The document provides details on several paintings by Diego Velázquez, including Las Meninas (1656-1657), Infanta Margarita (c. 1654), Infante Felipe Próspero (c. 1660), Infanta María Teresa (1651-1652), and Queen Doña Mariana of Austria (1652-1653). It includes the title, date created, materials, dimensions, and location of each painting. It also provides short descriptions and context for some of the pieces. The document discusses Velázquez's role as a painter for King Philip IV and his mastery of portraiture and Baroque style.
Few painters have achieved success so early and remained so successful throughout their lives as Velazquez. Even in his teens he was acclaimed as a master painter. By the age of 24 he had become Court Painter to King Philip IV. For nearly 40 years he produced an incomparable series of the king and of other figures at court. H e created an art as moving and as varied as any in Europe and less comfined to its age than many other, seemingly freer, painters.
Few painters have achieved success so early and remained so successful throughout their lives as Velazquez. Even in his teens he was acclaimed as a master painter. By the age of 24 he had become Court Painter to King Philip IV. For nearly 40 years he produced an incomparable series of the king and of other figures at court. H e created an art as moving and as varied as any in Europe and less comfined to its age than many other, seemingly freer, painters.
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Teaching four art movements: Baroque, chiaroscuro, realism, idealism as the relate to Diego de Velazquez, the court painter to Philip IV of Spain, one of the main characters in the autobiographical novel, I, Juan de Pareja, by Elizabeth Borton de Trevino
Baroque art and architecture, the visual arts and building design and construction produced during the era in the history of Western art that roughly coincides with the 17th century. The earliest manifestations, which occurred in Italy, date from the latter decades of the 16th century, while in some regions, notably Germany and colonial South America, certain culminating achievements of Baroque did not occur until the 18th century. The work that distinguishes the Baroque period is stylistically complex, even contradictory. In general, however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations. Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts.
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
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http://www.authorstream.com/Presentation/guimera-4724465-landscape-painting-renaissance/
Baroque Masters in the Museum of Fine Arts of Seville (1)guimera
Baroque is a perspective on life and is, at the same time, its expression through art.
The Seville school of this period is renowned for the genius of its artists, including Velázquez, Zurbarán, Murillo …
Landscape painting in the Renaissance (2) The Landscape and Figuresguimera
you can download my presentations at
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http://www.authorstream.com/Presentation/guimera-4733810-landscape-painting-renaissance-figures/
you can download my presentations at
http://www.authorstream.com/MyUploaded-Presentations/All
http://www.authorstream.com/Presentation/guimera-4745536-balcony-paintings/
Teaching four art movements: Baroque, chiaroscuro, realism, idealism as the relate to Diego de Velazquez, the court painter to Philip IV of Spain, one of the main characters in the autobiographical novel, I, Juan de Pareja, by Elizabeth Borton de Trevino
Baroque art and architecture, the visual arts and building design and construction produced during the era in the history of Western art that roughly coincides with the 17th century. The earliest manifestations, which occurred in Italy, date from the latter decades of the 16th century, while in some regions, notably Germany and colonial South America, certain culminating achievements of Baroque did not occur until the 18th century. The work that distinguishes the Baroque period is stylistically complex, even contradictory. In general, however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations. Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts.
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
you can download my presentations at
https://ma-planete.com/olga_oes
http://www.authorstream.com/MyUploaded-Presentations/All
http://www.authorstream.com/Presentation/guimera-4724465-landscape-painting-renaissance/
Baroque Masters in the Museum of Fine Arts of Seville (1)guimera
Baroque is a perspective on life and is, at the same time, its expression through art.
The Seville school of this period is renowned for the genius of its artists, including Velázquez, Zurbarán, Murillo …
Landscape painting in the Renaissance (2) The Landscape and Figuresguimera
you can download my presentations at
http://www.authorstream.com/MyUploaded-Presentations/All
http://www.authorstream.com/Presentation/guimera-4733810-landscape-painting-renaissance-figures/
Velázquez, painter of princes and jesters.ppsxguimera
At the age of 24 he was appointed painter to King Philip IV.
Four years later he was promoted to chamber painter, the most important position among court painters.
big and small, lined and soft, round and angular
of felt or velvet
adorned with fur, embroidery, gorgeous bird feathers, ribbons, stones according to the owner’s fortune
grands et petits, doublés et doux, ronds et angulaires,
en feutre ou en velours,
ornés de fourrure, broderies, plumes d'oiseaux magnifiques, de rubans, pierreries selon la fortune du propriétaire ...
Recognised as the most beautiful woman in the Mediterranean civilisations, hers was the face that launched a thousand ships and inspired the legends ...
