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The face of Spain: The undeniable pinnacle of the golden age of Spanish painting Acclaimed for its blending of realism with atmosphere, and for its deeply sensitive appreciation of character, the work of Diego Rodr#65533;guez de Silva y Vel#65533;zquez (1599-1660) represents the undeniable pinnacle of the golden age of Spanish painting. Born in Seville but of Portuguese origin, Vel#65533;zquez became Court Painter to Philip IV in 1623. A steady worker, using primarily sombre low-toned coloring, he met Rubens in 1628, and soon after made a first trip to Italy. The pictures painted there reveal a growing interest in both color range and in the male nude. Vel#65533;zquez only returned to Italy once again in the late 1640's, where he painted his famous portrait of Pope Innocent X and his only female nude, the "Rokeby Venus". But his greatness lies perhaps in his empathetic studies of such characters as the dwarf playmates of the royal children. The weathering of the skin, rags and mortality, as well as the ageing face of the despondent monarch increasingly preoccupied him in later years. The power, insight and brilliant technique of these paintings were to prove profoundly influential on such later artists as Manet, Delacroix, Picasso and Bacon. About the Series: Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions
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Wikipedia in English (4)
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Before there was Picasso, there was Diego Velazquez whose biggest fan is none other than Pablo Picasso.
A chance conversation about the 2017 Oscars dress of Janelle Monae in Elie Saab prompted me to look up the famous 1656 ‘Infanta Margarita’ by Velazquez. Inevitably, I turned to my trusted Taschen art books for a refresher of the most famous painter for the Spanish court.
In ‘From Kitchen to Palace’: His work is not recognized by grand gestures but by ‘a sense of great calm’. His career began in Seville, Spain, where he painted the signature 9 bodegóns, depicting everyday life in the most realistic feel, in shades of dark tones. In 1623 at age 24, he was summoned to paint for the King. In 1629-1631, his first trip to Italy exposed him to the classics, where he painted the pieces that the Impressionists identified as the beginning of Impressionism – ‘Villa Medici in Rome’, 1630.
In ‘The Psychology of Power’: This section dove deep into his court paintings, notably the portraits of the royal family – Philip III, Philip IV, Infanta Dona Maria, etc., and especially ones with hunting scenes. The faces are the most expressive of any known painters and even the animals came to life – ‘conscious of the dignity shared by all living creatures’.
In ‘A Humane Equilibrium’: ‘The Surrender of Breda (Las Lanzas)’ is one of his most praised work, where he “makes a fundamental statement about human conduct amidst the horrors of war’. Also in this section are his expressive pieces of the court jesters and dwarfs, including the cover of this book, who reminds me of a dark-haired Tyrion Lannister. Two more signature pieces – the ethereal ‘The Coronation of the Virgin’ and the complex ‘St. Anthony Abbot and St. Paul the Hermit’ – are explained.
In ‘Enigmas and Reflections – Riddles in Paint’: His skills in his later works have elevated to heights were multifaceted images are the norm. In ‘The Fable of Arachne’, the seamstresses on the foreground vs. the richly dresses ladies on stage vs. the wall hanging is a sublime composition. The ‘Venus at her Mirror’ is absolutely one of the most stunningly beautiful woman nude backside ever painted; with a mirror held by Cupid, this piece ‘explores the relationship between reality, reflection and image’. Finally, his most famous piece, one so admired by Picasso that he recreated in whole and in portions 58 times – ‘Las Meninas’ or ‘The Royal Family’. Though centered upon Infanta Margaret Theresa, using light and reflections, all family members are featured including King Philip IV and Queen Mariana in the mirror! This is Velazquez’s last masterpiece, and he is prominently featured on the left facing a large canvas that is forever a mystery to us. He dies in court 3 years later.
Lastly, if artists who painted their own self-portraits are the equivalent of doing selfies, then Velazquez’s penchant for painting himself into his painting must be the equivalent of photobombing himself. I laughed at my own dumb joke. Big thumbs up to the book for the education and in the quality of the photos – from shades of dark to reflections of light, all are as I remember them in the museums. (