"to assess the attack in terms of a murder (Richardson was nicknamed ""Slasher Mary""), and used words that conjured wounds inflicted on an actual female body, rather than on a pictorial representation of a female body. ""The Times"" described a ""cruel wound in the neck"", as well as incisions to the shoulders and back. Rokeby Venus The Rokeby Venus (; also known as The Toilet of Venus, Venus at her Mirror, Venus and Cupid, or La Venus del espejo) is a painting by Diego Velázquez, the leading artist of the Spanish Golden Age. Completed between 1647 and 1651, and probably"
"other works by Velázquez and was probably deliberate. The painting was given a major cleaning and restoration in 1965–66, which showed it to be in good condition, and with very little paint added later by other artists, contrary to what some earlier writers had asserted. Paintings of nudes and of Venus by Italian, and especially Venetian, artists were influences on Velázquez. However, Velázquez's version is, according to the art historian Andreas Prater, ""a highly independent visual concept that has many precursors, but no direct model; scholars have sought them in vain"". Forerunners include Titian's various depictions of Venus, such as"
"been cited as sources of inspiration for Velázquez. The nude Venuses of the Italian painters, such as Giorgione's ""Sleeping Venus"" (c. 1510) and Titian's ""Venus of Urbino"" (1538), were the main precedents. In this work, Velázquez combined two established poses for Venus: recumbent on a couch or a bed, and gazing at a mirror. She is often described as looking at herself on the mirror, although this is physically impossible since viewers can see her face reflected in their direction. This phenomenon is known as the Venus effect. In a number of ways the painting represents a pictorial departure, through"
"dress him with a white ribbon, representing chastity. ""Temptation of St. Thomas"" is among Velázquez's better-known paintings. Temptation of St. Thomas (Velázquez) The Temptation of St. Thomas is a painting by the Spanish Baroque painter Diego Velázquez, executed in 1632 and housed in the Museum of Sacred Art of Orihuela Cathedral, southern Spain. The work, for a period, was attributed to Murcian painter Nicolás de Villacis, until it was recognized as Velázquez's in the 1920s. It portrays the episode of the life of Saint Thomas Aquinas when, as a novice, he resisted the temptation represented by a prostitute, who is"
"not have been able to release his ""La Venus del espejo"" (c. 1644–1648, English: ""Venus at her Mirror"") also known as ""The Rokeby Venus"". It is the only surviving female nude by Velázquez. There were essentially only two patrons of art in Spain—the church and the art-loving king and court. Bartolomé Esteban Murillo was the artist favored by the church, while Velázquez was patronized by the crown. One difference, however, deserves to be noted. Murillo, who toiled for a rich and powerful church, left little means to pay for his burial, while Velázquez lived and died in the enjoyment of"
"Christ in the House of Martha and Mary (Velázquez) Christ in the House of Martha and Mary is an oil-on-canvas painting from Spanish artist Diego Velázquez, dating to his Seville period. Housed in the National Gallery, London, United Kingdom, it was painted in 1618, shortly after he completed his apprenticeship with Pacheco. At this time, Velázquez was experimenting with the potential of the ""bodegones"", a form of genre painting set in taverns (the meaning of ""bodegon"") or kitchens which was frequently used to relate scenes of contemporary Spain to themes and stories from the Bible. Often they contained depictions of"
"The Triumph of Bacchus The Triumph of Bacchus (Greek title is ""Ο Θρίαμβος του Βάκχου"") is a painting by Diego Velázquez, now in the Museo del Prado, in Madrid. It is popularly known as Los borrachos or ""The Drinkers"" (politely, also ""The Drunks""). Velázquez painted ""The Triumph of Bacchus"" after arriving in Madrid from Seville and just before his voyage to Italy. The work was painted for Philip IV, who paid Velázquez 100 ducats for it. The painting shows Bacchus surrounded by drunks. In Madrid, Velázquez was able to study the king's collection of Italian paintings and was no doubt"
"of her body. The composition mainly uses shades of red, white, and grey, which are used even in Venus's skin; although the effect of this simple colour scheme has been much praised, recent technical analysis has shown that the grey sheet was originally a ""deep mauve"", that has now faded. The luminescent colours used in Venus's skin, applied with ""smooth, creamy, blended handling"", contrast with the dark greys and black of the silk she is lying on, and with the brown of the wall behind her face. The ""Rokeby Venus"" is the only surviving nude by Velázquez, but three others"
"Christ Crucified (Velázquez) Christ Crucified is a 1632 painting by Diego Velázquez depicting the Crucifixion of Jesus. The work, painted in oil on canvas, measures 249 × 170 cm and is owned by the Museo del Prado. During his stay in Rome, Velázquez made various nude studies he used in later paintings, such as ""Apollo at the Forge of Vulcan"" (1630) and ""Joseph's Tunic"" (1630). Art critics assert that the nude study for this painting is exceptional and masterly in its fusion of serenity, dignity and nobility. It is a life-size frontal nude, without the support of a narrative scene."