Rückenfigur ... back figure in paintings.ppsxguimera
Wanderer above the Sea of Fog is perhaps the most iconic Rückenfigur in German Romantic painting …
Rückenfigur, the back-figure is a pictorial theme with significant power.
Rückenfigur ... back figure in paintings
Rückenfigur ... figure de dos dans la peinture.ppsxguimera
Le Voyageur contemplant une mer de nuages est probablement la Rückenfigur la plus emblématique de la peinture romantique allemande ...
Rückenfigur, la figure de dos est un thème pictural d'une grande puissance.
Has been depicted
in mythological and religious paintings, in still life, vanities, allegories, in the genre painting.
From Caravaggio and Rubens to Millet, through Vermeer, Delacroix, Manet, Moreau …
Panier en osier dans la peinture européenne.ppsxguimera
A été représenté
dans les peintures mythologiques et religieuses, les natures mortes, vanités, allégories, dans la peinture de genre.
Du Caravage et Rubens à Millet, en passant par Vermeer, Delacroix, Manet, Moreau ...
The Art of Rain_The beauty of rain in paintings..ppsxguimera
The beauty of rain in paintings.
expected or feared, delicate or stormy, metaphorical or very real, the rain has often entered the imagination of artists ...
L’art de la pluie_La beauté de la pluie dans la peinture..ppsxguimera
La beauté de la pluie dans la peinture.
espérée ou redoutée, fine ou orageuse, métaphorique ou bien réelle, la pluie s’est souvent invitée dans l’imaginaire des artistes ...
Medea and the beautiful Argonaut,
the first human Cain
Romulus and Remus nursed by the same she-wolf,
Vulcan who loves Venus who loves Mars
Eve and the Apple of the Tree of Temptation
and
the most human of emotions that inspired the painters
La jalousie dans la peinture européenne.ppsxguimera
Médée et le bel Argonaute,
le premier humain Caïn
Romulus et Remus nourris au sein de la même louve,
Vulcain qui aime Vénus qui aime Mars
Ève et la pomme de l'arbre de la tentation
et
la plus humaine des émotions qui a inspiré les peintres
créatures mi-hommes, mi-chevaux, habitant les forêts et les montagnes
violents et sauvages, avec une morale brutale, et un amour immodéré pour le vin et les femmes
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
3. VELÁZQUEZ, Diego Rodriguez de Silva y
Las Meninas or The Family of Philip IV
1656-57
Oil on canvas, 318 x 276 cm
Museo del Prado, Madrid
4. VELÁZQUEZ, Diego Rodriguez de Silva y
Las Meninas or The Family of Philip IV
(detail)
1656-57
Oil on canvas, 318 x 276 cm
Museo del Prado, Madrid
5. VELÁZQUEZ, Diego Rodriguez de Silva y
Las Meninas or The Family of Philip IV
(detail)
1656-57
Oil on canvas, 318 x 276 cm
Museo del Prado, Madrid
Diego Velázquez. Self-portrait,detail of Las
6. VELÁZQUEZ, Diego Rodriguez de Silva y
Las Meninas or The Family of Philip IV
(detail)
1656-57
Oil on canvas, 318 x 276 cm
Museo del Prado, Madrid
7. VELÁZQUEZ, Diego Rodriguez de Silva y
Las Meninas or The Family of Philip IV
(detail)
1656-57
Oil on canvas, 318 x 276 cm
Museo del Prado, Madrid
8. VELÁZQUEZ, Diego Rodriguez de Silva y
Las Meninas or The Family of Philip IV
(detail)
1656-57
Oil on canvas, 318 x 276 cm
Museo del Prado, Madrid
9. VELÁZQUEZ, Diego Rodriguez de Silva y
Las Meninas or The Family of Philip IV
(detail)
1656-57
Oil on canvas, 318 x 276 cm
Museo del Prado, Madrid
10. VELÁZQUEZ, Diego Rodriguez de Silva y
Las Meninas or The Family of Philip IV
(detail)
1656-57
Oil on canvas, 318 x 276 cm
Museo del Prado, Madrid
11. VELÁZQUEZ, Diego Rodriguez de Silva y
Las Meninas or The Family of Philip IV
(detail)
1656-57
Oil on canvas, 318 x 276 cm
Museo del Prado, Madrid
12. VELÁZQUEZ, Diego Rodriguez de Silva y
Las Meninas or The Family of Philip IV
(detail)
1656-57
Oil on canvas, 318 x 276 cm
Museo del Prado, Madrid
13. VELÁZQUEZ, Diego Rodriguez de Silva y
Las Meninas or The Family of Philip IV
(detail)
1656-57
Oil on canvas, 318 x 276 cm
Museo del Prado, Madrid
14.
