Las Meninas - The Collection - Museo Nacional del Prado Museo Nacional del Prado Search within the 34331 Museum website results Las Meninas Velázquez, Diego Rodríguez de Silva y Sevilla, 1599 - Madrid, 1660 Las Meninas 1656. Oil on canvas, 318 x 276 cm. This is one of Velázquez`s largest paintings and among those in which he made most effort to create a complex and credible composition that would convey a sense of life and reality while enclosing a dense network of meanings. The artist achieved his intentions and Las Meninas became the only work to which the writer on art Antonio Palomino devoted a separate section in his history of Spanish painters of 1724, entitling it In which the most illustrious work by Don Diego Velázquez is described. Since then the painting has never lost its status as a masterpiece. From Palomino we know that it was painted in 1656 in the Cuarto del Príncipe in the Alcázar in Madrid, which is the room seen in the work.

He also identifies most of the figures of the court servants grouped around the Infanta Margarita, who is attended by two of the Queen`s meninas or maids-ofhonour: María Agustina Sarmiento and Isabel de Velasco. In addition to that group, we also see the artist himself working on a large canvas, the dwarves Mari Bárbola and Nicolasito Pertusato, the latter provoking a mastiff, and the lady-in-waiting Marcela de Ulloa next to a guardadamas (attendant), with the chamberlain José Nieto standing in the doorway in the background. Reflected in the mirror are the faces of Philip IV and Mariana of Austria, the Infanta`s parents who are watching the scene taking place. The figures inhabit a space that is modelled not just through the laws of scientific perspective but also through aerial perspective. In the definition of this space the multiplication of the light sources plays an important role. Las Meninas has one meaning that is immediately obvious to any viewer: it is a group portrait set in a specific location and peopled with identifiable figures undertaking comprehensible actions.

The painting`s aesthetic values are also evident: the setting is one of the most credible spaces depicted in western art; the composition combines unity and variety; the remarkably beautiful details are divided across the entire pictorial surface; and finally, the painter has taken a decisive step forward on the path to illusionism, which was one of the goals of European painting in the early modern age, given that he has gone beyond transmitting resemblance in order to successfully achieve the representation of life or animation. However, as is habitual with Velázquez, in this scene in which the Infanta and the court servants pause in their actions on the arrival of the King and Queen, there are numerous underlying meanings that pertain to different fields of experience and which co-exist in one of the masterpieces of western art that has been the subject of the most numerous and most varied interpretations. One study, for example, has focused on the royal status of the Infanta, which thus endows the entire painting with a political content.

There are also, however, important references of an art-historical nature that are expressed through the presence of the painter himself and the paintings hanging on the rear wall, while the inclusion of the mirror makes this work a consideration on the act of seeing and ensures that the viewer reflects on the laws of representation, the limits between painting and reality and his or her own role within the painting. This richness and variety in the content, combined with the complexity of the painting`s composition and the variety of actions depicted, make Las Meninas a portrait in which the artist deploys representational strategies and pursues aims that go beyond the habitual ones in this genre, bringing it closer to history painting. In this sense, it is one of the key works through which Velázquez championed the potential of the pictorial genre to which he had devoted his activities since he arrived at court in 1623 (Text from Portús, J.: Velázquez. Las Meninas and the Late Royal Portraits, Museo Nacional del Prado, 2013, p. 126).

00:04:36 Video Conté crayon on wove paper, 1835 - 1891 Inventory number High/Height: 318 cm.; Width: 276 cm. Provenance Royal Collection (Real Alcázar, Madrid, Cuarto bajo-pieza del despacho de verano, 1700, nº 286; Palacio Real Nuevo, Madrid, antesala de la Furriera, 1747, nº 4; Palacio Real Nuevo, Madrid, paso de tribuna y trascuartos, 1772, nº 4; Palacio Real Nuevo, Madrid, cuarto de la serenísima infanta-dormitorio, 1794, s.n.; Palacio Real, Madrid, pieza amarilla, 1814-1818, nº 4). Bibliography + Cruzada Villaamil, Gregorio, Anales de la vida y de las obras de Diego de Silva Velazquez, Libreria de Miguel Guijarro, Madrid, 1885, pp. 305.

