- Sevilla, 1599 - Madrid, 1660 British
Thursday, May 21, 2009
Pokemon Furry Version
unparalleled master of painting, Seville's Diego Velázquez adorned his character with a discretion, reserve and serenity so that while much can be said and has said about his work, little is known and probably never will know more about their psychology. Disciplined and conscientious young man, should not have to like it too smacks that peppered his teachings the master painter Herrera the Elder, who apparently spent a short time before ascribed, at twelve years, this modest shop and great artist who were Francisco Pacheco. From the first news from him, while the first praise, which would be the largest English baroque painter, and certainly one of the greatest artists the world at any age. 
Diego Velazquez was the first son of a gentleman not too rich from a family originally from Portugal, Oporto perhaps, although born in Seville, Juan Rodriguez, and Jerome Velasquez, also a woman of ancestry but low equity. On the day of his baptism, John began the bells on the fly (after paying a small fee to the clerk), then invited the relatives to cakes and claret
San Juan de Alfarache and entertained the cheering urchins with coins little amount that threw out the window. He had not to defraud the festivities this expense and stem newcomer that was amenable to parents' aspirations for their children and joined in the studio of Francisco Pacheco without question.
precocísimas The boy gave evidence of his skill as a draftsman and as rapidly learned the subtle art of color than the good of Pacheco did not dare turn his genius and gently led him where the inspiration of the young man was carrying. Between teacher and pupil narrowed since then a strong friendship based on admiration and pride reasonable Pacheco and the gratitude of the boy awake. These ties knot finished when the old painter was determined to give the hand of his daughter Juana to his advantaged student of nineteen.
on the reasons that decided to promote this marriage Pacheco writes: "After five years of education and teaching
my daughter married him, moved by his virtue, cleanliness, and good parts, and the hopes of its natural and great wit. And because the honor is greater than that of father-teacher, was just clogging the audacity of someone who is claimed that glory, taking off the crown of my later years. I have no advantage by dwindling teacher to disciple, or lost Leonardo da Vinci Rafael have a disciple, George of Castelfranco or Titian, or Plato, Aristotle, they did not remove the name of God. " Conquering court soon
Sevilla him Velazquez small and try to win a position in court, where he had recently installed Felipe IV, king of diplomatic Halls though very fond of the arts and would eventually be felt by the artist and a great devotion to a rare need for your company. In his first trip to Madrid was not lucky, because
enia t need many recommendations for access to the palace and returned to their homeland without having reaped the least success. It would have been a real shame that their protector and father had not expensive and encouraged to try again next year, because otherwise the promise would have been confined Diego in an excessively parochial, oblivious to the new winds that were circulating in the cosmopolitan environment of the courts of Europe.
In Seville, during what has been called, artfully erudite historian, the first time (although the work of Velázquez is the result of a relentless pursuit), following the style of mannerism and Venetian art students like John of Roelas, but adopting the impressive chiaroscuro of Caravaggio, though the latter influence has been discussed. However, Velazquez will choose soon on Baroque realism, followed equally by Zurbarán and Alonso Cano, bold and shuddering, grave and full of contrasts. The
realism, as more popular side, had been frequented by the literature of the period and that same air of picaresque novel appears in the lunches that keeps
No museums of Leningrad and Budapest, as well as three musicians, which, however, disappears humor to focus the issue on the description of the battered dignity of the protagonists. Even more curious is how, at that time also, it uses the charge of religious affairs to lend a sardine and its ember, leaving a far end the episode's title picture, go to the foreground characters rough representation of people and where they accumulate detailed still lifes of objects of the poor everyday. This is the case of Christ in the House of Martha and Mary, picture in acquiring full significance the kitchen and its inhabitants, fish, vessels, the most humble. The Museo del Prado also keeps Seville paintings of the period as the splendid canvas The Adoration of the Magi, dated 1619, shortly after their marriage and give him that Juana offspring, and which wanted to see, especially in childhood traits of the Child Jesus, a tribute to his family and a breath of happiness of the parent brand. It is safe, moreover, that the Magi are authentic portraits, no more or less conventional idealizations, and it also reveals the true vocation of who would be the greatest portraitist of his time. In his second attempt in Madrid, conveniently and girt of guarantees, Velázquez received grants and favors the Count Duke of Olivares, who got his big chance to recommend to do a portrait of
