Trinity College Dublin through X-ray analysis that a portrait found in the UK in the former collection of the 19th century painter
Descendants
Velázquez, through his daughter Francisca de Silva Velázquez y Pacheco (1619–1658), is an ancestor of the Marquesses of Monteleone, including Enriquetta (Henrietta) Casado de Monteleone (1725–1761) who in 1746 married Heinrich VI, Count
In popular culture
Velázquez has been portrayed by Julián Villagrán in a Spanish fantasy television series, El ministerio del tiempo, and is a recurring character in the series.[98]
Notes
- Spanish name, the first or paternal surnameis Rodríguez de Silva and the second or maternal family name is Velázquez.
- ^ British English: /vɪˈlæskwɪz/,[1] American English: /vɪˈlɑːskeɪs, -k(w)ɛz, -kɪs, -kɛs/;[1][2][3][4] Spanish: [ˈdjeɣo roˈðɾiɣeθ ðe ˈsilβaj βeˈlaθkeθ].
References
- ^ a b "Velázquez, Diego"[dead link ] (US) and "Velázquez, Diego". Lexico UK English Dictionary. Oxford University Press.[permanent dead link ]
- ^ "Velázquez". Random House Webster's Unabridged Dictionary.
- ^ "Velázquez". The American Heritage Dictionary of the English Language (5th ed.). HarperCollins. Retrieved 18 October 2019.
- ^ "Velázquez". Collins English Dictionary. HarperCollins. Retrieved 18 October 2019.
- ^ "Diego Velazquez". Encyclopedia Britannica. Retrieved 21 January 2025.
- ^ Carr et al. 2006, p. 26.
- JSTOR 29779978.
- ISBN 9781861895196.
- ^ Otaka, Yasujiro (September 2000). "An Aspiration Sealed". Special Issue: Art History and the Jew. Studies in Western Art. Retrieved 8 December 2007.
- ^ Cómez Ramos, Rafael (2002). "La parentela de Velázquez". Laboratorio de Arte (15): 383–388.
- ^ Carr et al. 2006, p. 53.
- ^ Harris 1982, p. 9.
- ^ Carr et al. 2006, p. 28.
- ^ Carr et al. 2006, p. 14.
- ^ "Juana and Diego Velazquez Marriage Profile". Marriage.about.com. Archived from the original on 25 October 2011. Retrieved 22 December 2010.
- ^ Carr et al. 2006, p. 27.
- ^ Carr et al. 2006, p. 29.
- ^ a b c d e f g h i j Sánchez, Alfonso E. Pérez (1 January 2003). "Velázquez, Diego". Grove Art Online.
- ^ Carr et al. 2006, pp. 122, 126.
- ^ Carr et al. 2006, pp. 28, 29.
- ^ Carr et al. 2006, p. 142.
- ^ Carr et al. 2006, p. 130.
- ^ a b c Carr et al. 2006, p. 245.
- ^ Carr et al. 2006, p. 144.
- ^ Carr et al. 2006, pp. 29, 245.
- ^ Harris 1982, p. 57.
- ^ Harris 1982, pp. 12, 200.
- ^ a b Harris 1982, p. 12.
- ^ Harris 1982, p. 61.
- ^ Carr et al. 2006, p. 31.
- ^ Ortega y Gasset 1953, p. 37.
- ^ Carr et al. 2006, p. 32.
- ^ Harris 1982, p. 74.
- ^ Harris 1982, p. 73.
- ^ Carr et al. 2006, p. 33.
- ^ a b Carr et al. 2006, p. 157.
- ^ Carr et al. 2006, p. 147.
- ^ Asturias and Bardi 1969, p. 93.
- ^ Carr et al. 2006, p. 182.
- ^ a b Carr et al. 2006, p. 38.
- ^ Carr et al. 2006, pp. 38–41.
- ^ Carr et al. 2006, pp. 164, 180.
- ^ Herbermann, Charles, ed. (1913). Catholic Encyclopedia. New York: Robert Appleton Company. .
- ^ Carr et al. 2006, p. 20.
- ^ Portús 2004, p. 25.
- ^ Carr et al. 2006, p. 212.
- ^ Ortega y Gasset 1953, p. 45.
- ^ Carr et al. 2006, p. 42.
- ^ a b Carr et al. 2006, p. 36.
- ^ Asturias and Bardi 1969, p. 84.
- ^ Harris 1982, pp. 24–25.
- ^ Harris 1982, pp. 25, 27, 87.
- ^ Harris 1982, pp. 25, 28.
- ^ The manumission document was discovered by Jennifer Montagu. See Burlington Magazine, volume 125, 1983, pp. 683–4.
- ^ Harris 1982, pp. 141–143; Ortega y Gasset 1953, p. 38.
- ^ "León – Colección – Museo Nacional del Prado". www.museodelprado.es.
- ^ a b Carr et al. 2006, p. 247.
- ^ Carr et al. 2006, p. 46.
- ^ Carr et al. 2006, p. 47.
