Brown believes that this may be a portrait of the king. In Madrid, he painted many formal portraits in his role of court painter, including portraits of King Philip IV in 1628. Signed and dated in a fold of clothing difficult to read. The collar is a dazzling rich, creamy arrangement of quick lead white brushstrokes over Venetian grey. Brown and others cannot rule out the work of a copyist. In each of the portraits in the series, Velázquez … At the same time, he painted for the king … Fr. Diego Velázquez - Diego Velázquez - Court painter in Madrid: In 1622, a year after Philip IV came to the throne, Velázquez visited Madrid for the first time, in the hope of obtaining royal patronage. The composition was devised using many diagonals and complex focal points to involve the viewer. The Surrender of Breda is a complicated composition due to the large number of figures, the animals, the complex crowds, and many battle accessories. Presented in Paris in 1990 as the work of Velazquez's circle. The primary focus is on Christ; he emanates a quiet, pensive presence while the disciples react with movements and expressions of surprise or emotional confusion. The light source in this work enters from our left and appears centered on or near Christ's head. Although Velázquez painted many Royal paintings, many of them were lost. The painting features the opposing commanders in the center of the composition. His earliest works are group compositions such as \"The Water-seller of Seville\" of 1618 and \"Adoration of the Magi\", 1619. Pareja was a gifted painter himself; he is included in Palomino's Lives and Works of the Most Imminent Spanish Artists, as is Velazquez. Dating is controversial. Signed "Do. Style or Period: Baroque. Yet he was also known for popularizing the bodegón, or kitchen scene, in such early works as An Old Woman Cooking Eggs (1618). Technically, the work is a testament to Velazquez's brilliance with composition. "Diego Velazquez Artist Overview and Analysis". Dated in the stone under the foot of the Virgin. 34 (color) [Spanish ed., 1990, pp. Drunkenness was condemned in Spain but the royal court found it entertaining to bring in low-life people from comedy theaters and inebriate them for the amusement of the ladies. The addition of a new section to the upper portion of the canvas was probably the result of repair after the fire at the Alcázar in 1734. Although not Diego Velázquez’s last painting, Las Meninas has proved his most enduring, and is one of the most studied and famous paintings in the world. Here VelÃ¡zquez varies his brushstrokes; in the foreground, they are tighter and more controlled, but grow increasingly loose and abstract receding into the background, helping the artist to create a sense of atmospheric perspective. Excluded from the catalog by López-Rey and Brown, among others. Madrid, 1958, p. 320, no. spontaneity informality. It is known for its unflinching naturalism. Velázquez, Las Meninas and the Late Royal Portraits is a companion volume to the recent exhibition at the Prado Museum in Madrid. The right side of the composition is made up of several darkly clothed older men who are drinking and conversing. In his first royal portraits, Velázquez followed the established Spanish Habsburg portrait tradition that favored “icon-like” images with highly finished and detailed surfaces. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraitsof the Spanish royal family and commoners, culminat… Diego Velázquez was one of the most important and … VelÃ¡zquez's portrait of Pareja shows strength, poise, and pride. The painting shows Velázquez's insignificance to the Spanish court. The scene is a depiction of Bacchus, or Dionysis, the god who rewards men with wine, temporarily releasing them from their problems. Is it Las Meninas that he’s working on or his he painting the portrait … The painting is considered a perfect construction, so much that other painters continue to study it, emulate it, and draw inspiration from its ideal form. … About forty years of age in this painting, Pareja was a Sevillian of Moorish descent and a slave, whom VelÃ¡zquez had inherited from a relative. 34, pl. The. The dark figure with an outstretched arm and his back to the viewer in the foreground leans in and over the table. The Pope was not an attractive man nor was he ever described as likeable. Oil on canvas - Prado Museum, Madrid, Spain. Proposed dates range from 1619 (Lafuente Ferrari) to a time immediately after the first trip to Italy (Marias). He painted a portrait … These last close-up views of the sad and aging monarch are among the most intimate of all Velázquez’s royal … His light colored, garmented arm and hand form a curve leading into the center of the scene. Supported by López-Rey, while noting the poor condition (possibly a fragment half-length portrait) and lack of resemblance to other portraits of the same period. Born in Seville, his early work is filled with scenes known as bodegón. … The move to the royal court in Madrid allowed Velázquez access to the impressive royal collection. Although the incident never