Velázquez was a Spanish painter active in the 1600s who is considered one of the most important artists of the Baroque period. He began his career in Seville, painting religious scenes and portraits in a tenebrist style with strong contrasts of light and shadow. After moving to Madrid in 1623 to work for King Philip IV, his style evolved to include elements of Italian Renaissance painting, becoming softer and more coloristic. Some of his most famous works from this late period include Las Meninas, The Surrender of Breda, and Rokeby Venus. Velázquez was highly influential and helped establish the standards of 17th century portraiture.

1. ARTBAROQUE
Spanish painting: Martin Mateos 2ºA
Velázquez

2. DIEGO RODRÍGUEZ DE SILVA and VELÁZQUEZ
(1599-1660)
Stages and Stylistic Evolution:
Training stage (1617-1622)
Maturity stage (1623-1660)

3. Training stage (1617-1622)
Still lifes with figures : The
Waterseller of Seville ( 1620 ) ,Old
Woman Cooking Eggs (1618 )
Portraits: Portrait of Sister Francisca
Jerónima de la Fuente (1620 )
Religious scenes :Christ in the House
of Martha and Mary , the Adoration
of the Magi (1619 )
VELÁZQUEZ
IT FORMS IN
SEVILLA, IN
STYLE
TENEBRIST AND
NATURALISTA
In 1611, twelve years after a short
period as an apprentice in the workshop
of Francisco Herrera the Elder, entered
the studio of Francisco Pacheco, whose
daughter was getting married
STAGE TRAINING (1617-1622)

4. Lunch
Oil on Canvas
1617
183 x 116 cm
The Hermitage,
St. Petersburg
Characteristics of
this period are:
Characteristics of
this period are:
The tenebrismo ,
with strong contrasts
of light and shadow.
Predominance of
earthy colors.
Simplicity in the
composition.
The tenebrismo , with strong contrasts of light and shadow . Predominance of earthy colors. Simplicity in the composition.The tenebrismo , with strong contrasts of light and shadow . Predominance of earthy colors. Simplicity in the composition.

5. OLD WOMAN COOKING EGGS (1618)
OIL ON CANVAS , 99 x 128 cm. National Gallery of Scotland, Edimburgo

6. Sister Francisca Jerónima
de la Fuente
Oil on canvas,1620
160 x 110 cm
Museo del Prado, Madrid

7. This picture seems to be one of the oldest attributed to
Velázquez , painted around 1617 when the painter was
only 18 years old.
The Mulatta , 1617. Oil
on canvas (56x118 cm).
National Gallery of
Ireland, Dublin)

8. Christ in the house of Martha and Mary
Oil on canvas . 1620 60 x 103,5 cm
National Gallery, London

9. Self Portrait [?]
(1622-23)
Museo del Prado, Madrid

10. Painter to the
king
MATURITY STAGE (1623-1660)
1623-1631:
Velázquez in the court
Madrid first stage and first trip
to Italy.
Velázquez travels to the Court
making its intention to settle
there ; there is an
abandonment of religious
themes and still life to
concentrate on the portrait
genre.

11. These portraits are the
characteristics:
 The simplicity in the
composition .
 The realism The lack of
concern for funds .
 The elegance that emanates
from the characters.
 Statism
they are full-length portraits
in bust or three quarters.
Felipe IV
c. 1624-1627
Oil on canvas
210 x 102 cm
Museo del Prado,
Madrid

12. Don Luis of Góngora
and Argote
1622
50.3 x 40.5 cm
Museum of Fine Arts,
Boston

13. Infante Don Carlos
1626-27
Oil on canvas
209 x 125 cm
Museo del Prado,
Madrid

14. Felipe IV
1628

15. Doña María of Austria,
Queen of Hungary
1630
Oil on canvas
58 x 44 cm
Museo del Prado, Madrid

16. (1629-1631)
Between 1629 and 1631 he made
the first trip to Italy, where he meets
the work of Roman and Venetian
Renaissance painters (Titian), also
visiting Ferrara and Naples, where
he contacted the Spanish painter
Ribera.
During this trip he made The Forge
of Vulcan, mythological genre, and
Joseph's coat. In them the influence
of Italian painters warns
First trip to Italy

