1. Diego Velázquez 1599-1660 Diego Velázquez 1599-1660 Painting Consciousness

2. Diego Velázquez. Self-Portrait. 1643.Philip IV

3. on Velázquez a)Court Painter in in the court of Philip IV (Felipe IV). b)“The Painter of the Painter” a)“The Painter of Truth”; truth about painting b)“The Painter of Subjectivity”: truth about the painter c) Focus of study: Relate the two points above to your reading of Las Meninas. Why do art critics attribute those qualities to him and his work?

4. Questions 1 [Velázquez and The Puzzle of Double Painting] Velázquez What is being painted? And who is painting this? 1.1 Las Meninas is full of fascinating puzzles and strange twists. How "many" can you point out? What is wrong/strange about the painting? 1.1 Las Meninas is full of fascinating puzzles and strange twists. How "many" can you point out? What is wrong/strange about the painting? Las Meninas Las Meninas 1.2 Look, closely and "deeply," at the logic of composition and representation: its complexity and multiplicity. There is no one/single story in this painting. This painting is a very confusing, multiple mirror-play. Note, first, simply, that every one is looking at something; you are introduced to a theatre of gazes, of consciousness. 1.2 Look, closely and "deeply," at the logic of composition and representation: its complexity and multiplicity. There is no one/single story in this painting. This painting is a very confusing, multiple mirror-play. Note, first, simply, that every one is looking at something; you are introduced to a theatre of gazes, of consciousness. 1.3 Then try and figure out the positions of the people depicted in the painting, both spatial (literal) and metaphorical (symbolic), especially the painter himself; see also High Renaissance Painter Raphael's signature in La Fornaria (Italian, 1520; comparable to Michelangelo, David) and Ingres' imaginary double portrait, Raphael and La Fornarina, 1814. 1.3 Then try and figure out the positions of the people depicted in the painting, both spatial (literal) and metaphorical (symbolic), especially the painter himself; see also High Renaissance Painter Raphael's signature in La Fornaria (Italian, 1520; comparable to Michelangelo, David) and Ingres' imaginary double portrait, Raphael and La Fornarina, 1814. La Fornaria Raphael and La Fornarina La Fornaria Raphael and La Fornarina 1.4 What functions do the frames/mirrors/doors in the painting serve? And what do they mean? 1.4 What functions do the frames/mirrors/doors in the painting serve? And what do they mean?

5. Questions 2 [Velázquez and The Baroque] Velázquez 2.1 What is Baroque Style? What is trompe-o'eil? How does it build on, and also depart from, the Spirit of the Renaissance? Start by centring your thoughts and notes around the humanism of the Renaissance; in Baroque arts, the difference or division between reality and illusion is not clear-cut. The baroque complicates the senses of identity by conflating the two. 2.1 What is Baroque Style? What is trompe-o'eil? How does it build on, and also depart from, the Spirit of the Renaissance? Start by centring your thoughts and notes around the humanism of the Renaissance; in Baroque arts, the difference or division between reality and illusion is not clear-cut. The baroque complicates the senses of identity by conflating the two. Baroque trompe-o'eilBaroque trompe-o'eil 2.2 Study some other intriguing images and figures from the European Renaissance and Baroque Periods: How do they, altogether, embody the spirit and style of the Periods? 2.2 Study some other intriguing images and figures from the European Renaissance and Baroque Periods: How do they, altogether, embody the spirit and style of the Periods? Jan van Eyck (Flemish, 1395-1441, The Betrothal of the Arnolfini ) The Betrothal of the Arnolfini The Betrothal of the Arnolfini Dürer (German, 1471-1528, Portrait of a Boy with a long beard ) Portrait of a Boy with a long beard Portrait of a Boy with a long beard Bronzino (Italian, 1503-72, Allegory of Happiness ; Venus, Cupide and the Time ) Allegory of Happiness Venus, Cupide and the Time Allegory of Happiness Venus, Cupide and the Time Arcimboldo (Italian, 1527-1593, The Cook ; The Vegetable Gardener ) The Cook ; The Vegetable Gardener The Cook ; The Vegetable Gardener de Ribera (Spanish, 1591-1652, Bearded Woman ) Bearded Woman Bearded Woman Artemisia (Italian [finally a woman artist!] 1593 - 1652/1653, Judith Beheading Holofernes ; Self-portrait as the Allegory of Painting ) Artemisia (Italian [finally a woman artist!] 1593 - 1652/1653, Judith Beheading Holofernes ; Self-portrait as the Allegory of Painting ) Judith Beheading Holofernes Self-portrait as the Allegory of Painting Judith Beheading Holofernes Self-portrait as the Allegory of Painting

6. Questions 3 [The Baroque and the Politics of Trompe-o'eil ] 3.1 Baroque style is a political statement in itself: anti-Reformation. Why? How? Start your investigation by reading the entry on "baroque" in Web Gallery of Art. Web Gallery of ArtWeb Gallery of Art 3.2 Why must we study all this? What is all this analytic fuss about? It is your job to articulate and judge the worth of studying these materials: justify your position and do so intelligently. 3.2 Why must we study all this? What is all this analytic fuss about? It is your job to articulate and judge the worth of studying these materials: justify your position and do so intelligently.