- ^ Asturias and Bardi 1969, p. 106.
- ^ Gower, Ronald Sutherland (1900). Sir Thomas Lawrence. London, Paris & New York: Goupil & co. p. 83.
- ^ Carr et al. 2006, p. 48.
- ^ Bird, Wendy. "The Bobbin and the Distaff" Archived 11 August 2011 at the Wayback Machine, Apollo, 1 November 2007. Retrieved on 28 May 2009.
- ^ Kunsthistorisches Museum, Wien "Infantin Margarita Teresa (1651–1673) in blauem Kleid | Diego Rodríguez de Silva y Velázquez | 1659 | Inv. No.: GG_2130" Archived 1 November 2013 at the Wayback Machine Retrieved on 27 January 2014.
- ^ Kunsthistorisches Museum, Wien "Infant Philipp Prosper (1657–1661) | Diego Rodríguez de Silva y Velázquez | 1659 | Inv. No.: GG_319" Archived 26 October 2014 at the Wayback Machine Retrieved on 27 January 2014.
- ^ Goodman, Al (7 September 1999). "ARTS ABROAD; A Furor for Velazquez: His Art but Also His Bones". The New York Times.
- ^ Carr et al. 2006, p. 30.
- ^ McKim-Smith et al. 1988.
- ^ Diego Velázquez, ColourLex
- ^ Carr et al. 2006, pp. 71, 78.
- ^ a b Carr et al. 2006, p. 79.
- ^ a b McKim-Smith, Gridley. (December 1979), "On Velázquez's Working Method". The Art Bulletin. 61 (4): 589–603.
- ^ Vogel, Carol (10 September 2009). "An Old Spanish Master Emerges From Grime". The New York Times. Retrieved 11 September 2009.
Jonathan Brown, this country's leading Velázquez expert ... "Velázquez was a painter who measured out his genius in thimblefuls." His output was so small that, depending on who's counting, Mr. Brown estimates, there are only 110 to 120 known canvases by the artist.
- ^ Harris 1982, p. 178.
- ^ a b Portús 2004, p. 57.
- ^ a b Harris 1982, p. 183.
- ^ Portús 2004, p. 200.
- ^ Portús 2004, p. 201.
- ^ Portús 2004, pp. 204–207.
- ^ Gower, Ronald Sutherland (1902). Sir David Wilkie. University of California Libraries. London: G. Bell and sons. pp. 64–65.
- ^ Schjeldahl, Peter (10 November 2002). "The Spanish Lesson: Manet's gift from Velázquez". The New Yorker. Retrieved 25 May 2019.
- ^ Harris 1982, p. 177.
- ^ "Las Meninas, 1957 by Pablo Picasso". www.pablopicasso.org. Retrieved 29 August 2023.
- ^ "Velázquez Painting the Infanta Marguerita with the Lights and Shadows of His Own Glory". archive.thedali.org. Retrieved 28 August 2023.
- ^ "Velázquez Painting the Infanta Marguerita with the Lights and Shadows of His Own Glory". archive.thedali.org. Retrieved 29 August 2023.
- ^ Arya, Rina (2009). "Painting the Pope: An Analysis of Francis Bacon's Study After Velázquez's Portrait of Innocent X". Literature and Theology, 23 (1), 33–50.
- ^ Bacon, Francis (1954), Figure with Meat, retrieved 28 August 2023
- ^ "Fernando Botero and His Remakes of Classic Masterpieces". Daily Art Magazine. 19 April 2023.
- ^ Gutíerrez, Nydia (26 February 2014). "Guía #74: 68, 70, 72. Bienales de Arte Coltejer" (PDF). Issuu (in Spanish). Medellín, Colombie: Museo de Antioquia. pp. 7–8. Retrieved 29 March 2025.
- ^ "Velásquez Going to His Easel (From the series Veláquez Stripped Bare)".
- ^ "Velázquez Rediscovered | Past Exhibitions | the Metropolitan Museum of Art". Archived from the original on 9 July 2010. Retrieved 12 April 2010.
- ^ Tremlett, Giles (1 July 2010). "Yale basement yields Spanish treasure – a possible Velázquez masterpiece". The Guardian. UK. Retrieved 22 December 2010.
- ^ "Yale uncovers Velazquez in basement storage". CBC News. 3 July 2010. Archived from the original on 6 July 2010. Retrieved 22 December 2010.
- ^ Jury, Louise (27 October 2011). "Portrait in hoard sent to auction revealed to be £3million Velázquez". London Evening Standard. Archived from the original on 29 October 2011. Retrieved 27 October 2011.
- ^ "Rediscovered Velazquez painting sold for £3m at auction". BBC News. 7 December 2011. Retrieved 29 September 2012.
- ^ "Relationship between Queen Sofia of Spain and Velazquez". Europeandynasties.com. Retrieved 22 December 2010.
- ^ "Archived copy". Archived from the original on 16 May 2008. Retrieved 19 July 2009.