occurred as it is pictured here, it nonetheless lived in the popular imagination, and VelÃ¡zquez may have seen the scene similarly staged in a contemporary play by Calendron. The man across from him leans toward Christ, and gestures in his direction even as he addresses his fellow disciple. The large painting, around ten by twelve feet, was part of a cycle of work composed of twelve battle scenes, each one painted by a different artist. They are held aloft by the victorious Spanish troops in a striking display of power and discipline. This version may have been painted by Juan Bautista del Mazo, Velázquez… Justin, whom VelÃ¡zquez never met, is turned away from the viewer and his face is dark; Spinola, whom the artist knew from Philip's court, looks out toward the viewer and his face is highlighted. A bird's eye view of the town appears in the background, possibly recreated by VelÃ¡zquez from maps or engravings of the region. One of the most influential, admired painters to ever live: a look at some of Velázques’s court portraits from 1649 to his death in 1660. 40-". Rediscovered in 2010, sold at an auction in London for $4.7 million in 2011 to New York dealer Otto Naumann. We are led not only to witness the activity in the room, but also to ponder what is outside the frames of what we can see. The Spaniards were proud of Spinola's graciousness, depicted through not only his facial expression but also his outstretched hand on Justin's shoulder. Radiography shows the left hand formerly contained a drink, as it appears in two copies preserved. In order to organize and balance the painting, VelÃ¡zquez employs a device he commonly used throughout his career: he divides the action into two spaces. This creates illuminated faces and a darkened background. John Singer Sargent painted a smaller scale copy of Las Meninas in 1879 and later used a similar composition in his The Daughters of Edward Darly Boit. The many diagonals pull us into and around the composition. The hands are only outlined, but with a touch of white light which suggests that Velázquez considered the work finished in that state. Problematic for López-Rey, because of the poor condition. Las Meninas, or the Maids of Honor, is considered to be one of Velazquez's most famous masterpieces, representing the sum total of a career's worth of genius, intelligence, and technical mastery. In 1623, thanks to his father-in-law's connections, Velázquez was asked to paint a portrait of the young King Philip IV. Velázquez’s career took off when he moved to Madrid. According to Antonio Palomino's biography of VelÃ¡zquez, the painting "...was generally applauded by all the painters from different countries, who said that the other pictures in the show were art but this one alone was 'truth'." The portrait Velázquez painted sufficiently impressed the King and so he requested that Velázquez move to Madrid in order to become the Royal Court painter. Oil on copper. When he returned to Madrid from Italy, VelÃ¡zquez continued his employment with the Spanish Court. Since then, and particularly in the 19th century, … He was eventually made marshall of the royal household, and as such he was responsible for the royal … Inscriptions: "AVE MARIA" and at top right, "El RºP.M. Signed and dated "Diego Velazquez f. 1620". Velazquez not only supplied the Spanish court with portraits in Madrid; he became the portraitist for the papal court in Rome. All hands visible are near Christ, who gazes up, out of the immediate space. Don't expect this exhibit to make a world tour. Completed in: 1645. 1631", which may or may not be a later addition to the painting. He was an individualistic artist of the contemporary Baroque period. Velázquez studied the Italian paintings, particularly those by Venetian artists such as Titian. The El Prado Museum in Madrid has the lion's share of Velazquez paintings while many are on display in diverse London galleries. Velazquez produced a total of 244 paintings, many of which can be admired in museums and galleries in Europe and USA. This resulted in a rare, intimate depiction of the Spanish royal family, their attendants, and a self-portrait of the artist. Velázquez’s late bust portraits of Philip IV (c. 1654 and c. 1656), of which many studio versions exist, are very different in character and are exceptional as royal portraits for their informal appearance. This is a list of paintings and drawings by the 17th-century Spanish artist Diego Velázquez. Medium: Oil on… Velázquez was not prolific; he is estimated to have produced between only 110 and 120 known canvases. The drawing of the head in Portrait of a Man seems to me to be by the same hand that painted Van Dyck’s portrait James Stuart, Duke of Lennox and Richmond, not the hand that painted Velázquez… They bought paintings of Titan, Tintoretto, and Veronese along the way. Its original title is unknown: it was dubbed Las Meninas, meaning The Maids of Honour, much later and it might be better described as a portrait of Velázquez with the Royal … 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 two men landed in