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Keywords

Keywords. Baroque : Barroco, estilo artístico de los siglos XVII y XVIII. Destaca la pintura por el contraste, movimiento, detalles, profundidad de color, asimetria y alegoría. Mannerist painter : pintor manierista, el estilo artístico Manierista.

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Keywords

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  1. Keywords • Baroque: Barroco, estilo artístico de los siglos XVII y XVIII. Destaca la pintura por el contraste, movimiento, detalles, profundidad de color, asimetria y alegoría. • Manneristpainter: pintor manierista, el estilo artístico Manierista. • Tenebrism: tenebrismo, innovación de Caravaggio fundamental en el estilo Barroco. • Patronage: mecenazgo, financiación a un artista por ejemplo de Olivares a Velázquez. • Allegory: alegoría, representación en la que las cosas tienen un significado simbólico. • Realistic (painting), inspirada en la realidad. • Idealistic (painting), inspirada en ideal. • Composition: composición. Composición es la ordenación de los elementos que intervienen en una obra de carácter visual. • Linear perspective: perspectiva lineal. • Chiaroscuro: contraste de luces y sombras, perspectiva aérea. • Black outlines: líneas negras que dibujan la silueta de los personajes. • Background: refiere al fondo de las pinturas. • Foregound: primer plano.

  2. Biography • Diego Velázquez, in full Diego Rodríguez de Silva y Velázquez, (baptized June 6, 1599, Sevilla, Spain—died August 6, 1660, Madrid), the most important Spanish painter of the 17th century, a giant of Western art. • Spanish painter Diego Velázquez was born circa June 6, 1599, in Seville, Spain. Although his early paintings were religious-themed, he became renowned for his realistic, complex portraits as a member of King Philip IV's court. In his later years, the Spanish master produced a renowned portrait of Pope Innocent X and the famed Las Meninas. He died on August 6, 1660, in Madrid.

  3. Historicalcontext • Baroque 17th century, It was encouraged by the Catholic Church as a means to counter the simplicity and austerity of Protestant art. The Baroque style used contrast, movement, exuberant detail, deep colour and surprise to achieve a sense of awe. • Baroque painters worked deliberately to set themselves apart from the painters of the Renaissance and the Mannerism period after it. They used strong contrasts of light and darkness on certain parts of the picture to direct attention to the central actions or figures. • In their composition, they avoided the tranquil scenes of Renaissance paintings, and chose the moments of the greatest movement and drama. Unlike the quiet faces of Renaissance paintings, the faces in Baroque paintings clearly expressed their emotions. • They often used asymmetry, with action occurring away from the center of the picture, and created axes that were neither vertical nor horizontal, but slanting to the left or right, giving a sense of instability and movement. • The overall impressions were movement, emotion and drama. Another essential element of baroque painting was allegory. Portrait of Niño de Vallecas (1643-1645)

  4. Velázquez is universally acknowledged as one of the world’s greatest artists. The naturalistic style (Baroque) in which he was trained provided a language for the expression of his remarkable power of observation in portraying both the living model and still life. • Stimulated by the study of 16th-century Venetian painting, he developed from a master of faithful likeness and characterization into the creator of masterpieces of visual impression unique in his time. • With brilliant diversity of brushstrokes and subtle harmonies of colour, he achieved effects of form and texture, space, light, and atmosphere that make him the chief forerunner of 19th-century French Impressionism. Portrait of dwarf don Sebastián de Morra (1645)

  5. Velázquez, earlyyears • According to Palomino, Velázquez’s first master was the Sevillian painter Francisco Herrera the Elder. In 1611 Velázquez was formally apprenticed to Francisco Pacheco (Mannerist painter), whose daughter he married in 1618. • He was not more than 20 when he painted the Waterseller of Seville (c. 1620), in which the control of the composition, colour, and light, the naturalness of the figures and their poses, and realistic still life already reveal his keen eye and prodigious facility with the brush. The strong modelling and sharp contrasts of light and shade of Velázquez’s early illusionistic style closely resemble the technique of dramatic lighting called Tenebrism. • Other works in this period: An Old Woman Cooking Eggs (1618), Christ in the House of Martha and Mary (1618). The Adoration of the Magi (1619). Waterseller of Seville (1620)