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Cruz Valdovinos, José Manuel, Velázquez: vida y obra de un pintor cortesano, Caja Inmaculada, 2011, pp. 327-336. Portús, Javier, Velázquez 'Las Meninas'. En: Guía de la colección. Velázquez, Museo Nacional del Prado, Madrid, 2012, pp. 46. Bennassar, Bartolomé, Velázquez: vida, Cátedra, 2012, pp. 177. Beusterien, John, Canines in Cervantes and Velazquez. An animal studies reading of early modern Spain, Ashgate, Surrey, 2013, pp. 75 f.4.1. Portus, Javier, Diego Velázquez 'Las Meninas'. En :, Velázquez y la familia de Felipe IV, [1650-1680], Museo Nacional del Prado, Madrid, 2013, pp. 126-129 n.16. Prater, Andreas, Bilder ohne Ikonographie?

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81-104 [84]. Brown, Jonathan, In the shadow of Velázquez: a life in art history, Yale University Press, New Haven And London, 2014, pp. 99,106-114 f.59. Swoboda, G, 'Juan Bautista Martínez del Mazo 'Familie des Künstlers'- die erste variation auf Velazquez Las Meninas' .En:, Velázquez, Hirmer, Wien, 2014, pp. 88-105 [89 fg.1]. Puerta de la, Ruth, 'Las leyes suntuarias y la restricción del lujo en el vestir' En: Vestir a la española en las cortes europeas (siglos XVI y XVII), I, CEEH, Madrid, 2014, pp. 209-231 [220 f.6]. Ferre Puerto, Josep A, Las Meninas de Velázquez y la dedicatorias flamencas del siglo XV, Ars longa, 23, 2014, pp.

141-149. Braun, J.E, 'Life studies. Children' En:, Goya: Order & Disorder, Museum of Fine Arts, Boston, 2014, pp. 106-119 [106 n.45]. García Sierra, Mª José, 'Quién vestía a los reyes. Real Guardarropa y sastres de Cámara' En: Vestir a la española en las cortes europeas (siglos XVI y XVII), I, CEEH, Madrid, 2014, pp. 113-135 [117 f.2]. Georgievska-Shine, Aneta Silver, Larry, Rubens, Velázquez, and the King of Spain, Ashgate, Surrey, 2014, pp. 147-148,200,261,264,266-267 fg.5.9.

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L'Affrontement de la peinture, Cohen & Cohen, Paris, 2015, pp. 284,308-319, 336 cat.102. Other inventories + Inv. Testamentaría Carlos II, Alcázar de Madrid, 1701-1703. Núm. 286. Quartto Vajo [...] Pieza del despacho de Verano en cuio techo esta pintado Apolo [...] 286 / Ytten Una Pinttura de quatro Varas y media de altto y tres y media de ancho Rettrattada la Señora Emperatriz Ynfantta de España Con sus Damas y Criados y Una Enana Original de mano de Diego Uelazquez Pinttor de Camara y Aposenttador de Palaçio donde se rettratto a si mismo pinttando Con marco dorado tasada en Diez mill Doblones Inv. Felipe V, Palacio Nuevo, 1747. Núm. 4.

PINTURAS EXISTENTES ANTIGUAS / En la Antesala de este Oficio [¿Furriera?] / {10223} 4 / Otro retrato de la señora María Teresa Infanta de España reina de Francia retratandola don Diego Velazquez con diferentes señoras que la acompañan original del mismo Velazquez quatro varas de caida y tres y media de ancho = se tasó en veinticinco mil reales Inv. Carlos III, Palacio Nuevo, 1772. Núm. 4. Paso de Tribuna y Trascuartos [...] {12697} 4 / Otro quadro que contiene el retrato de la Señora Infanta doña María Teresa Reyna de Francia retratandola Velazquez con diferentes damas y enanos original del expresado Velazquez de quatro varas de alto y tres de ancho. Inv. Testamentaría Carlos III, Palacio Nuevo, 1794. Núm. s. n.. Pieza de paso al dormitº. de la Sª.

Ynfanta [...] Dormitorio / {539} Quatro varas de alto y tres de ancho. Quadro llamado de la familia de Felipe quarto: Velazquez ... 60.000 Inv. Fernando VII, Palacio Nuevo, 1814-1818. Núm. 4. Pieza Amarilla [...] {21644} 4 / La familia de Felipe IV = Velazquez Catálogo Museo del Prado, 1854-1858. Núm. 155. Inv. Real Museo, 1857. Núm. 155. Velázquez. / 155. Cuadro llamado de Las Meninas. / A la izquierda del espectador esta Velázquez con la paleta en la mano, haciendo el retrato de Felipe 4º y de la reina, los cuales se ven reflejados en un espejo colocado al fondo del estudio. En primer termino y en el centro esta la infanta doña Margarita Maria de Austria, a quien entretienen sus meninas de diversos modos.