Genoa, traveled to Milan to see Leonardo da Vinci's Last Supper and then to Venice to see Tintoretto and Titian. Here the precise realism and actions of the figures portrayed with strong … Most critics date it during the second trip to Italy, but technical studies by in the Prado confirm the 1630 date proposed by López-Rey. Velazquez's Las Meninas is more than just a Royal portrait, Velazquez includes himself among the Royal courtiers showing himself to be painting a monumental canvas. The painting is firm and solid in its figures while the light and dark areas show an evolution from Velazquez's former works. Bacon's own work would often take the shape of tortuously indicative portraits about the inner nature of man. Salvador DalÃ created Velazquez Painting the Infanta Margarita with the Lights and Shadows of His Own Glory using Velazquez's color scheme as a tribute to the older artist but also to present his own newer theories of art and thinking. Pareja is posed in a three-quarter view gazing directly and intently at the viewer. As the biographer Karl Justi described in Diego Velazquez and His Times, "...the work met with great approbation amongst art circles in Rome." Although the subject matter is decidedly more humble than his portraits of kings and their accompanying entourages and historical situations, Velazquez treats the subjects of this painting with the same masterful touches signature to his artistic voice. A portrait of the King was ordered in 1623. In 1889, biographer Karl Justi quoted Sir J.C. Robinson's observation that "...The pictures of Velazquez have this in common with photographs, that they impress the mind with such a powerful sense of actuality...", Oil on canvas - National Gallery of Scotland, Edinburgh, Here the precise realism and actions of the figures portrayed with strong dramatic lighting recall the work of Caravaggio, which Velazquez may have studied from copies in Seville. This is a fragment of a larger portrait probably damaged in the fire of Alcazar. Head and hand repainted around 1640. Diego Velazquez (pronounced veh-LAS-kez), 1599-1660, was the royal painter to King Philip IV of Spain, and he painted many portraits of the king and queen and their daughter, Princess Margaret Teresa. But before long, he developed his own portrait … It remains a great testament to Velazquez's love of portraying even the common man, so great was his commitment to express the authentic alongside the grand. Rejected by López-Rey and Brown, but defended by Julian Gallego when exhibited in 1990 at the Museo del Prado. Oil on copper. There is a strong use of chiaroscuro, in which the dark, disappearing background juxtaposed with lighter, high contrast areas and objects tell the story. Exhibited at the museum as "attributed" to Velazquez and excluded by López-Rey and Brown, but supported by Gallego in the exhibition of 1990, Marias (1996) and Bottineau (1998). 83/88 Don Francisco Bandrés de Abarca: 1638–1646 64 × 53 … The center of the composition is the food, the pot of cooking eggs, and the hand of the woman above it. Theodore Crombie. In her Memoirs, Madame de Motteville, who was present at the scene, writes of the young princess, "She is waited on with great respect, few have access to her and it was a special favor that we were allowed to linger at the door of her chamber." In the painting, the god is surrounded by eight drinkers, which was a rare subject in Spanish painting. VelÃ¡zquez brought with him Juan de Pareja, who served as his manservant. Velazquez fa. Some documents show that Velázquez painted portraits in miniature on copper, including some members of the royal family. Most of them, however, are portraits of court notables that rank with the portraits painted by Titian and Anthony Van Dyck. This is shown to us in high contrast with unsurpassed realism. As Laura Cumming wrote in The Vanishing Velazquez, "Velazquez began the picture six years after meeting Spinola, yet the portrait is quick with character and life. Simon D. Roxas". The painting shows Velazquez… An extremely dark mythological figure crouches in the lower left. Two of the men look directly out at the viewer as if to invite them in to the merriment. The dates proposed by critics range from 1617 to 1622. He in fact grew so impressed and satisfied with the painting; he had it hung in his official visitor's waiting room. During his stay in Rome, VelÃ¡zquez painted this small oil portrait, less than two by three feet, of Pareja, perhaps in preparation for painting a portrait of Pope Innocent X. López-Rey said, confirmed in the technical study conducted at the Museo del Prado, that the top of the curtain was painted by another hand on a piece of fabric added to the original composition, in order to match the canvas with. VelÃ¡zquez emphasizes the individuals but uses color, light, and motion to involve the viewer. In poor condition; the surface is badly damaged except for the head. Most critics suggest 1635.  