The Rokeby Venus Poster Print by Diego Velazquez (24 x 18)

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Vogel, Carol (September 10, 2009). "An Old Spanish Master Emerges From Grime". The New York Times . Retrieved September 11, 2009. Jonathan Brown, this country's leading Velázquez expert ... "Velázquez was a painter who measured out his genius in thimblefuls." His output was so small that, depending on who's counting, Mr. Brown estimates, there are only 110 to 120 known canvases by the artist. Es importante seguir las directrices del personal en todo momento, será obligatorio el uso de mascarillas y el gel hidroalcohólico para las manos durante su estancia. Las Meninas ( Spanish for ' The Ladies-in-waiting ' [a] pronounced [las meˈninas]) is a 1656 painting in the Museo del Prado in Madrid, by Diego Velázquez, the leading artist of the Spanish Baroque. It has become one of the most widely analyzed works in Western painting for the way its complex and enigmatic composition raises questions about reality and illusion, and for the uncertain relationship it creates between the viewer and the figures depicted. Goodman, Al (September 7, 1999). "ARTS ABROAD; A Furor for Velazquez: His Art but Also His Bones". The New York Times.

Gaggi, Silvio (1989). Modern/Postmodern: A Study in Twentieth-century Arts and Ideas. Philadelphia: University of Pennsylvania Press. ISBN 978-0-8122-1384-3. Diego Velázquez, Las Meninas". ColourLex. Archived from the original on 31 July 2015 . Retrieved 19 March 2021. El Triunfo de Baco or Los Borrachos 1629 (English: The Triumph of Bacchus/The Drunks) Portrait of the Infanta Maria Theresa, Philip IV's daughter with Elisabeth of FranceGassier, Pierre (1995). Goya: Biographical and Critical Study. New York: Skira. ISBN 978-0-7581-3747-0. Archived from the original on 27 February 2008. Moser, Wolf (2011). Diego de Silva Velázquez: Das Werk und der Maler 2 vols. Edition Saint-Georges, Lyon. ISBN 978-3-00-032155-9. Erenkrantz, Justin R. " The Variations on Past Masters". The Mask and the Mirror. Accessed on April 10, 2005.

Stratton-Pruitt, Suzanne L., ed. (2002). The Cambridge Companion to Velázquez. Cambridge University Press. Sawkins, Annemarie. "Eve Sussman's 89 Seconds at Alcázar". Marquette University. Archived from the original on 19 December 2007 . Retrieved 7 December 2007. Though considered a dull and undistinguished painter, Pacheco sometimes expressed a simple, direct realism although his work remained essentially Mannerist. [13] As a teacher, he was highly learned and encouraged his students' intellectual development. In Pacheco's school, Velázquez studied the classics, was trained in proportion and perspective, and witnessed the trends in the literary and artistic circles of Seville. [14] Vieja friendo huevos (1618, English: Old Woman Frying Eggs). National Gallery of Scotland, EdinburghIn 1629, Velázquez received 100 ducats for the picture of Bacchus ( The Triumph of Bacchus), also called Los Borrachos (The Drunks), a painting of a group of men in contemporary dress paying homage to a half-naked ivy-crowned young man seated on a wine barrel. Velázquez's first mythological painting, [32] it has been interpreted variously as a depiction of a theatrical performance, as a parody, or as a symbolic representation of peasants asking the god of wine to give them relief from their sorrows. [33] The style shows the naturalism of Velázquez's early works slightly touched by the influence of Titian and Rubens. [34] Italian period [ edit ] The point of view of the picture is approximately that of the royal couple, though this has been widely debated. Many critics suppose that the scene is viewed by the king and queen as they pose for a double portrait, while the Infanta and her companions are present only to make the process more enjoyable. [37] Ernst Gombrich suggested that the picture might have been the sitters' idea:

In 2004, the video artist Eve Sussman filmed 89 Seconds at Alcázar, a high-definition video tableau inspired by Las Meninas. The work is a recreation of the moments leading up to and directly following the approximately 89 seconds when the royal family and their courtiers would have come together in the exact configuration of Velázquez's painting. Sussman had assembled a team of 35, including an architect, a set designer, a choreographer, a costume designer, actors, and a film crew. [90] The queen's chamberlain José Nieto is given prominence in the portrait thanks to his placement in the doorway. Nieto was also the head of tapestry works at the court and may have been a relative of Velázquez. It looks as though he is pushing aside a curtain in the doorway, perhaps to let in more natural light while the painter works. Whatever the case, Las Meninashas remained intriguing for the complex game between painter, model, and viewer. Who is looking at who? And why? It's an unsolved mystery that delights art lovers. Gresle, Yvette (6 July 2007). "Foucault's 'Las Meninas' and Art-Historical Methods". Journal of Literary Studies. Taylor & Francis. 22 (3–4): 211–228. doi: 10.1080/02564710608530401. S2CID 145488454. The work was evacuated to Geneva by the Republican Government, together with much of the Prado's collection, during the last months of the Spanish Civil War, where it hung in an exhibition of Spanish paintings in 1939. [20]

