Julián Villagrán es Diego de Velázquez en la serie 'El Ministerio del Tiempo' ". RTVE.es (in Spanish). 2015-01-29 . Retrieved 2021-03-10. Velázquez uses this light not only to add volume and definition to each form but also to define the focal points of the painting. As the light streams in from the right it brightly glints on the braid and golden hair of the female dwarf, who is nearest the light source. But because her face is turned from the light, and in shadow, its tonality does not make it a point of particular interest. Similarly, the light glances obliquely on the cheek of the lady-in-waiting near her, but not on her facial features. Much of her lightly coloured dress is dimmed by shadow. The Infanta, however, stands in full illumination, and with her face turned towards the light source, even though her gaze is not. Her face is framed by the pale gossamer of her hair, setting her apart from everything else in the picture. The light models the volumetric geometry of her form, defining the conic nature of a small torso bound rigidly into a corset and stiffened bodice, and the panniered skirt extending around her like an oval candy-box, casting its own deep shadow which, by its sharp contrast with the bright brocade, both emphasises and locates the small figure as the main point of attention. [48] Detail of Doña María de Sotomayor, showing Velázquez's free brushwork on her dress Commissioned by Philip, the painting was hung in his private office at his summer palace. Until 1819 it remained in the royal palace, after which time it went into the collection of the Prado Museum. Much of what we know about the painting is owed to Spanish writer Antonio Palomino, who dedicated an entire section of his book on Spanish artists to Las Meninas. He not only gave the year that the painting was created, but also identified most of the people within the canvas. It's also thanks to Palomino that we know that it shows a room located within the Royal Alcázar. This fortress turned palace was the seat of the Habsburg rulers.

Te espero para que nos conozcamos personalmente en nuestra casa relax, la cual esta acondicionada para tu completa privacidad y donde junto a mis amigas Diana y Monserrat te estare esperando para complacerte con todos mis servicios. También te ofrezco el servicio de desplazamiento para atenderte en la comodidad de tu hotel o domicilio privado en Benalmadena, Fuengirola o Torremolinos las 24 horas, siempre vestida adecuadamente. 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.Velázquez returned to Madrid in January 1631. [18] That year he completed the first of his many portraits of the young prince, beginning with Prince Balthasar Charles with a Dwarf (Boston, Museum of Fine Arts). [38] ln portraits such as Equestrian portrait of prince Balthasar Charles (1635), Velázquez depicts the prince looking dignified and lordly, or in the dress of a field marshal on his prancing steed. In one version, the scene is in the riding school of the palace, the king and queen looking on from a balcony, while Olivares attends as master of the horse to the prince. [39] Newitt, Malyn (2009). Portugal in European and World History. London: Reaktion Books. p. 98. ISBN 9781861895196.

According to López-Rey, "[The Arnolfini Portrait] has little in common with Velázquez' composition, the closest and most meaningful antecedent to which is to be found within his own oeuvre in Christ in the House of Martha and Mary, painted almost forty years earlier, in Seville, before he could have seen the Arnolfini portrait in Madrid". [74] Velázquez Painting the Infanta Marguerita with the Lights and Shadows of His Own Glory". archive.thedali.org . Retrieved 2023-08-28. Dado que es un tiempo lleno de incertidumbres queremos a continuación explicar todas las medidas adoptadas. Velázquez, Diego" (1995). Enciclopedia Hispánica. Barcelona: Encyclopædia Britannica Publishers. ISBN 1-56409-007-8. The Prince of Wales (afterwards Charles I) arrived at the court of Spain in 1623. Records indicate that he sat for Velázquez, but the picture is now lost. [28]The 14 masterpieces of the Prado museum in mega high resolution on Google Earth". Museo de Prado. Archived from the original on 1 February 2021 . Retrieved 14 February 2021. 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: Editorial (January 1985). "The cleaning of 'Las Meninas' ". The Burlington Magazine. Burlington Magazine Publications Ltd. 127 (982): 2–3, 41. JSTOR 881920. In 1623, thanks to his father-in-law's connections, Velázquez was asked to paint a portrait of the young King Philip IV. Philip was so delighted with the result that he immediately appointed Velázquez as one of his court painters, and from then on would allow no one else to paint him. The painting was referred to in the earliest inventories as La Familia ("The Family"). [12] A detailed description of Las Meninas, which provides the identification of several of the figures, was published by Antonio Palomino ("the Giorgio Vasari of the Spanish Golden Age") in 1724. [3] [13] Examination under infrared light reveals minor pentimenti, that is, there are traces of earlier working that the artist himself later altered. For example, at first Velázquez's own head inclined to his right rather than his left. [14]

Snyder, Joel; Cohen, Ted (Winter 1980). "Reflexions on Las Meninas: Paradox Lost". Critical Inquiry. The University of Chicago Press. 7 (2): 429–447. doi: 10.1086/448107. JSTOR 1343136. S2CID 161395640. Pacheco, Francisco and Palomino, Antonio (2018). Lives of Velázquez, Getty Publications. ISBN 978-1-60606-5884. In 1855, William Stirling wrote in Velázquez and his works: "Velázquez seems to have anticipated the discovery of Daguerre and, taking a real room and real people grouped together by chance, to have fixed them, as it were, by magic, for all time, on canvas". [1]In 2009, the Portrait of a Man in the collection of the Metropolitan Museum of Art, which had long been associated with the followers of Velázquez' style of painting, was cleaned and restored. It was found to be by Velázquez himself, and the features of the man match those of a figure in the painting "the Surrender of Breda". The newly cleaned canvas may therefore be a study for that painting. Although the attribution to Velázquez is regarded as certain, the identity of the sitter is still open to question. Some art historians consider this new study to be a self-portrait by Velázquez. [88]