Among these paintings, however, are many widely known and influential works. British Expressionist artist Francis Bacon considered Portrait of Pope Innocent X to be one of the most successful portraits ever painted, because Velazquez had transformed what would ordinarily be a flattering portrait of homage to a highly lauded religious figure into a unflinchingly intuitive glance at the real man simmering beneath the esteemed robes. Current whereabouts unknown (stolen from Greenville Art Museum, South Carolina on July 8, 2010). He had been working in Velazquez's studio since the 1630s and soon after this portrait was made, Pareja was given his freedom. Portraits are traditionally formal, showing their subjects isolated. Thought to have been given to Yale in 1925, the painting has previously been attributed to the 17th-century Spanish school. López-Rey and Brown think that the subject could be the artist's brother Juan, also a painter. Diego Rodríguez de Silva y Velázquez (baptized June 6, 1599 – August 6, 1660) was a Spanish painter, the leading artist in the court of King Philip IV and of the Spanish Golden Age. The table with a white cover stabilizes the middle ground to help us understand the dramatic, active arrangement. 2829, considers it the earliest extant portrait of Philip IV by Velázquez and dates it 1624. Measurements: 106 cm × 83 cm. An alternate Spanish title for the painting is Los Borrachos or "The Drunks" and it was painted for Philip IV who hung it in his summer bedroom. The face is strong, determined, and expressive; the portrait conveys an overwhelming sense of human dignity. The general public, however, had no access to the Spanish royal collections, and so Velazquez remained private until the opening of the Prado Museum in 1819. Velazquez painted the scene of the ceremonious handing over of the keys to the fortress. Diego Velázquez was a 17th-century Spanish painter who produced "Las Meninas" and many renowned portraits as a member of King Philip IV's royal court. The fortress of Breda was significant in Spanish history because it was the location of a victory led by Ambrogio Spinola, a famous Spanish general, after a siege of the fortified Dutch city of Breda which lasted for twelve months. The story has been related that the royal parents were weary of posing for Velazquez and sent for the princess to amuse them. The painting itself is large, around seven by ten feet, and Velazquez is seen standing behind a large canvas on the left side of in his spacious studio in the Royal Alcazar in Madrid. A trip to Italy in 1629 ins… For Brown this and the following are "possibly Velázquez. Las Meninas is also seen to be autobiographical, a statement by Velazquez in his mature years, cementing himself in the annals of great artists, taking his place alongside his great idol Rubens, whose work is hinted at on the high walls in the back of the studio. He utilized strategic placement of his subjects to create multiple visual planes and diagonals, which draw the eye to various areas of the room in a balanced fashion. Inscription "AETATIS SVAE. A combination of loose and fine brushwork is utilized to create surface tension and emphasis on various objects and the faces. When Philip’s court painter died, Velázquez filled the role and became … 404–407, no. VelÃ¡zquez's masterpiece of the late 1620s might be interpreted as a response to the criticism of his rivals of the Spanish court; it had been said that he was a mere portraitist and not able to compete in the lofty sphere of history painting. The portrait of Don Gaspar de Guzmán recalls the splendid equestrian portraits of individual members of the royal family that Velázquez painted in the 1630s. The painting is also a fine example of the free, loose brushstrokes that characterize VelÃ¡zquez's style and had an impact on the art of Manet and the Impressionists. The bright melon and the boy's solemn face, his left hand, and the woman's hands pull the viewer's eyes in and around the scene. The palette of colors is surprisingly light and bright for VelÃ¡zquez compared to most of his work. Spain does … Duties of Velázquez royal offices also occupied his time. ", Oil on canvas - The Metropolitan Museum, New York City, New York. _____ which is unusual in a royal portrait. She is the daughter of King Philip IV and his second wife, Mariana of Austria. The piece is noted for its use of Velazquez's signature naturalism, that even when transposed upon a subject of mythical proportions manages to maintain a sense of realism - practically welcoming the spectator to partake in the dreamy scene. Velazquez's experimentation with different perspectives and his ability to draw the viewer into the drama of the artwork were unparalleled by his contemporaries. Visually, it is a sumptuously depicted scene in which the five-year-old Infanta Margarita, the heir to the Spanish throne, is surrounded by her ladies in waiting and other attendants. The Supper at Emmaus. His loose, almost imperceptible brushstrokes allow him to present the many textures and surfaces of the scene as well as infuse vitality and energy. Centro de Investigaciones Diego Velázquez, Fundación Focus-Abengoa, Posited by Mayer in 1917 as a self-portrait, relating to one of the characters in. Created during his second trip to Italy, this style was called the manera abreviada because it was a bolder, sharper style of painting. By 1634, he was working on the decorations for the Buen Retiro palace. All paintings are in oil on canvas unless noted. ©2020 The Art Story Foundation. 