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No single theory, however, has found universal agreement. [39] Leo Steinberg suggests that the King and Queen are to the left of the viewer and the reflection in the mirror is that of the canvas, a portrait of the king and queen. [40] Salort-Pons, Salvador, "Velázquez en Italia", Fundación de Apoyo a la História del Arte Hispanico, Madrid 2002. ISBN 84-932891-1-6 Otaka, Yasujiro (September 2000). "An Aspiration Sealed". Special Issue: Art History and the Jew. Studies in Western Art . Retrieved 2007-12-08.

Passuth, László: Más perenne que el bronce – Velázquez y la corte de Felipe IV (Título original: A harmadik udvarmester) / Noguer y Caralt Editores, 2000. Carr, Dawson W., Xavier Bray, and Diego Velázquez (2006). Velázquez. London: National Gallery. ISBN 1857093038. Canaday, John (1972) [1969]. "Baroque Painters". The Lives of the Painters. New York: Norton Library. ISBN 978-0-393-00665-0. In December 1622, Rodrigo de Villandrando, the king's favorite court painter, died. [26] Velázquez received a command to come to the court from Gaspar de Guzmán, Count-Duke of Olivares, the powerful minister of Philip IV. He was offered 50 ducats (175 g of gold) to defray his expenses, and he was accompanied by his father-in-law. Fonseca lodged the young painter in his home and sat for a portrait, which, when completed, was conveyed to the royal palace. [23] A portrait of the king was commissioned, and on August 30, 1623, Philip IV sat for Velázquez. [23] The portrait pleased the king, and Olivares commanded Velázquez to move to Madrid, promising that no other painter would ever paint Philip's portrait and all other portraits of the king would be withdrawn from circulation. [27] In the following year, 1624, he received 300 ducats from the king to pay the cost of moving his family to Madrid, which became his home for the remainder of his life. Velázquez's paintings became a model for 19th-century realist and impressionist painters. In the 20th century, artists such as Pablo Picasso, Salvador Dalí, and Francis Bacon paid tribute to Velázquez by re-interpreting some of his most iconic images.

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The 17th century was the 'Siglo de Oro' or 'Golden Age' for art and literature in Spain. Velázquez painted while Cervantes wrote 'Don Quixote' and Lope de Vega wrote his plays. This was despite the religious and political wars that drained the Spanish economy, and the devastating outbreaks of plague. In recent years, the picture has suffered a loss of texture and hue. Due to exposure to pollution and crowds of visitors, the once-vivid contrasts between blue and white pigments in the costumes of the meninas have faded. [e] It was last cleaned in 1984 under the supervision of the American conservator John Brealey, to remove a "yellow veil" of dust that had gathered since the previous restoration in the 19th century. The cleaning provoked, according to the art historian Federico Zeri, "furious protests, not because the picture had been damaged in any way, but because it looked different". [18] [19] However, in the opinion of López-Rey, the "restoration was impeccable". [17] Due to its size, importance, and value, the painting is not lent out for exhibition. [f] Painting materials [ edit ] Of the nine figures depicted, five are looking directly out at the royal couple or the viewer. Their glances, along with the king and queen's reflection, affirm the royal couple's presence outside the painted space. [27] Alternatively, art historians H. W. Janson and Joel Snyder suggest that the image of the king and queen is a reflection from Velázquez's canvas, the front of which is obscured from the viewer. [34] [35] Other writers say the canvas Velázquez is shown working on is unusually large for one of his portraits, and note that is about the same size as Las Meninas. The painting contains the only known double portrait of the royal couple painted by the artist. [36] Miller, Jonathan (1998). On Reflection. London: National Gallery Publications Limited. ISBN 978-0-300-07713-1. It is canonical to divide Velázquez's career by his two visits to Italy. He rarely signed his pictures, and the royal archives give the dates of only his most important works. Internal evidence and history pertaining to his portraits supply the rest to a certain extent.