Ocupan la derecha los dos enanos Mari Barbola y Nicolasico Pertusato con el perro favorito, el cual sufre con paciencia las impertinencias del bufon (C.N.) / Alto 11 pies, 5 pulg; ancho 9 pies, 11 pulg. Catálogo Museo del Prado, 1872-1907. Núm. 1062. Catálogo Museo del Prado, 1910. Núm. 1174. Catálogo Museo del Prado, 1942-1996. Núm. 1174. Exhibitions + Las Meninas | artble.com Las Meninas The Family of Felipe IV Height (cm): The participants in Las Meninas Las Meninas Diego Velazquez Voted as the best painting in the history of art in 1985, Velázquez's Las Meninas is almost impossible to define.

At the most basic level, the painting is a group portrait of the five-year-old Infanta Margarita, her ladies-in-waiting and other members of the court, the King and Queen of Spain, and Velázquez himself. At the same time, it is also a painting about art, illusion, reality, and the creative act itself, as well as a claim for the nobility of artists and the fine arts in general. Las Meninas is set in the Grand Room (the Pieza Principal) of the deceased crown prince Baltasar Carlos's living in quarters. King Philip IV gave the room to Velázquez in the 1650s to use as his personal studio, a very high honor indeed. The participants in this piece include: In the center: the Infanta Margarita (1), flanked to the right by lady in waiting Dona Isabel de Velasco (2), and on the left María Agustina Sarmiento de Sotomayor (3).

To the right of the picture plane are the two dwarves: the German woman Maribarbola (4), and the Italian man Nicolas Pertusato (5), who is caught in the act of kicking the poor, aggravated royal hound. Behind this group are the royal chaperone, dona Marcela de Olloa (6), and an anonymous bodyguard (7). In the deepest level of the painting, framed in the brightly lit doorway is the Queen's Chamberlain and head of the royal tapestry works, Don José Nieto Velázquez (8), a possible relative of the artist. Finally, the King and Queen (10, 11) are present in their reflection in the mirror on the rear wall of the room. Velázquez (9) himself appears to the far left of the composition, painting an enormous canvas with its back turned towards the viewer. The Commission: Las Meninas was yet another commission from the King. By the time Velázquez set to work on this, the apogee of his oeuvre, he had been the official court painter for thirty-three years.

The great bulk of his work at court consisted of painting royal portraits (he painted at least forty portraits of Philip IV alone), and this picture was essentially commissioned as more of the same: a group portrait of the royal family and their attendants. On so many levels, however, the painting is much, much more. Las Meninas Analysis Las Meninas Manolo Valdés Of any painting from the entire history of art, Velázquez's Las Meninas must be one of the most inspirational of all time. Not only has the painting inspired a veritable library's worth of written scholarship, but it has inspired the creation of some of art history's most important masterpieces. The following list constitutes a sort of family tree founded by this landmark painting; Goya, Family of Charles IV. 1800: This royal court painter carefully studied his Velázquez before executing his portrait of the royal family. From the Baroque artist, Goya learned to depict the subtleties of light and shadow. The composition bears obvious similarities to Las Meninas and like Velázquez, Goya manages to convey a strangely sinister atmosphere with his seemingly innocent painting, speaking volumes about his artistic subjects. John Singer Sargent , The Daughters of Edward Darley Boit.

1882: Sargent consciously followed the example of Velázquez's Las Meninas when he executed this portrait of a fellow expatriate family for the Paris Salon of 1883. Sir John Lavery, The Royal Family at Buckingham Palace. 1913: Legend has it that King George V decided to take the role of Philip IV literally when he dropped by Lavery's studio and asked to be allowed to apply some paint himself, just like Philip IV allegedly applied the red cross of the Order of Santiago to Velázquez's chest after the painter passed away. Picasso, Las Meninas. 1957: Fellow Spaniard Picasso was long enamored by the Spanish Baroque master. He spent many years of his childhood studying Velázquez in the Museo del Prado and from August to December in 1957, this famous modern artist shut himself up in his studio near Cannes to devote himself to the study of Velázquez's Las Meninas. The result was fifty-eight separate studies of the painting, the sizeable majority of which retained the same basic figures and composition, but radically distorted everything else. Salvador Dalí, Portrait of Juan de Pareja Adjusting a String on His Mandolin.

1960: Just like Picasso, this Spaniard could not escape his national artistic heritage, and this wacky Surrealist artist likewise adopted Velázquez as his artistic guiding light. In fact, Velázquez was the only artist that Dalí admitted as his model. Dalí himself said: "Since Impressionism, the entire history of modern art has revolved around a single objective: reality. And this might lead us to ask: What's new, Velázquez?" Richard Hamilton, Picasso's Meninas. 1973: This British artist of the Pop Art movement was a master printmaker, and in 1973 he executed a print of one of Picasso's variations on Velázquez's Las Meninas. With this print, Hamilton entered new artistic ground: a copy of a copy. Eve Sussman, 89 Seconds at Alcázar.