  6. An Old Woman Cooking Eggs (1618)

  7. Religious scene in background Topic religious and still life Tenebrism lights and shadows Precise drawing and details Christ in the House of Martha and Mary (1618)

  8. Velázquez, Courtpainter in Madrid • In 1623, two years after Philip IV came to the throne, Velázquez visited Madrid for the second time. Protected by Olivares, soon after his arrival he painted a portrait of Philip IV that won him immediate success. • Velázquez’s position at the court gave him access to the royal collections, rich in paintings by the Venetian Renaissance master Titian, who was to have more influence than any other artist on the development of his style. He was influenced also by Rubens, whom he met during the latter’s second visit to the Spanish court, in 1628. • The Feast of Bacchus (1628–29), seems to have been inspired by Titian and Rubens, but his realistic approach to the subject is characteristically Spanish and one that Velázquez was to preserve throughout his life. Other works: portraits of Luis de Góngora (1622), Philip III on horseback (1635), Philipe IV (1626-28). Portrait of Philip III (1623)

  9. Mythological topic Naturalism in ordinary people Light from left, shadows on right Slow movement Bacchus, god of wine, idealized Diagonal composition Bright colors Dark colors The Feast of Bacchus (1628–29)

  10. Velázquez, firstItalianjourney • Velázquez’s visit, with Rubens, to see the famous paintings in the royal monastery of the Escorial, near Madrid, is said by Palomino to have aroused Velázquez’s desire to go to Italy. Having obtained leave and two years’ salary from the king and money and letters of recommendation from Olivares, he sailed from Barcelona to Genoa in August 1629. • As a result of his Italian studies, particularly of Venetian painting, his development in the treatment of space, perspective, light, and colour and his broader technique mark the beginning of a new phase in his lifelong pursuit of the truthful rendering of visual appearance. • The chief works of his Italian visit are the two “celebrated pictures” painted in Rome, which Palomino records that he took back to Spain and offered to the king: Joseph’s Bloody Coat Brought to Jacob (1630) and Vulcan’s Forge (1630). These two monumental figure compositions are far removed from the limited realism in which he had been trained. Joseph’s Bloody Coat Brought to Jacob (1630)

  11. Vulcan’s Forge (1630)

  12. The two small views of the Villa Medici are unique examples of pure landscape in his surviving work and among those of his achievements that foreshadow 19th-century Impressionism. With brilliant diversity of brushstrokes and subtle harmonies of colour, he achieved effects of form and texture, space, light, and atmosphere that make him the chief forerunner of 19th-century French Impressionism. View of the Gardens of the Villa Medici (1630)

  13. Velázquez, back in theCourt • After his return from Italy, Velázquez entered upon the most productive period of his career. He took up again his chief office of portrait painter and was occasionally called on to represent mythological subjects for the decoration of the royal apartments. From now on his religious works are rare and individual. • For the decoration of the new Buen Retiro palace, completed in 1635, Velázquez painted a series of royal equestrian portraits, following a tradition that goes back in Spain to Titian’s The Emperor Charles V at Mühlberg (1548) and was continued by Rubens. • In The Surrender of Breda, though the elaborate composition was based on a pictorial formula of Rubens, he creates a vivid impression of actuality and of human drama. • Velázquez created a new type of informal royal portrait, for example Prince Baltasar Carlos as huntsman (1635-36). • The portraits of court dwarfs, painted during the next few years, display the same impartial and discerning eye as those of royal and noble sitters, while the character of the dwarfs’ disproportions is revealed through their unconventional poses, their individual expressions, and the exceptionally free and bold brushwork Portrait of Prince Baltasar Carlos (c. 1635)

  14. topographical details Historical subject Natural lights/shadows Human drama Vivid composition Lifelike portraiture of the principal figures The Surrender of Breda (c. 1635)

  15. Philip IV on horseback (c. 1635)

  16. This work is one in a series of portraits of court jesters at the royal palace. In each of the portraits in the series, Velázquez bestows an innate sense of humanity in the subjects, and they are among the artist’s most moving works. This portrait of Francisco Lezcano, a dwarf and court jester in King Philip IV’s palace, is one of the most famous to emerge out of this series. Portrait of dwarf don Sebastián de Morra (1645) Portrait of Niño de Vallecas (1643-1645)