new monarch. Felipe IV was so pleased with this work immediately appointed him court painter, Velázquez forcing to move their residence to the capital and to live in the Royal Palace. In his early years in Madrid, the artist was replacing its characteristic earthy tones for an unusual range of gray that would eventually be their most admirable and a keen exponent its subtle genius. By 1629
Velázquez painted his first large painting of a mythological subject, called The drunk because the issue dedicated to Bacchus in his hands becomes a slice of popular revelry of the time and the following year Rubens arrived in Madrid, with whom he a good and loyal friendship Rubens advised not miss Italy, where his art can purify and ennoble. Engaged since then in it, he, after much insistence, the king's license and leaving the port of Barcelona, \u200b\u200barrives in Genoa in 1629. Visit Verona, Ferrara, Loreto, Bologna, Naples and Rome, not just paint anything but studying everything, memorizing palettes, bold compositions, atmospheres rare, unusual lights. Probably,
and then, though some argue it was in his second trip to Rome, he painted the beautiful views of the garden of the Villa Medici in Rome. In these places lived delicious English thanks to the recommendation of its ambassador there, outdoors, took his notes great. They are, in reality, romantic landscapes, melancholic, timeless, almost impressionistic dash for freedom, despite being more than two centuries before that style boxes, and perhaps even more perfect moment to capture the fleeting light of clean air and still caught by the dense vegetation and the scenic architecture. And the amazing thing is that these images that today the Museo del Prado, unforgettable when you have seen once, were painted as carelessly as idle and free exercise on small canvases that do not reach half a meter high and low less in width, but short, with impeccable evidence, the supreme wisdom attained in those years by Velázquez.
It is true that, on his return to Spain, carried out major works and packaging, such as The Surrender of Breda, also known as Spears, but in this painting by c
ommitment, completed in 1635 for the Hall Kingdoms in the newly opened Palacio del Buen Retiro also moved over to the pompous anecdotal remembrance of the past success of a predecessor of Philip IV.
During the thirties and forties of the century was the painter Velázquez not only his spineless king, but of the "vermin of the palace", the clowns and Child Vallecas, and after his second trip to Italy to buy works art on behalf of His Majesty, his palette produced three masterpieces unsurpassed and extremely familiar. The Toilet of Venus, preserved commend Bobo de Coria, Diego de Acedo the Primo the National Gallery in London, is renowned as one of the few nude English author of the era that have survived, although it would involve up to three more the painter from Seville, for which the model may serve as the scandalous and beautiful actress Damiana, wild lover Heliche Marquis. For the realization of the Spinners, located now in the Museo del Prado, Velazquez up his easel in the Tapestry Factory of Santa Isabel Street in Madrid. Unrepeatable moment representation of women around the spinning wheel was revolving
soon forget that it was a mythological theme (the story of Pallas and Arachne) longstanding believing that it was a gender box.
Among the portraits of the royal family is one that enjoys great fame, and has become the paradigm the work of painter Velazquez, and the royal family or Las Meninas. This table, which has led to many interpretations, spatial framework is the most important room of the royal palace apartment where he lived the painter. In the work receive the same Velázquez front of the easel with the Cross of the Order of Santiago, although the distinction was added after his death by order of the king, as Velazquez had not yet received when he painted the picture.
In the back of the room, a mirror reflects the image of the king and queen, in the center appears the Infanta Margarita real accompanied by two maidens, and right of the cu
adro first level include the Mari-dwarf and dwarf Bárbola Pertusato Nicholas, trying to wake up to the foot of a hound lying on the floor. Behind this group there are two figures, and finally, beside the staircase, we see the butler to the queen.
The composition is very complex and is an extraordinary example of painting a picture: the kings are represented indirectly, seen through a mirror, while as regards the characters of the play, the princess and companions do not know if they are the subject of the painting you are working Velázquez or if they are looking to paint the artist. Finally, the viewer feels included in the space of the table since the mirror images of kings makes you think they are watching the same scene as him but behind him. In other words, the viewer occupies
Amente illusory place of the portraits, the place of kings, and this has given rise to endless speculation. From the point of view of the bill, is a work of prodigious performance, even within the artist's paintings. The strokes are like highlights that model the clothes and bodies, giving them a great vivacity.