17. The Forgen of Vulcan

18. Jhoseph´s tunica

19. Back from Italy, the style of Velázquez It becomes softer and colorists.
Madrid second stage
(1631-1648)
In this period the height of the master
takes place .
The Italian influence makes your
drawing becomes looser, their figures
lose rigidity, the space is filled with air,
foreshadowing the aerial perspective,
and colored gray, browns and soft
greens and harmonics.
The pictorial production at this stage is
very abundant.
Of this period are the religious pictures:

20. Among his portraits:
The Count-Duke of
Olivares (1638), Philip
IV and Prince Baltasar
Carlos (equestrian
portraits, 1635).
Felipe IV and D.
Fernando of Austria
hunting suit.
And the portraits of the
Pablillos of Valladolid,
the Child of Vallecas
and Primo buffoons.
In addition, we have the
imaginary portraits of
philosophers Aesop and
Menippus
Autorretrato
De 1643

21. Within the genre of history
painting Surrender of
Breda or The Lances
(1634-1635).
The Surrender of Breda
(The Lances)
1635
307 x 367 cm
Museo del Prado, Madrid

22. Prince Baltasar
Carlos hunting
1635-36
191 x 103 cm
Museo del Prado,
Madrid

23. BUFONES
El enano Don Juan
Calabazas,
apodado
Calabacillas
c. 1639
106 x 83 cm
Museo del Prado,
Madrid
Pablo de Valladolid
c. 1635
209 x 123 cm
Museo del Prado,
Madrid
Diego de Acedo
(El Primo)
1644
107 x 82 cm
Museo del Prado,
Madrid

24. El enano Francisco
Lezcano, apodado "El Niño
de Vallecas"
(ca. 1636)
107 x 83 cm
Museo del Prado, Madrid
El enano Sebastián
de Morra
1643-44
106,5 x 81,5 cm
Museo del Prado,
Madrid
Marte, Dios de la
guerra
1640
179 x 95 cm
Museo del Prado,
Madrid

25. Esopo
1640
179 x 94 cm
Museo del
Prado, Madrid
Menipo
1636-40
179 x 94 cm
Museo del Prado,
Madrid

26. Velazquez returns to Italy
Second trip to Italy and Madrid's
third stage
(1648-1660)
Velazquez made a second trip to Italy between
1649 and 1651, with the royal commission to
acquire paintings and antiques for Hispanic real
galleries.
On this trip makes the portrait of Innocent X, that of
his servant Juan Pareja and two paintings of the
Garden of Villa Medici.
He also made the trip the Rokeby Venus, one of
the few nudes in the history of Spanish painting.
In this period, Velasquez perfects his technique,
getting to capture aerial perspective.
Their loose brushwork used less and less amount
of pictorial paste. Nurses atmosphere and details.

27. El pabellón
Ariadna en el jardín
Médici en Roma
1650-51
44 x 38 cm
Museo del Prado,
Madrid

28. Venus del espejo
1649-51 - 122,5 x 177 cm - National Gallery, Londres

29. Madrid last stage:
the culmination of Velázquez
(1651-1660)
Velázquez back to the Court and to
Madrid in 1651, after a stay of nearly
three years in Italy. Madrid latter
stage involves the stylistic culmination
of the Sevillian master.
This period are portraits of the Infanta
Margarita and Queen Mariana of
Austria.
In two works it can be summed
Velázquez's contribution to the history
of painting: Maids of Honor(1656),
and The Spinners, or The Fable of
Arachne (1657).

30. The significance of Maids of Honor : Picasso

31. The significance of Maids of Honor: Dalí

32. In conclusion: Velázquez synthesized
the styles of XVI and XVII, Roman and
Venetian Renaissance school,
tenebrismo, flamenco and Spanish
baroque naturalism.