{{cite web}}
: CS1 maint: archived copy as title (link) - ^ "Julián Villagrán es Diego de Velázquez en la serie 'El Ministerio del Tiempo'". RTVE.es (in Spanish). 29 January 2015. Retrieved 10 March 2021.
Sources
- Asturias, Miguel Angel, and P. M. Bardi (1969). L'opera completa di Velázquez. Milano: Rizzoli. OCLC 991877516.
- Carr, Dawson W., Xavier Bray, and Diego Velázquez (2006). Velázquez. London: National Gallery. ISBN 1857093038.
- Harris, Enriqueta (1982). Velazquez. Ithaca, N.Y.: Cornell University Press. ISBN 0801415268.
- McKim-Smith, G., Andersen-Bergdoll, G., Newman, R. (1988). Examining Velazquez. Yale University Press. ISBN 0300036159.
- Ortega y Gasset, José (1953). Velazquez. New York: Random House. OCLC 989292513.
- Ortiz, Antonio Domínguez et al. (1990). Velázquez. Madrid: Museo del Prado. ISBN 978-8-48731-701-9.
- Portús, Javier (2004). The Spanish Portrait from El Greco to Picasso [exposition, Museo nacional del Prado, 20 October 2004-6 February 2005]. London: Scala. ISBN 185759374X.
Further reading
- Brown, Dale (1969). The World of Velázquez: 1599–1660. New York: Time-Life Books. ISBN 0-8094-0252-1.
- Ortiz, Alfonso E. Pérez Sánchez y Julian Gallego. 1990. Velázquez. Museo del Prado. Editado por el Ministerio de Cultura de España. Patrocinado por la Fundación Banco Hispano Americano. 1990. 470 páginas. ISBN 84-87317-01-4.
- ISBN 0-691-03941-0.
- Brown, Jonathan (1986). Velázquez: Painter and Courtier. ISBN 0-300-03466-0.
- Brown, Jonathan (1988). "Enemies of Flattery: Velázquez' Portraits of Philip IV", in Rotberg, Robert I. and Rabb, Theodore K., Art and History: Images and Their Meaning, Cambridge: Cambridge University Press.
- Brown, Jonathan (2008). Collected Writings on Velázquez, CEEH & Yale University Press, New Haven. ISBN 978-0-300-14493-2.
- ISBN 84-8156-203-3.
- Davies, David and ISBN 0-300-06949-9.
- Domínguez Ortiz, A.; Gállego, J. & Pérez Sánchez, A.E. (1989). Velázquez . New York: The Metropolitan Museum of Art. ISBN 9780810939066.
- Elizabeth McGrath and Jean Michel Massing. The Slave in European Art. The Warburg Institute2012.
- "Enriqueta Harris resalta la 'pasión británica' por Velázquez en un simposio en Sevilla" (PDF). El Pais Digital. Archived from the original (PDF) on 24 October 2004. Retrieved 9 April 2005.
- Erenkrantz, Justin R. "The Variations on Past Masters". The Mask and the Mirror. Accessed on 10 April 2005.
- Goldberg, Edward L. "Velázquez in Italy: Painters, Spies and Low Spaniards". The Art Bulletin, Vol. 74, No. 3 (September 1992), pp. 453–456.
- Kahr, Madlyn Millner(1976). Velázquez: The Art of Painting. Harper & Row.
- Knox, Giles. Velázquez's King Philip IV of Spain from the Frick Collection (Masterpiece in Residence series). Dallas and New York: Meadows Museum, SMU in association with Scala Arts Publishers, Inc. (2022). ISBN 978-1-78551-444-9.
- Moser, Wolf (2011). Diego de Silva Velázquez: Das Werk und der Maler 2 vols. Edition Saint-Georges, Lyon. ISBN 978-3-00-032155-9.
- ISBN 978-1-60606-5884.
- Passuth, László: Más perenne que el bronce – Velázquez y la corte de Felipe IV (Título original: A harmadik udvarmester) / Noguer y Caralt Editores, 2000.
- Prater, Andreas (2007). Venus ante el espejo, CEEH. ISBN 978-84-936060-0-8.
- ISBN 84-932891-1-6.
- Stratton-Pruitt, Suzanne L., ed. (2002). The Cambridge Companion to Velázquez. Cambridge University Press.
- "Velázquez, Diego" (1995). Enciclopedia Hispánica. Barcelona: Encyclopædia Britannica Publishers. ISBN 1-56409-007-8.
- Wolf, Norbert (1998). Diego Velázquez, 1599–1660: the face of Spain Taschen, Köln. ISBN 3-8228-6511-7.
External links
- 46 artworks by or after Diego Velázquez at the Art UK site
- Velázquez works at the Web Gallery of Art
- Velázquez at Artcyclopedia.com
- 202 paintings by Diego Velázquez at DiegoVelazquez.org
- Diego Velázquez at WikiPaintings.org
- Diego Velazquez's Online Exhibition at Owlstand.com
- Diego Velázquez, Collection of resources and illustrated pigment analyses. ColourLex.