ART HISTORY 132 Baroque: Spanish. Diego Velázquez (1599-1660) biography: –1623: became court painter to Phillip IV –1628: Rubens’ visit to SP influenced.

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Presentation transcript:

ART HISTORY 132 Baroque: Spanish

Diego Velázquez ( ) biography: –1623: became court painter to Phillip IV –1628: Rubens’ visit to SP influenced V to visit Italy –1629: lives in Italy for year and a half –1649: second visit to Italy style: “Realist” tendency –influence of Caravaggio’s interest in surface textures –color: Venetian richness (re: Titian) –brushwork: “painterly” –light: “chiaroscuro” & fascination w/ depicting fleeting effects themes: –genre scenes –mythological –royal portraits (political & religious)

Velázquez Waterseller of Seville (c. 1625) –scene: genre –theme: mercy –tendency: realism age & facial features clothing –composition: stable; intelligible –color: muted, narrow range –light/shadow: tenebrism & chiaroscuro –spatial order: shallow overlapping foreshortening –surface textures: reflections beads of water

(Left) Detail from VELÁZQUEZ’s Waterseller of Seville (c. 1625) vs. (right) detail from CARAVAGGIO’s Entombment (c. 1600)

Detail of water droplet on surface of jug in VELÁZQUEZ’s Waterseller of Seville (c. 1625)

Velázquez Feast of Bacchus ( ) –title: a.k.a. “Los Borrachos” –patron: Phillip IV –narrative: mock homage –figures: ancient god w/ realistic humans –spatial order: shallow –perspective: limited to overlapping and foreshortening –composition: frieze-like arrangement bilateral groupings –left  ancients –right  moderns –color: muted earth tones –light/shadow: manipulated bleached-out Bacchus evenly distributed humans

(Left) Detail from VELÁZQUEZ’s Los Borrachos (c. 1625) vs. (right) CARAVAGGIO’s Bacchus (c. 1600)

Velazquez Los Borrachos(con’t.) –contemporary figures: realistic, vigorous naturalism –ruddy faces –leathery skin –plain garments complex gestures, gazes & poses –enlivens narrative, despite frieze-like composition

Velázquez Surrender at Breda (1635) –significance: inspired by 1 st trip to Italy –subject: history painting –theme: SP/Catholic triumph/conquest over Dutch (Protestant) –narrative: courtly tone modified from Perugino’s Delivery –composition: Classical frieze-like arrangement –figures: densely packed –landscape: panoramic –brushwork: “painterly” –color: vibrant –light: evenly distributed –perspective: aerial

(Left) detail from VELÁZQUEZ’s Surrender of Breda (c. 1635) vs. (right) detail from PERUGINO’s Italian Early Ren Delivery of the Keys (c. 1475)

(Left) VELÁZQUEZ’s Spanish Baroque Surrender at Breda (c. 1650) vs. (right) UCCELLO’s Italian Early Renaissance Battle of San Romano (c. 1450)

Velázquez Maids of Honor (c. 1650) –title: a.k.a. Las Meninas –genre: royal group portrait –theme: implicit Humanism comparison to Alexander the Great visiting his painter (Apelles) in studio –narrative: spatial complexities foreground  daughter, attendants, & court painter mirror  reveals King Phillip IV & Queen doorway  chamberlain

Velázquez Las Meniñas (con’t.) –self-portrait painting as endeavor worthy of courtly recognition pose: frontal V ordained into royalty –insignia of Royal Order of Santiago –stylized red cross –did not receive honor of knighthood until 1659 (three years after execution of painting)

Velázquez Las Meniñas (con’t.) –Princess Margarita five-year old daughter of Philip IV & second wife brushwork: painterly –elaborate dress & jewels –multiplicity of textures –details dissolve into intuitive, chaotic mixture of color

IMAGE INDEX Slide 2:VELÁZQUEZ. Self-portrait (1640), Oil on canvas, 45.5 x 38 cm., Museo Provincial, Valencia, Spain. Slide 3:VELÁZQUEZ. The Waterseller of Seville (c. 1625), Oil on canvas, 42 x 31 7/8”, Wellington Museum, London. Slide 4:(Left) detail from VELÁZQUEZ’s The Waterseller of Seville (c. 1625); and (right) detail from CARAVAGGIO’s Entombment (c. 1600). Slide 5:Detail of water droplet on surface of jug in VELÁZQUEZ’s The Waterseller of Seville Slide 6:VELÁZQUEZ. Los Borrachos ( ), Oil on canvas, 65 x 88 ½ in., Museo del Prado, Madrid. Slide 7: (Left) Bacchus from VELÁZQUEZ’s Los Borrachos (c. 1625); and (right) CARAVAGGIO’s Bacchus (c. 1600). Slide 8:Detail of realistic figures in VELAZQUEZ’s Los Borrachos. Slide 9:VELÁZQUEZ. The Surrender of Breda (c. 1635), Oil on canvas, 10’ x 12’, Museo del Prado, Madrid.

IMAGE INDEX Slide 10:(Left) detail of Christ delivering keys to Saint Peter from PERUGINO’s Early Renaissance Delivery of the Keys (c. 1475); and (right) detail of handing over the keys from VELÁZQUEZ’s The Surrender of Breda (c. 1635). Slide 11:(Left) VELÁZQUEZ’s Spanish Baroque The Surrender of Breda (c. 1635); and (right) UCCELLO’s Early Renaissance Battle of San Romano (c. 1450). Slide 12:VELAZQUEZ. Las Meninas; or “The Maids of Honor (1656), Oil on canvas, 10’ 5" x 9’ 1”, Museo del Prado, Madrid. Slide 13:Detail of self-portrait from VELÁZQUEZ’s Las Meninas. Slide 14: Detail of Princess Margarita from VELÁZQUEZ’s Las Meninas.