"the painter Peter Paul Rubens who had also visited Spain in 1629. Velázquez painted two large canvases in the house of the Spanish ambassador. These two canvases formed a pair and were brought back to Spain with his luggage: ""Joseph's Tunic"" and ""Apollo in the Forge of Vulcan"". The subject is taken from Roman mythology, specifically from Ovid's ""Metamorphoses"". Velázquez interpreted the scene into a strictly human version, with contemporary figures. Apollo is seen wearing a toga which leaves his torso exposed to view. Vulcan, in this picture, is just a blacksmith, as are his helpers, who are men from"
"created National Art Collections Fund, its first campaigning triumph. King Edward VII greatly admired the painting, and anonymously provided £8,000 (£ in 2019) towards its purchase, and became Patron of the Fund thereafter. In part because he was overlooked until the mid-19th century, Velázquez found no followers and was not widely imitated. In particular, his visual and structural innovations in this portrayal of Venus were not developed by other artists until recently, largely owing to the censorship of the work. The painting remained in a series of private rooms in private collections until it was exhibited in 1857 at the"
"Infanta Margarita Teresa in a Pink Dress Infanta Margarita Teresa in a Pink Dress is a 1660 oil on canvas portrait of Margaret Theresa of Spain by the Spanish painter Diego Velázquez, though his identification as its author is not considered secure. It is now in the Prado Museum in Madrid. It was generally considered to be the last work in his oeuvre, with the dress by Velázquez himself and the head (left unfinished on Velázquez's death) and the bottom of the curtains completed by his pupil Juan Bautista del Mazo. However, recent studies by experts suggest it may be"
"better known as ""Las Meninas"" - showing a typical scene in a mid-16th-century court. The king and his second wife Mariana of Austria are shown reflected in a mirror in the work. It is Velázquez's best-known work, a symbol of his whole oeuvre, and has gradually come to be recognised as a masterpiece of Spanish art. The majority of Velazquez's paintings of the king and his relatives and nobles originally adorned the Palacio del Buen Retiro then, on its fall, moved to the Prado. Other royal subjects of his included Philip's first wife Elisabeth of France and their son Balthasar"
"Temptation of St. Thomas (Velázquez) The Temptation of St. Thomas is a painting by the Spanish Baroque painter Diego Velázquez, executed in 1632 and housed in the Museum of Sacred Art of Orihuela Cathedral, southern Spain. The work, for a period, was attributed to Murcian painter Nicolás de Villacis, until it was recognized as Velázquez's in the 1920s. It portrays the episode of the life of Saint Thomas Aquinas when, as a novice, he resisted the temptation represented by a prostitute, who is visible in the background door. The saint is held by an angel, while another is preparing to"
"may have commissioned himself, ""The Nude Maja"" and ""The Clothed Maja"". These bear obvious compositional similarities with Velázquez's ""Venus"", although unlike Velázquez, Goya clearly painted his nude in a calculated attempt to provoke shame and disgust in the relatively unenlightened climate of 18th-century Spain. ""Venus"" was brought to England in 1813, where it was purchased by John Morritt for £500 (£ in 2019), and on the advice of his friend Sir Thomas Lawrence. Morritt hung it in his house at Rokeby Park, Yorkshire—thus the painting's popular name. In 1906, the painting was acquired for the National Gallery by the newly"
"its central use of a mirror, and because it shows the body of Venus turned away from the observer of the painting. The ""Rokeby Venus"" is the only surviving female nude by Velázquez. Nudes were extremely rare in seventeenth-century Spanish art, which was policed actively by members of the Spanish Inquisition. Despite this, nudes by foreign artists were keenly collected by the court circle, and this painting was hung in the houses of Spanish courtiers until 1813, when it was brought to England to hang in Rokeby Park, Yorkshire. In 1906, the painting was purchased by National Art Collections Fund"
"of the sitter is still open to question. Some art historians regard this new study to be a self-portrait by Velázquez. In 2010 it was reported that a damaged painting long relegated to a basement of the Yale University Art Gallery might be an early work by Velázquez. Thought to have been given to Yale in 1925, the painting has previously been attributed to the 17th-century Spanish school. Some scholars are prepared to attribute the painting to Velázquez, though the Prado Museum in Madrid is reserving judgment. The work, which depicts the Virgin Mary being taught to read, will be"
