(Diego De Silva Velazquez) “His men and women seem to breath.”

His Life In 1599, he was born in Seville, Spain Beginning at age 12, he served as apprentice for 5 years to Francisco Pacheco, an artist in Seville. In 1618, he married his mentor’s daughter, Juana. They had 2 daughters, Ignacia and Francisca.

His Life—Con’t. He went to Madrid in 1623 to paint a portrait of King Phillip IV and won immediate success and appointment as the court painter. He was named the “Artist of the Royal Chamber” and became a friend of the king as well as the favorite artist of the royal family.

His Life—Con’t. He went to Italy for 2 years in 1629 to learn techniques of Italian masters such as Titian, who had the greatest influence on his style. He painted a portrait of Pope Innocent X which won him immediate and lasting fame in Italy. In August of 1660, he died at the age of 61.

His Style He painted varied subjects including portraits of the royal family, landscapes, mythological and religious subjects, and scenes of common life. A master of realism, he used exquisite detail and it is said that he captured the souls of the people he painted.

His Style-Con’t. He painted everyone with equal dignity and realism from the lowest peasant to the highest noble. He established the importance of using light & shadow to create the illusion of distance. He is called “The Painter’s Painter” because he is said to have the greatest influence on Western art than any other painter.

His Style-Con’t. *Legend: it is said that he signed his works “pintor del rey” (the king’s painter) and that the king then changed it to “el rey de los pintores” (the king of painters) “I’d rather be the first painter of common things that second in higher art.” (Velazquez)

Velazquez Las Meninas 1656 (his magnus opus) Creates a remarkable illusion of reality never surpassed by himself or any other artist of his age Nearly life-sized figures; canvas is 11 feet by 9 feet so many 19th century critics saw this as an anticipation of the invention of the camera, capturing a “snapshot” in time and space. This is a casual scene showing himself painting a portrait of the king and queen in the presence of La Infanta Margarita and her attendants.

Velazquez Las Meninas 1656 (his magnus opus) Many complexities make this one of the most talked about paintings in the world The infanta is the most central figure and the light from the window on the right falls on her more that the surrounding figures She and the figures around her look outward thus acknowledging the presence of the viewers (us)

Velazquez Las Meninas 1656 (his magnus opus) We are made to be part of the painting in this way-observer & observed Our role is revealed by the image in the mirror, we are in the position of the king and queen But, due to the position of the mirror, the reflection is not of the king and queen but of their image on the canvas on which Velazquez is painting. So, Velazquez places us in the painting next to the king & queen as they pose thus making us part of royalty

Velazquez Forge of Vulcan (1630) Portrays the movement in Roman mythology when Apollo comes to tell Vulcan that his wife, Venus, is having an affair with Mars, the god of war. He tells him this as Vulcan is in the process of forging weapons of war for Mars. He emphasizes the action of the telling, the surprised looks on the other smiths and the look of fury in Vulcan’s face. While Apollo has an aura of light, he as well as Vulcan look like ordinary people and they are not idealized.

Velazquez Surrender at Breda (1634-1635) 1. Breda was a city near the frontier of Holland proper. 2. The siege of Breda was a clash between two famous generals, Spinola of Spain and Nassau of the Netherlands. Nassau led hostilities against Spinola but died before the end of the siege. His successor unsuccessfully attempted to revive Dutch momentum, but ultimately surrendered in May. 8. Spignola’s success and bravery in the battle inspired this painting as an emblem of Spanish nationalism and as a tribute to Ambrogio Spinola.

Velazquez Surrender at Breda (1634-1635) The focus of the painting is not on the battle itself, but rather the act of reconciliation. The center of the painting is focused on the key being given to Spinola. The terms of defeat at Breda were some of the most honorable and lenient of the time. The painting demonstrates the glimpses of humanity that can be exposed as a result of war, and commends Spinola’s consideration for Nassau and the Dutch army. Velazquez capturees a moment of convergence between Spanish power, restraint, and kindness in the battle.

Velazquez Woman Frying Eggs (1618) Shows the use of light and dark to create an almost photographic image A strong light source illuminates the woman, her utensils, and the eggs The background and the boy are in deep shadow Demonstrates extreme realism with great detail given to everyday plates, cutlery, pans, pestles, jugs and mortars Captures a moment in time