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

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In 1649 Velázquez made a second journey to Italy to buy paintings and keep himself up-to-date with developments in Italian art. While there he painted several portraits, including one of Pope Innocent X. He also had an affair resulting in an illegitimate child which considerably delayed his return to Spain - much to the king's annoyance. While there, he also painted the famous Rokeby Venus for an important Spanish nobleman, the Marques de Eliche. The Golden Age

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. Juana and Diego Velazquez Marriage Profile". Marriage.about.com. Archived from the original on 2011-10-25 . Retrieved December 22, 2010. While it's certainly not uncommon for artists to include themselves in paintings—Raphael featured himself in The School of Athens—Velázquez gives his self-portrait a prominent position in the painting. Not only does Las Meninastake place within his painting studio at the Alcázar, but everything in the work revolves around the painter's actions. Working not only as court painter but also as the curator of Philip's expansive art collection, Velázquez's role was vital to the court's cultural life. Here, the Spanish painter shows himself in front of a canvas working on a portrait of the royal couple. Baker, Richard (1684). A Chronicle of the Kings of England. London: H. Sawbridge, B. Tooke and T. Sawbridge. p.408. Archived from the original on 24 March 2021 . Retrieved 19 March 2021.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. 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. Standing just behind Isabel de Velasco is Margaret Theresa's chaperone Marcela de Ulloa. She is dressed in mourning and chats with an unidentified figure who is probably a bodyguard. Velázquez produced notable works during this time. Known for his compositions of amusing genre scenes, also called bodegones, such as Old Woman Frying Eggs, his sacred subjects include Adoración de los Reyes (1619, The Adoration of the Magi) and Jesús y los peregrinos de Emaús (1626, Christ and the Pilgrims of Emmaus), both of which begin to express his more pointed and careful realism.

Ahora nuestros colchones están hechos en un material especial como el usado en los recintos sanitarios que garantizan una total desinfección después de cada visita. Brown, Jonathan (1988). "Enemies of Flattery: Velázquez' Portraits of Philip IV", in Rotberg, Robert I. and Rabb, Theodore K., Art and History: Images and Their Meaning, Cambridge: Cambridge University Press.Although acquainted with all the Italian schools and a friend of the foremost painters of his day, Velázquez was strong enough to withstand external influences and work out for himself the development of his own nature and his own principles of art. He rejected the pomp that characterized the portraiture of other European courts, and instead brought an even greater reserve to the understated formula for Habsburg portraiture established by Titian, Antonio Mor, and Alonso Sánchez Coello. [67] He is known for using a rather limited palette, but he mixed the available paints with great skill to achieve varying hues. [68] His pigments were not significantly different from those of his contemporaries and he mainly employed azurite, smalt, vermilion, red lake, lead-tin-yellow and ochres. [69] His early works were painted on canvases prepared with a red-brown ground. He adopted the use of light-gray grounds during his first trip to Italy, and continued using them for the rest of his life. [70] The change resulted in paintings with greater luminosity and a generally cool, silvery range of color. [71] Some art historians have seen the work as a way for Velázquez to show off his own importance within the court. By elevating himself beyond the “mechanical” art of painting, he was displaying his worthiness. This would have been important when one considers a small detail in how the artist depicts himself. Velázquez Painting the Infanta Marguerita with the Lights and Shadows of His Own Glory". archive.thedali.org . Retrieved 2023-08-29.