Jan Vermeer (1632-1675) This Dutch artist worked in Delft Jan Vermeer (1632-1675) This Dutch artist worked in Delft. His neat, comfortable interiors show middle-class inhabitants engaged in common household tasks and recreation—what we refer to as genre images. Figures are usually “caught in the act” of opening a window, drinking wine, conversing, and are illuminated by a very carefully rendered, specific light. Glowing colors and serenity distinguish Vermeer’s artwork.

Jan Vermeer (1632-1675) View of Delft, Oil on Canvas

Jan Vermeer (1632-1675) Woman Holding a Balance Oil on Canvas 1664 16 Jan Vermeer (1632-1675) Woman Holding a Balance Oil on Canvas 1664 16.75 x 15”

Jan Vermeer (1632-1675) Allegory of the Art of Painting Oil on Canvas 1665 47 x 39” It is possible that Vermeer created his images using a camera obscura.

The camera obscura is an enclosed box with a lens built into a round window. The light of a bright image passes through the lens and is projected upside-down on the opposite wall. An artist may trace the projection to create an art image.

The camera obscura is an enclosed box with a lens built into a round window. The light of a bright image passes through the lens and is projected upside-down on the opposite wall. An artist may trace the projection to create an art image.

Jan Vermeer (1632-1675) The Milkmaid Oil on Canvas 1658 18 x 16”

Jan Vermeer (1632-1675) Officer and Laughing Girl Oil on Canvas 1658 20 x 18”

Jan Vermeer (1632-1675) Young Woman with a Water Jug Oil on Canvas 1664 18 x 16”

Jan Vermeer (1632-1675) Oil on Canvas

The Baroque in Spain Spain’s close contacts with Italy and the Netherlands during the sixteenth century kept Spanish artists familiar with the main trends in European art. Painting dominated Spanish art during this period.

Diego Rodriguez de Silva y Velazquez (1599-1660) Self-portrait (detail from Las Meninas) Velazquez was the greatest Spanish artist of the period. He was appointed court painter by King Philip IV, and concentrated mainly on portrait work. His pictures tend to appear more realistic than his Spanish contemporaries. The images include a strong consideration of light, texture, and personal character. His painting technique became very economical and expressive over time.

Diego Rodriguez de Silva y Velazquez (1599-1660) Las Meninas Oil on canvas 1656 125 x 108” The painter shows himself standing in the studio in front of a very large canvas. In the foreground is the five year old princess with her two servants, two favorite dwarfs and a large dog. One dwarf is poking the dog with his foot. In the back of the room we see a mirror reflection of the King and Queen, whose portraits are being painted as we watch.

Diego Velazquez (1599-1660) Las Meninas detail

Diego Velazquez (1599-1660) Las Meninas (Detail) Oil on canvas, 1656 125 x 108” The artist may be painting this very picture or perhaps the portraits of the king and queen, whose reflections are seen in the mirror on the far wall in the middle of the composition. The artist’s aim is to show the movement of light and the countless ways it can be reflected. Notice the effect of light on form and color in the painting. The indirect light in the spacious studio contrasts with the direct light striking the figures in the foreground, bouncing and reflecting from a variety of materials. Line was rarely used by Velazquez.

Diego Velazquez (1599-1660) King Philip IV 1644 Oil on canvas

Diego Velazquez (1599-1660) Infanta Maria Teresa Oil on canvas

Diego Velazquez (1599-1660) Pope Innocent X Oli on canvas 1650 55 x 45”

Diego Velazquez (1599-1660) Los Borrachos 1628 Oil on canvas 66” x 90” As in the artwork of Caravaggio, it was typical for Velazquez to employ common local people as models—despite the mythological subject matter of this painting.

Diego Velazquez (1599-1660) The Buffoon D. Sebastian de Morra This man suffers physical deformities beyond his control, but his eyes express an intelligence and humanity which might challenge his role as court buffoon.

Diego Velazquez (1599-1660) Calabazas Oil on canvas, 1639 This man was a court jester, who was likely mentally impaired.

Diego Velazquez (1599-1660) Venus and Cupid, 48 x 70” Oil on canvas, 1648 In addition to the delicate, realistic portrayal of light and various textures, notice how the artist uses cool colors against warm colors to create a lively image.

Francisco Zurbaran (1598-1664) Spanish Saint Francis in Meditation, 1639 Oil on canvas 75 x 54” His best known paintings are those of saints in devotional attitudes, sharply lit from one side, within a darkened space. His use of tenebrism shows the influence of Caravaggio.

Francisco Zurbaran (1598-1664) Saint Francis in Meditation, 1635 Oil on canvas 60 x 39” Zurbaran’s work is known for its strong use of tenebrism, which demonstrates that this Spanish artist was clearly influenced by the work of Caravaggio.

Francisco Zurbaran (1598-1664) St. Serapion Oil, on canvas 1628 48 x 41”

Francisco Zurbaran (1598-1664) Spanish

Francisco Zurbaran (1598-1664) Spanish

Bartolome Estaban Murillo (1617-1682) Immaculate Conception 1660-70, Oil on canvas 6’9” x 4’8” His large workshop in Seville, Spain, produced many canvases of the Virgin Mary, shown in a popular, sentimental style.

Bartolome Estaban Murillo (1617-1682) This painting creates the illusion of being a real window opening beyond the wall where it hangs on display. The picture plane is parallel to the wall, the woman’s elbow rests on its ledge, and the shutter draws the viewer’s eye right back into the imaginary space. Contrasting values is an essential ingredient in this picture, as the women emerge from the dark surroundings and advance toward the viewer.