For personal efforts of Philip IV, Velázquez receive a year before he died in Madrid on August 6, 1660, the coveted award of Knight of the Order of Santiago, a not granted honor never before or since to any painter. And although, to demolish the church, no one remembered that his remains had been buried in the parish of San Juan Bautista, where in 1990 he organized a grand retrospective of his work at the Museo del Prado, thousands and thousands of people from all cardinal flowed incessantly to laugh idiot jester gesture Calabacillas, admire the brushwork that captures the dress of a princess, horses stamping interrogate the Count-Duke of Olivares and breathe the air stilled dim XVII century and immortalized in the paintings of Velázquez.
Diego Velazquez was the first son of a gentleman not too rich from a family originally from Portugal, Oporto perhaps, although born in Seville, Juan Rodriguez, and Jerome Velasquez, also a woman of ancestry but low equity. On the day of his baptism, John began the bells on the fly (after paying a small fee to the clerk), then invited the relatives to cakes and claret San Juan de Alfarache and entertained the cheering urchins with coins little amount that threw out the window. He had not to defraud the festivities this expense and stem newcomer that was amenable to parents' aspirations for their children and joined in the studio of Francisco Pacheco without question.
precocísimas The boy gave evidence of his skill as a draftsman and as rapidly learned the subtle art of color than the good of Pacheco did not dare turn his genius and gently led him where the inspiration of the young man was carrying. Between teacher and pupil narrowed since then a strong friendship based on admiration and pride reasonable Pacheco and the gratitude of the boy awake. These ties knot finished when the old painter was determined to give the hand of his daughter Juana to his advantaged student of nineteen. on the reasons that decided to promote this marriage Pacheco writes: "After five years of education and teaching
my daughter married him, moved by his virtue, cleanliness, and good parts, and the hopes of its natural and great wit. And because the honor is greater than that of father-teacher, was just clogging the audacity of someone who is claimed that glory, taking off the crown of my later years. I have no advantage by dwindling teacher to disciple, or lost Leonardo da Vinci Rafael have a disciple, George of Castelfranco or Titian, or Plato, Aristotle, they did not remove the name of God. " Conquering court soon Sevilla him Velazquez small and try to win a position in court, where he had recently installed Felipe IV, king of diplomatic Halls though very fond of the arts and would eventually be felt by the artist and a great devotion to a rare need for your company. In his first trip to Madrid was not lucky, because
enia t need many recommendations for access to the palace and returned to their homeland without having reaped the least success. It would have been a real shame that their protector and father had not expensive and encouraged to try again next year, because otherwise the promise would have been confined Diego in an excessively parochial, oblivious to the new winds that were circulating in the cosmopolitan environment of the courts of Europe.
In Seville, during what has been called, artfully erudite historian, the first time (although the work of Velázquez is the result of a relentless pursuit), following the style of mannerism and Venetian art students like John of Roelas, but adopting the impressive chiaroscuro of Caravaggio, though the latter influence has been discussed. However, Velazquez will choose soon on Baroque realism, followed equally by Zurbarán and Alonso Cano, bold and shuddering, grave and full of contrasts. The realism, as more popular side, had been frequented by the literature of the period and that same air of picaresque novel appears in the lunches that keeps
No museums of Leningrad and Budapest, as well as three musicians, which, however, disappears humor to focus the issue on the description of the battered dignity of the protagonists. Even more curious is how, at that time also, it uses the charge of religious affairs to lend a sardine and its ember, leaving a far end the episode's title picture, go to the foreground characters rough representation of people and where they accumulate detailed still lifes of objects of the poor everyday. This is the case of Christ in the House of Martha and Mary, picture in acquiring full significance the kitchen and its inhabitants, fish, vessels, the most humble. The Museo del Prado also keeps Seville paintings of the period as the splendid canvas The Adoration of the Magi, dated 1619, shortly after their marriage and give him that Juana offspring, and which wanted to see, especially in childhood traits of the Child Jesus, a tribute to his family and a breath of happiness of the parent brand. It is safe, moreover, that the Magi are authentic portraits, no more or less conventional idealizations, and it also reveals the true vocation of who would be the greatest portraitist of his time. In his second attempt in Madrid, conveniently and girt of guarantees, Velázquez received grants and favors the Count Duke of Olivares, who got his big chance to recommend to do a portrait of new monarch. Felipe IV was so pleased with this work immediately appointed him court painter, Velázquez forcing to move their residence to the capital and to live in the Royal Palace. In his early years in Madrid, the artist was replacing its characteristic earthy tones for an unusual range of gray that would eventually be their most admirable and a keen exponent its subtle genius. By 1629