15. VELÁZQUEZ, Diego Rodriguez de Silva y
Infanta Margarita
c. 1654
Oil on canvas, 128,5 x 100 cm
Kunsthistorisches Museum, Vienna
16. VELÁZQUEZ, Diego Rodriguez de Silva y
Infanta Margarita (detail)
c. 1654
Oil on canvas, 128,5 x 100 cm
Kunsthistorisches Museum, Vienna
17. VELÁZQUEZ, Diego Rodriguez de Silva y
Infanta Margarita (detail)
c. 1654
Oil on canvas, 128,5 x 100 cm
Kunsthistorisches Museum, Vienna
18. VELÁZQUEZ, Diego Rodriguez de Silva y
Infanta Margarita (detail)
c. 1654
Oil on canvas, 128,5 x 100 cm
Kunsthistorisches Museum, Vienna
19. VELÁZQUEZ, Diego Rodriguez de Silva y
Infanta Margarita (detail)
c. 1654
Oil on canvas, 128,5 x 100 cm
Kunsthistorisches Museum, Vienna
20. VELÁZQUEZ, Diego Rodriguez de Silva y
Infanta Margarita (detail)
c. 1654
Oil on canvas, 128,5 x 100 cm
Kunsthistorisches Museum, Vienna
21.
22. VELÁZQUEZ, Diego Rodriguez de Silva y
Infante Felipe Próspero
c. 1660
Oil on canvas, 128,5 x 99,5 cm
Kunsthistorisches Museum, Vienna
23. VELÁZQUEZ, Diego Rodriguez de Silva y
Infante Felipe Próspero (detail)
c. 1660
Oil on canvas, 128,5 x 99,5 cm
Kunsthistorisches Museum, Vienna
24. VELÁZQUEZ, Diego Rodriguez de Silva y
Infante Felipe Próspero (detail)
c. 1660
Oil on canvas, 128,5 x 99,5 cm
Kunsthistorisches Museum, Vienna
25. VELÁZQUEZ, Diego Rodriguez de Silva y
Infante Felipe Próspero (detail)
c. 1660
Oil on canvas, 128,5 x 99,5 cm
Kunsthistorisches Museum, Vienna
26. VELÁZQUEZ, Diego Rodriguez de Silva y
Infante Felipe Próspero (detail)
c. 1660
Oil on canvas, 128,5 x 99,5 cm
Kunsthistorisches Museum, Vienna
27. VELÁZQUEZ, Diego Rodriguez de Silva y
Infante Felipe Próspero (detail)
c. 1660
Oil on canvas, 128,5 x 99,5 cm
Kunsthistorisches Museum, Vienna
28.
29. VELÁZQUEZ, Diego Rodriguez de Silva y
Infanta María Teresa
1651-52
Oil on canvas, 34,3 x 40 cm
Metropolitan Museum of Art, New York
30. VELÁZQUEZ, Diego Rodriguez de Silva y
Infanta María Teresa (detail)
1651-52
Oil on canvas, 34,3 x 40 cm
Metropolitan Museum of Art, New York
31. VELÁZQUEZ, Diego Rodriguez de Silva y
Infanta María Teresa (detail)
1651-52
Oil on canvas, 34,3 x 40 cm
Metropolitan Museum of Art, New York
32. VELÁZQUEZ, Diego Rodriguez de Silva y
Infanta María Teresa (detail)
1651-52
Oil on canvas, 34,3 x 40 cm
Metropolitan Museum of Art, New York
33. VELÁZQUEZ, Diego Rodriguez de Silva y
Infanta María Teresa (detail)
1651-52
Oil on canvas, 34,3 x 40 cm
Metropolitan Museum of Art, New York
34.
35. VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Doña Mariana of Austria
1652-53
Oil on canvas, 231 x 131 cm
Museo del Prado, Madrid
36. VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Doña Mariana of Austria (detail)
1652-53
Oil on canvas, 231 x 131 cm
Museo del Prado, Madrid
37. VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Doña Mariana of Austria (detail)
1652-53
Oil on canvas, 231 x 131 cm
Museo del Prado, Madrid
38. VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Doña Mariana of Austria (detail)
1652-53
Oil on canvas, 231 x 131 cm
Museo del Prado, Madrid
39. VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Doña Mariana of Austria (detail)
1652-53
Oil on canvas, 231 x 131 cm
Museo del Prado, Madrid
40. VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Doña Mariana of Austria (detail)
1652-53
Oil on canvas, 231 x 131 cm
Museo del Prado, Madrid
41. VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Doña Mariana of Austria (detail)
1652-53
Oil on canvas, 231 x 131 cm
Museo del Prado, Madrid
42. cast VELÁZQUEZ, Diego Rodriguez de Silva y
, Featured Paintings in Detail (1)
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43. VELÁZQUEZ, Diego Rodriguez de Silva y
Queen Doña Mariana of Austria
Velázquez stayed in Rome in 1649-50. Philip IV wanted his favourite court painter, now enjoying such a triumph in Rome, to paint his
second wife, Queen Mariana, and to give his advice on the renovation of the old royal palace in Madrid, the Alcázar. Consequently, he
wished Velázquez to come back to court as soon as possible, but none the less the artist delayed his return for another whole year.