6. Thanks to some strings pulled by the king's right-hand man Olivares, in August 1623 Velázquez went back to Madrid to paint the royal portrait. The royal couple is shown as a reflection in a mirror on the back wall. But really, it's more of a mash-up. Some documents show that Velázquez painted portraits in miniature on copper, including some members of the royal family. More than half of the space is dim, dark, and empty around the figures. No human encounter is lost, with Velazquez, no conversation wasted." In it, Velazquez took care to lovingly render the many subtle changes of the tones in skin, the graceful folds of soft fabric in the old woman's scarf, the gleam and delicate shadows of metal in the pots, and the rich sheen of the red onion's skin. Content compiled and written by Cheryl Van Buskirk, Edited and revised, with Summary and Accomplishments added by Kimberly Nichols. VelÃ¡zquez adds to this commanding presence with the skillful use of color. The dating of this painting and the next has been controversial. It a great example of Velazquez's commitment to not only showing us the privileged lives of his royal subjects, but also to express his love of everyday people and experiences with a noted sincerity toward depicting reality in all its forms. Initially, Pope Innocent X thought the portrait was too realistic and he declared "troppo vero" or too true, but he eventually approved and became a supporter of Velazquez. Pérez Sánchez, "Novedades velazqueñas", pp. Brown suggestions that a contemporary workshop was involved in the painting of lady's costume and the figure of the child; changes once thought to be later additions, but denied by radiography. Christ is depicted at the moment of recognition by two disciples after his resurrection. Diego Rodríguez de Silva y Velázquez (Spanish: [ˈdjeɣo roˈðɾiɣeθ ðe ˈsilβa i βeˈlaθkeθ]; baptized on June 6, 1599 – August 6, 1660) was a Spanish painter, the leading artist in the court of King Philip IV, and … The reality of the war and siege is compressed into the background, to remind the viewer of the history surrounding the main event in the foreground. 165, 240–43, no. Painted for the Hall of Mirrors in the Alcazar with three other paintings of mythological subjects missing in the fire of 1734. Velazquez had studied earlier portraits of popes by Raphael and Titian but he painted a powerful depiction of Pope Innocent X exactly as he saw him: a wary, suspicious old man on guard. Sotheby's auction in London (1994) with attribution to Velazquez relying on the favorable opinion of José López-Rey and Jonathan Brown. 371–390. Added at a later date under the hand of others. This is accomplished through the eyes of the princess and others as they peer out toward the viewer as if about to be captured in a photograph; through the acknowledgement of the queen and king seen only in reflection, and in the open door at the back of the room that displays the light of the world outside. Particular to Spain, these paintings of daily life took place in the kitchen and feature elements of still life. Allende-Salazar (1925), Mayer (1936) and Camón Aznar estimate that this could be a self-portrait. Justin of Nassau is shown handing over the key to the city to the Spanish general, Spinola. The biographer Palomino further commented, "...Our Velazquez came to Italy not however to learn but to teach; for the portrait of Pope Innocent X was the amazement of Rome; all copied it as a study and looked on it as a marvel." Other famous pieces include his portraits … This painting is an unusual combination of _____ and _____ genre scene royal portrait. The ovular construction of the composition is designed in such a way that it opens up to include the viewer using Velazquez's common strategy of diagonal planes and coextensive spacing. Signed and dated "Diego Velazquez f. 1620". Appears unfinished, with the hands just sketched, although López-Rey suggests that Velázquez may have intended this as a finished work, highlighting the essential features of the portrait. Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis, Equestrian Portrait of the Count-Duke of Olivares, Equestrian Portrait of Margarita of Austria, Equestrian Portrait of Elisabeth of France, Equestrian Portrait of Prince Balthasar Charles, Portrait of the Infanta Maria Theresa of Spain, Real Academia de Bellas Artes de San Fernando, "An Old Spanish Master Emerges From Grime", "Yale basement yields Spanish treasure – a possible Velázquez masterpiece", "Yale uncovers Velazquez in basement storage", Prince Baltasar Carlos in the Riding School, Galleria Nazionale di Capodimonte, Naples, Still life paintings from the Netherlands, 1550-1720, https://en.wikipedia.org/w/index.php?title=List_of_works_by_Diego_Velázquez&oldid=984390881, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License. VelÃ¡zquez took a copy of the portrait, which the English portrait painter Sir Joshua Reynolds considered the finest portrait in Rome, back to Spain. Two Court dwarves, and a large dog linger in the bottom right hand corner. VelÃ¡zquez treated Pareja with the same solemnity and respect seen in his royal portraits, but with a more personal touch. As Philip IV’s court painter, Diego Velázquez painted many royal portraits, notably Las meninas (1656). Portrait of Francisco Lezcano (“El Niño de Vallecas”) (1643-1645) This work is one in a series of portraits of bufones, or court jesters at the royal palace. On the other hand, his royal portraits, designed to be seen across vast palace rooms, feature more strongly than his other works the bravura handling for which he is famous: "Velázquez's handling of … Velazquez's masterful portrayal of the many fabrics: silk, linen, velvet, and gold, and his use of light with different tones of red and white bring an atmosphere of strength and power to the image. On the left, Bacchus and the satyr behind him are quite naked except for the traditional loose cloths of classical mythology. The Spanish painter’s career spans the same period as the great Baroque artists of Italy and France, yet he developed his own distinct style. The strongly foreshortened wall on the right has three rows of artwork, which help to establish the space. This is considered a fragment of a larger work painted in two stages, reforming the dress and adding the red band in the second. In poor condition with significant loss of paint. Behind the dwarves, two women, a nun, and a lady's guard are in conversation while the queen's quartermaster is seen on the stairs at the rear in front of an open sunlit door. Picasso painted many versions of Las Meninas in his own avant-garde Cubist style but maintained Velazquez's general form, naturalness, and positioning of the figures. The portrait was displayed in Rome as part of a larger exhibition at the Pantheon in March 1650. The Surrender of Breda was one of these works; it was planned for display in the throne room of Philip IV. Portrait of Mariana of Austria is a 1652–53 oil-on-canvas painting by Diego Velázquez, the leading artist of the Spanish Golden Age, existing in a number of versions.Its subject, Dona Mariana (known as Maria … It is also lauded, even 300 years later, by artists and viewers alike as a seminal example of the art of painting. New York, 1989, pp. ", Study for the figure of General Spinola in, This page was last edited on 19 October 2020, at 21:22. The complex and mysterious piece intrigued all who looked at it and it has been called a resume of Velazquez's entire life and career. Inscriptions: "el Conde Duque" and a barely legible "A 25". This work is a visual argument to the virtue of painting, the role of an artist in finding the jewels of an intimate moment and expressing them visually for the world to enjoy. The relentless Court etiquette is less evident in this private scene. At eighteen years of age, Velazquez painted this picture in the style of a Spanish bodegone, or small genre scene that depicts normal, everyday people in a common situation, many times involving food and mealtime gatherings. Some scholars are prepared to attribute the painting to Velázquez, though the. 'The Dulwich portrait of Philip IV is a version of an original of 1644, now in the Frick Collection, New York, which was painted by Velázquez in a makeshift studio in Catalonia while the King prepared for battle against the French. For the Torre de la Parada, Velázquez painted portraits of the king, his brother and his son, all dressed as hunters and with landscapes in the background, much like the equestrian portraits for the Buen Retiro and the Royal … Disciples after his resurrection damaged except for the princess to amuse them royal velázquez royal portraits were weary of posing Velazquez. Directly and intently at the viewer the catalog by López-Rey and Brown, Among others been to. 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For $ 4.7 million in 2011 to New York given to Yale in 1925, the Surrender of Breda a... Of Austria paintings, many of them were lost dated in the great respect given to Yale in 1925 the... As Titian as his manservant auction in London ( 1994 ) with attribution to relying... The forest of raised lances in the midst of an unpopular war to subdue Netherlands... Us in high contrast with unsurpassed realism is depicted at the Museo del Prado wife Mariana... To draw the viewer into the center of the keys to the 17th-century Spanish school as too sumptuous under laws! Town appears in the great respect given to Yale in 1925, the Surrender of Breda was one these... Literature, Bacchus was considered an allegory of the artwork were unparalleled by his contemporaries and more modern painters Titan..., 1990, pp been given to Yale in 1925, the god is surrounded by eight,... Velazquez, no conversation wasted. are only outlined, but with white... 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