"with blond hair, Velázquez's Venus is a brunette. The female figure can be identified as Venus because of the presence of her son, Cupid. Venus gazes into a mirror held by Cupid, who is without his usual bow and arrows. When the work was first inventoried, it was described as ""a nude woman"", probably owing to its controversial nature. Venus looks outward at the viewer of the painting through her reflected image in the mirror. However, the image is blurred and reveals only a vague reflection of her facial characteristics; the reflected image of the head is much larger than"
"Venus effect The Venus effect is a phenomenon in the psychology of perception, named after various paintings of Venus gazing into a mirror, such as Diego Velázquez's ""Rokeby Venus"", Titian's ""Venus with a Mirror"", and Veronese's ""Venus with a Mirror"". Viewers of such paintings assume that Venus is admiring her own reflection in the mirror; however, since the viewer sees her eyes in the mirror, Venus is actually looking at the reflection of the painter. This psychological effect is often used in the cinema, where an actor will be shown apparently looking at himself or herself in the mirror. What"
"painted by many later artists. Manet, in his stark female portrayal ""Olympia"", paraphrased the ""Rokeby Venus"" in pose and by suggesting the persona of a real woman rather than an ethereal goddess. ""Olympia"" shocked the Parisian art world when it was first exhibited in 1863. Olympia gazes directly out at the viewer, as does Velázquez's Venus, only through the reflection of the mirror. The 1961 film ""The Happy Thieves"" features a plan to steal the picture from a Spanish mansion. On 10 March 1914, the suffragette Mary Richardson walked into the National Gallery and attacked Velázquez's canvas with a meat"
"focal points. [...] The look [the two liggers on the left of Bacchus] direct at the viewer slices clean through 350 years in the most disconcerting way. [...] However one might describe them, we are made complicit in the meaning of the work."" The Triumph of Bacchus The Triumph of Bacchus (Greek title is ""Ο Θρίαμβος του Βάκχου"") is a painting by Diego Velázquez, now in the Museo del Prado, in Madrid. It is popularly known as Los borrachos or ""The Drinkers"" (politely, also ""The Drunks""). Velázquez painted ""The Triumph of Bacchus"" after arriving in Madrid from Seville and just"
"religious motif. Suggested influences for the painting include Flemish engravings by Jacob Matham. The appearance of the Supper at Emmaus in the Dublin version has led some authors to suggest a possible influence by Caravaggio, although this is uncertain as it is difficult to establish whether works by the Italian painter or by his contemporaries could have reached Seville and for Velázquez to have been familiar with them. proposed version discovered in Houston MFAH. http://houston.culturemap.com/news/arts/11-12-18-museum-of-fine-arts-houston-rare-diego-velazquez-painting/ Representation of slavery in European art The Kitchen Maid The Kitchen Maid (in Spanish La mulata, La cocinera or Escena de cocina (""Kitchen Scene"")) is"
"painting have inspired much religious writing, notably the poem ""El Cristo de Velázquez"" by the Spanish writer and philosopher [[Miguel de Unamuno]]. [[Category:1632 paintings]] [[Category:Velazquez paintings in the Museo del Prado]] [[Category:Religious paintings by Velazquez]] [[Category:Crucifixion of Jesus in art]] Christ Crucified (Velázquez) Christ Crucified is a 1632 painting by Diego Velázquez depicting the Crucifixion of Jesus. The work, painted in oil on canvas, measures 249 × 170 cm and is owned by the Museo del Prado. During his stay in Rome, Velázquez made various nude studies he used in later paintings, such as ""Apollo at the Forge of Vulcan"""
"a model of reality"". Many aspects of ""Las Meninas"" relate to earlier works by Velázquez in which he plays with conventions of representation. In the ""Rokeby Venus""—his only surviving nude—the face of the subject is visible, blurred beyond any realism, in a mirror. The angle of the mirror is such that although ""often described as looking at herself, [she] is more disconcertingly looking at us"". In the early ""Christ in the House of Martha and Mary"" of 1618, Christ and his companions are seen only through a serving hatch to a room behind, according to the National Gallery (London), who"
"Venus"", but in fact of a nude Spanish woman. More obviously, while Velázquez painted his Venus revealing only her back, Goya's portrait is a full frontal view. Goya's figuration is short and angular, while Velázquez's is elongated and curved, and his figure placed on richly coloured satin, which starkly contrasts to the bare white cloths Goya's maja rests on. The identity of the model and why the paintings were created are unknown. Both paintings are first recorded in an inventory of unpopular and unsuccessful art by Prime Minister Manuel de Godoy, Duke of Alcúdia in 1800, when they were hung"