February 18-May 22, 2005: Sussman's work is a high-definition video tableau performed in 2005, intended to capture the moments immediately before and immediately after the approximately 89 seconds for which all the protagonists of Velázquez's Las Meninas would have come into the precise configuration shown in the painting. Manolo Valdés, Las Meninas. 2007: Manolo Valdés is the next in a long line of Spaniards to take up the theme of Velázquez's Las Meninas. This series of twenty-one bronze statues representing the maids of honor in Velázquez's painting has graced the streets of Paris, France, Helsinki, Finland, and New York City. Las Meninas Artist Diego Velazquez When Velázquez first entered court, the established painters scoffed at the unproven young talent, calling him only good for mediocre portraits and lacking the scope for subjects of greater weight. Velázquez proved the naysayers wrong, works like Las Meninas, which is among the most exquisite in the history of art.

Velázquez has not ceased to be a remarkably fecund source of inspiration for art critics and art historians up until the present day, nor has his reputation as one of the greatest painters of all time been dimmed. Velázquez paved the way for early nineteenth century realist and impressionist painters, especially Édouard Manet . Since then, he has gone on to influence artists as diverse as Pablo Picasso, Salvador Dalí, and Anglo-Irish painter Francis Bacon. Such artists have demonstrated their love for the works of Velázquez by recreating some of his most noted paintings. Diego Velázquez was hailed a father of the Spanish school of art and is one of the greatest artists that ever lived. Las Meninas Art Period The Dwarf Sebastian de Morra Diego Velazquez Diego Rodriguez de Silva y Velázquez was born into a society of paradox: Spain was simultaneously undergoing one of the most dramatic economic and political declines of any nation in European history, and unprecedentedly fertile, creative bursts of artistic activity. In Velázquez's hometown of Seville in particular, circles of Humanist learning, arts and letters and philosophy all flourished, constituting a particularly fecund environment for a young artist.

On the other hand, Velázquez's chosen profession would become a significant obstacle in the artist's personal agenda. Spanish society was obsessed with nobility, and unlike in Italy, the visual arts were emphatically not equated with noble pursuits like literature or philosophy. Artists were seen as essentially vulgar craftsman who worked for a living with their hands, just like blacksmiths or tailors. Making matters even more complicated, the Catholic church exercised almost total power over the arts in Spain, dictating everything from subject to composition, meaning that artists had very little room to experiment or grow. Velázquez was thus fated to struggle from the very incipience of his career. While most artists of the Baroque period suffered from a serious drop in critical opinion during the 18th century, eventually fading into oblivion until being rediscovered in the 1950s, Velázquez took an alternate route.

Because of Spain's political situation, the nation was more or less isolated from the rest of Europe during the heights of Neoclassicism, meaning that Velázquez's reputation was safe from the hands of Baroque-haters like Wincklemann, who managed to destroy the reputation of such artists as Caravaggio , Carracci and Bernini . By the time Spain opened up to the rest of Europe in the beginning of the 19th century, the world was ready for Velázquez, and critics and artists alike haven't ceased singing the master painter's praises. Las Meninas Bibliography The following list offers some of the best sources of further reading on Velázquez and his works. • Brown, Dale. The World of Velázquez: 1599-1660. Time-Life Books, 1969 • Brown, Jonathan. Velázquez, Painter and Courtier. Yale University Press, 1986 • Carr, Dawson, et al. Velázquez. Yale University Press, 2006 • Davies, David, et al. Velázquez in Seville. National Galleries of Scotland, 1996 • Harris, Enriqueta.

Velázquez. Phaidon, 1982 • Kahr, Madlyn Millner. Velázquez: the art of painting. Harper and Row, 1976 • López-Rey, José. Velázquez: A catalogue raisonné of his œuvre Faber and Faber, 1963. • Pérez Sánchez, Alfonso, et al. Velázquez. The Metropolitan Museum of Art, 1989 • Wolf, Norbert. Diego Velázquez, 1599-1660: the face of Spain. Taschen, 1998 • Wind, Barry. Velázquez's Bodegones: A study in 17th century Spanish genre painting. Fairfax: George Mason University Press, 1987 Want a Printed Poster, Canvas, or Replica?

Question: The painting 'Las Meninas' in the Prado includes the artist at work. Who is the artist?
Answer: DIEGO VELAZQUEZ