Velázquez painted his first large painting of a mythological subject, called The drunk because the issue dedicated to Bacchus in his hands becomes a slice of popular revelry of the time and the following year Rubens arrived in Madrid, with whom he a good and loyal friendship Rubens advised not miss Italy, where his art can purify and ennoble. Engaged since then in it, he, after much insistence, the king's license and leaving the port of Barcelona, \u200b\u200barrives in Genoa in 1629. Visit Verona, Ferrara, Loreto, Bologna, Naples and Rome, not just paint anything but studying everything, memorizing palettes, bold compositions, atmospheres rare, unusual lights. Probably, 
and then, though some argue it was in his second trip to Rome, he painted the beautiful views of the garden of the Villa Medici in Rome. In these places lived delicious English thanks to the recommendation of its ambassador there, outdoors, took his notes great. They are, in reality, romantic landscapes, melancholic, timeless, almost impressionistic dash for freedom, despite being more than two centuries before that style boxes, and perhaps even more perfect moment to capture the fleeting light of clean air and still caught by the dense vegetation and the scenic architecture. And the amazing thing is that these images that today the Museo del Prado, unforgettable when you have seen once, were painted as carelessly as idle and free exercise on small canvases that do not reach half a meter high and low less in width, but short, with impeccable evidence, the supreme wisdom attained in those years by Velázquez. It is true that, on his return to Spain, carried out major works and packaging, such as The Surrender of Breda, also known as Spears, but in this painting by c
ommitment, completed in 1635 for the Hall Kingdoms in the newly opened Palacio del Buen Retiro also moved over to the pompous anecdotal remembrance of the past success of a predecessor of Philip IV.
During the thirties and forties of the century was the painter Velázquez not only his spineless king, but of the "vermin of the palace", the clowns and Child Vallecas, and after his second trip to Italy to buy works art on behalf of His Majesty, his palette produced three masterpieces unsurpassed and extremely familiar. The Toilet of Venus, preserved commend Bobo de Coria, Diego de Acedo the Primo the National Gallery in London, is renowned as one of the few nude English author of the era that have survived, although it would involve up to three more the painter from Seville, for which the model may serve as the scandalous and beautiful actress Damiana, wild lover Heliche Marquis. For the realization of the Spinners, located now in the Museo del Prado, Velazquez up his easel in the Tapestry Factory of Santa Isabel Street in Madrid. Unrepeatable moment representation of women around the spinning wheel was revolving 
soon forget that it was a mythological theme (the story of Pallas and Arachne) longstanding believing that it was a gender box. Among the portraits of the royal family is one that enjoys great fame, and has become the paradigm the work of painter Velazquez, and the royal family or Las Meninas. This table, which has led to many interpretations, spatial framework is the most important room of the royal palace apartment where he lived the painter. In the work receive the same Velázquez front of the easel with the Cross of the Order of Santiago, although the distinction was added after his death by order of the king, as Velazquez had not yet received when he painted the picture.
In the back of the room, a mirror reflects the image of the king and queen, in the center appears the Infanta Margarita real accompanied by two maidens, and right of the cu
adro first level include the Mari-dwarf and dwarf Bárbola Pertusato Nicholas, trying to wake up to the foot of a hound lying on the floor. Behind this group there are two figures, and finally, beside the staircase, we see the butler to the queen. The composition is very complex and is an extraordinary example of painting a picture: the kings are represented indirectly, seen through a mirror, while as regards the characters of the play, the princess and companions do not know if they are the subject of the painting you are working Velázquez or if they are looking to paint the artist. Finally, the viewer feels included in the space of the table since the mirror images of kings makes you think they are watching the same scene as him but behind him. In other words, the viewer occupies
Amente illusory place of the portraits, the place of kings, and this has given rise to endless speculation. From the point of view of the bill, is a work of prodigious performance, even within the artist's paintings. The strokes are like highlights that model the clothes and bodies, giving them a great vivacity.
For personal efforts of Philip IV, Velázquez receive a year before he died in Madrid on August 6, 1660, the coveted award of Knight of the Order of Santiago, a not granted honor never before or since to any painter. And although, to demolish the church, no one remembered that his remains had been buried in the parish of San Juan Bautista, where in 1990 he organized a grand retrospective of his work at the Museo del Prado, thousands and thousands of people from all cardinal flowed incessantly to laugh idiot jester gesture Calabacillas, admire the brushwork that captures the dress of a princess, horses stamping interrogate the Count-Duke of Olivares and breathe the air stilled dim XVII century and immortalized in the paintings of Velázquez. 
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