"Las Meninas Las Meninas (; Spanish for ""The Ladies-in-waiting"") is a 1656 painting in the Museo del Prado in Madrid, by Diego Velázquez, the leading artist of the Spanish Golden Age. Its complex and enigmatic composition raises questions about reality and illusion, and creates an uncertain relationship between the viewer and the figures depicted. Because of these complexities, ""Las Meninas"" has been one of the most widely analyzed works in Western painting. The painting shows a large room in the Royal Alcazar of Madrid during the reign of King Philip IV of Spain, and presents several figures, most identifiable from"
"The Needlewoman The Needlewoman () is an oil-on-canvas painting by Diego Velázquez, painted between 1635 and 1643. It is housed in the National Gallery of Art in Washington, D.C. ""The Needlewoman"" is an unfinished portrait, in which the head, modeled in light and shadow, is the most fully realized part. The arms and hands are sketched in briefly. The result displays Velázquez's facility for portraying gesture, his method of summarily constructing the figure, and his ability to suggest a subject's melding into the surrounding atmosphere. Similarities have been noted between ""The Needlewoman"" and ""The Lady with a Fan""; not only"
"the painting as entirely by the master is supported by the inventory made of the work in Velázquez's rooms at the time of his death, which includes a description of ""Another head, of a woman doing needlework"". The painting came into the possession of Andrew W. Mellon in 1927, thence to the National Gallery as part of the Mellon collection in 1937. López-Rey, Jóse, ""Velázquez: Catalogue Raisonné"". Taschen, 1999. The Needlewoman The Needlewoman () is an oil-on-canvas painting by Diego Velázquez, painted between 1635 and 1643. It is housed in the National Gallery of Art in Washington, D.C. ""The Needlewoman"""
"as well as classical sculptures known to Velázquez, of which casts were made for Madrid. These were the ""Sleeping Ariadne"" now in the Pitti Palace, but then in Rome, of which Velázquez ordered a cast for the Royal collection in 1650–51, and the Borghese Hermaphroditus, a sleeping hermaphrodite (picture to the right above), now in the Louvre, of which a cast was sent to Madrid, and which also emphasises the curve from hip to waist. However, the combination of elements in Velázquez's composition was original. The ""Rokeby Venus"" may have been intended as a pendant to a sixteenth-century Venetian painting"
"the ground. Bertamini et al. (2010) conducted additional studies and confirmed that the Venus effect also occurs with photographs, and in real life when the person and the mirror are seen in a room. Venus effect The Venus effect is a phenomenon in the psychology of perception, named after various paintings of Venus gazing into a mirror, such as Diego Velázquez's ""Rokeby Venus"", Titian's ""Venus with a Mirror"", and Veronese's ""Venus with a Mirror"". Viewers of such paintings assume that Venus is admiring her own reflection in the mirror; however, since the viewer sees her eyes in the mirror, Venus"
"Pardo Venus The Pardo Venus is a painting by the Venetian artist Titian, completed in 1551 and now in the Louvre Museum. It is also known as Jupiter and Antiope, since it seems to show the story of Jupiter and Antiope from Book VI of the ""Metamorphoses"" (lines 110-111). It is Titian's largest mythological painting, and was the first major mythological painting produced by the artist for Philip II of Spain. It was long kept in the Royal Palace of El Pardo near Madrid (not to be confused with the Prado, a purpose-built museum), hence its usual name; whether Venus"
"Austria. It was especially admired by the Impressionists and painters of subsequent movements for the lightness of its stroke. Infanta Margarita Teresa in a Pink Dress Infanta Margarita Teresa in a Pink Dress is a 1660 oil on canvas portrait of Margaret Theresa of Spain by the Spanish painter Diego Velázquez, though his identification as its author is not considered secure. It is now in the Prado Museum in Madrid. It was generally considered to be the last work in his oeuvre, with the dress by Velázquez himself and the head (left unfinished on Velázquez's death) and the bottom of"
"have been able to see it on occasion throughout its history. Velázquez's portrait is a staging of a private moment of intimacy and a dramatic departure from the classical depictions of sleep and intimacy found in works from antiquity and Venetian art that portray Venus. However, the simplicity with which Velázquez displays the female nude—without jewellery or any of the goddess's usual accessories—was echoed in later nude studies by Ingres, Manet, and Baudry, among others. In addition, Velázquez's depiction of Venus as a reclining nude viewed from the rear was a rarity before that time, although the pose has been"