  17. Philip III on horseback (1635)

  18. Equestrian Portrait of Count Duke de Olivares (1634)

  19. Velázquez, secondItalianjourney • At the beginning of 1649 Velázquez left Spain on a second visit to Italy. This time he was on official business as gentleman of the bedchamber, but The chief purpose of the journey was to buy paintings and antiques for the king for the decoration of new apartments in the royal palace. • Again Velázquez found fresh inspiration in Italy, particularly from Titian, Tintoretto and Veronese. Palomino recounts that Velázquez was befriended in Rome by eminent prelates and artists, including the French painter Nicolas Poussin and Gian Lorenzo Bernini, the leading Italian sculptor of the Baroque style. • Velázquez painted the portrait of Innocent X. The powerful head, the brilliant combinations of crimson of the curtain, the chair, and the cope are painted with fluent technique and almost imperceptible brushstrokes that go far beyond the late manner of Titian and announce the last stage in Velázquez’s development in the direction of Impressionism. Portrait of Juan de Pareja (1650)

  20. The Rokeby Venus depicts Venus, the goddess of love, with her son Cupid, who holds a mirror for her to both admire herself and gaze at the viewer. Portraits of female nudes were rare in Spain as they were met with disapproval by the church; this is Velázquez’s only surviving painting with this subject matter, influenced by Titian and Rubens. Venus at her Mirror (1649-51)

  21. Portrait of Juan de Pareja (1650)

  22. Portrait of Pope Innocent X (1650)

  23. Velázquez, lastYears • In addition to his many official portraits, Velázquez painted during his last years two of his most original figure compositions and greatest masterpieces. The Spinners; or, The Fable of Arachne (1655–60), a genre scene in a tapestry factory, is at the same time an illustration of the ancient Greek fable of the spinning contest between Pallas Athena and Arachne. • In Las meninas (1656; “The Maids of Honour”), also known as The Royal Family, Velázquez has created the effect of a momentary glance at a casual scene in the artist’s studio while he is painting the king and queen—whose reflection only is seen in the mirror in the background—in the presence of the infanta Margarita with her meninas and other attendants. In this complex composition, the nearly life-size figures are painted in more or less detail according to their relation to the central figure of the infanta and to the source of light, creating a remarkable illusion of reality never surpassed by Velázquez or any other artist of his age.

  24. Velázquez has created the effect of a momentary glance at a casual scene in the artist’s studio while he is painting the king and queen—whose reflection only is seen in the mirror in the background—in the presence of the infanta Margarita with her meninas and other attendants. In this complex composition, the nearly life-size figures are painted in more or less detail according to their relation to the central figure of the infanta and to the source of light, creating a remarkable illusion of reality never surpassed by Velázquez or any other artist of his age. Las meninas (1656; “The Maids of Honour”)

  25. Aerial Perspective interior Self-portrait Art Subject: a casual scene while painting the monarchs Reflection mirror Composition Infanta Margarita Meninas and attendants Las meninas (1656; “The Maids of Honour”)

  26. The Fable of Arachne, a genre scene in a tapestry factory, is at the same time an illustration of the ancient Greek fable of the spinning contest between Pallas Athena and Arachne. Here the mythological subject is in the background. But in this late work there is no barrier between the world of myth and reality; they are united in an ingenious composition by formal and aerial perspective Aerial Perspective interior Mythological scene in background Daily life scene in foreground Art Crafts Linear Perspective also Lights and shadows Naturalism ordinary peopple The Spinners; or, The Fable of Arachne (1655–60)

  27. Velázquez is universally acknowledged as one of the world’s greatest artists. Nearly at the end of his life Velazquez achieved his most persecuted goal, that was the aerial perspective in interior spaces. • The king granted Velázquez a nobility title for his mastery. The portrait of Innocent X earned for him the pope’s support for his application for membership of the most exclusive Spanish military order, though the difficulties arising from the fact that he was not of noble birth were so great that he did not receive the habit of the Order of Santiago until 1659. • Velázquez became a master of masters. The two small views of the Villa Medici are unique examples of pure landscape in his surviving work and among those of his achievements that foreshadow 19th-century Impressionism. With brilliant diversity of brushstrokes and subtle harmonies of colour, he achieved effects of form and texture, space, light, and atmosphere that make him the chief forerunner of 19th-century French Impressionism.

  28. Made by Francisco Javier AbadesAnsián History teacher at Castilla y León (Spain)Feel free to use, study or share this presentation

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