The portrait of Queen Mariana required by the king was not completed until 1653. The queen was the daughter of Emperor Ferdinand
III and Philip's sister the Infanta Maria, and had married her widowed uncle in 1649. She was nineteen at the time of this portrait,
which shows her full length, wearing a black dress with silver braid, and of course adorned with much valuable jewellery: gold
necklaces and bracelets, and a large gold brooch on her close-fitting bodice. Her right hand rests on the back of a chair, and she
holds a delicate lace scarf in her left hand. The picture is bathed in harmonious shades of black and red, although the dramatically
drawn curtain has been painted over by another hand.
The composition turns on the focal point of the queen's alabaster skin and rouged face, small and almost doll-like under her hair,
which is dressed very wide. Her bust, tightly encased in the bodice, her stiff farthingale and all her fashionable magnificence are
rendered true to life by Velázquez, and at the same time he reveals them as a theatrical show concealing the girl's natural physical
nature beneath the armour of courtly constraint.
44. VELÁZQUEZ, Diego Rodriguez de Silva y
Infanta María Teresa
María Teresa was the daughter of Philip IV and his first wife Isabel de Bourbon. Her portrait is a routine work
from the late period of Velázquez.
45. VELÁZQUEZ, Diego Rodriguez de Silva y
Infanta Margarita
At the end of the 1640s Velázquez was on the threshold to his late work and the peak of his artistic achievement, to
which his likenesses of the Spanish Habsburgs, not least, made a considerable contribution.
They are among the finest examples of court portraiture ever painted. This picture represents Infanta Margarita, born on
12 July 1651, daughter of Philip IV and his second wife, Mariana. The Infanta is the central figure of Velázquez's famous
composition, Las Meninas, painted three years later.
46. VELÁZQUEZ, Diego Rodriguez de Silva y
Infante Felipe Próspero
The young prince was a sickly child from birth, and he died at the age of four. He appears in this picture in a pink dress trimmed with
silver, with a translucent pinafore over it, and bearing some striking accessories: various amulets were supposed to protect him against
the evil eye, and an amber apple was thought to ward off infections.
The bloodless face of the blue-eyed prince looks even paler due to the contrast with the silver highlights in his straw-coloured fair hair.
Pale daylight falls in through the open door in the background. Otherwise, the room is full of shadows that seem to threaten the little
figure.
Palomino considered this portrait one of the finest ever painted by Velázquez, and singled out the little dog on the chair for special
praise.
47. VELÁZQUEZ, Diego Rodriguez de Silva y
Las Meninas or The Family of Philip IV
Las Meninas or The Royal Family is the most famous of Velázquez's paintings, his undisputed masterpiece, described by the
Neapolitan painter Luca Giordano as the "theology of painting".
It is set in a room in the Alcázar, equipped by Velázquez as a studio, and shows the heiress to the throne, the Infanta Margarita, with
her court. The queen's maid of honour, Dona Maria Agustina Sarmiento is kneeling at the Infanta's feet, handing her a jug of water.
The other maid of honour, Dona Isabel de Velasco stands behind the princess, and beside her we see the grotesquely misshapen
female dwarf Mari-Bárbola and the male dwarf Nicolasico Pertusato. Further back are a guard to the ladies and the lady in waiting
Dońa Marcela de Ulloa.
Velázquez is standing with brush and palette in front of a tall canvas. The princess's parents, the king and queen, appear in a dark
frame, probably the glass of a mirror. To the right of the mirror, on a flight of steps, stands Jose Nieto, the queen's palace marshal.
48. VELÁZQUEZ, Diego Rodriguez de Silva y
Diego Rodríguez de Silva y Velázquez (baptized on June 6, 1599 – August 6, 1660) was
a Spanish painter, the leading artist in the court of King Philip IV, and one of the most
important painters of the Spanish Golden Age.
He was an individualistic artist of the contemporary Baroque period, important as a
portrait artist. In addition to numerous renditions of scenes of historical and cultural
significance, he painted scores of portraits of the Spanish royal family, other notable
European figures, and commoners, culminating in the production of his masterpiece
Las Meninas (1656).
From the first quarter of the nineteenth century, Velázquez's artwork was a model for
the realist and impressionist painters, in particular Édouard Manet. Since that time,
famous modern artists, including Pablo Picasso, Salvador Dalí and Francis Bacon,
have paid tribute to Velázquez by recreating several of his most famous works.