"since become an emblematic painting for the symbolist movement. Stuck made twelve known versions of the painting. Some of these can be viewed at the Neue Pinakothek in Munich, the National Gallery in Berlin, the Galleria di arte Moderna in Palermo, the Frye Art Museum in Seattle, and at the Villa Stuck in Munich, where it is enshrined in the artist's ""Künstleraltar"". The Sin (painting) The Sin () is an 1893 painting by the German artist Franz Stuck. It depicts the nude Eve with a big serpent wrapped around her body. In the upper right corner is a bright field,"
"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"
"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 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."
"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"""
"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"
"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"
"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"
"Museu de Belles Arts de València The Museu de Belles Arts de València (; ; English: ""Museum of Fine Arts of Valencia"") is an art gallery in Valencia, Spain, founded in 1913. It houses some 2,000 works, most dating from the 14th–17th centuries, including a ""Self portrait of Diego Velázquez"", a ""St. John the Baptist"" by El Greco, Goya's ""Playing Children"", Gonzalo Pérez's ""Altarpiece of Sts. Ursula, Martin and Antony"" and a ""Madonna with Writing Child and Bishop"" by the Italian Renaissance master Pinturicchio. It houses a large series of engravings by Giovan Battista Piranesi. The museum is in the"
"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"
"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"
"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"
"from circulation. In the following year, 1624, he received 300 ducats from the king to pay the cost of moving his family to Madrid, which became his home for the remainder of his life. Through the bust portrait of the king, painted in 1623, Velázquez secured admission to the royal service, with a salary of 20 ducats per month, besides medical attendance, lodgings and payment for the pictures he might paint. The portrait was exhibited on the steps of San Felipe and was received with enthusiasm. It is now lost. The Museo del Prado, however, has two of Velázquez's portraits"
"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 Metropolitan Museum of Art in New York City, USA. This portrait procured his election into the Accademia di San Luca. Purportedly Velázquez created this portrait as a warm-up of his skills before his portrait of the Pope. It captures in great detail Pareja's countenance and his somewhat worn and patched clothing with an economic use of brushwork. In November 1650, Juan de Pareja was freed by Velázquez. The legal document exists. During his time in Rome, Velázquez commissioned twelve bronze copies of the Medici lions by Matteo Bonucelli da Lucca for the ""Room of Mirrors"" at the Royal Alcazar"
"Portrait of Francisco Lezcano Portrait of Francisco Lezcano or The ""Niño de Vallecas"" is the 1645 portrait by Diego Velázquez of Francisco Lezcano (died 1649), also known as ""Lezcanillo"" or ""el Vizcaíno"", a jester at the court of Philip IV of Spain. It has been in the Prado since 1819. The mountains round Madrid can be seen in the right background, whilst the subject holds cards in his hands. He is shown with his head slightly tilted and his right leg stuck out, in a pose possibly meant to imply his physical or psychological disability. The painting is part of"
"restored by conservators at Yale. In October 2011 it was confirmed by art historian Dr. Peter Cherry of Trinity College Dublin through x-ray analysis that a portrait found in the UK in the former collection of the 19th-century painter Matthew Shepperson is a previously unknown work by Velázquez. The portrait is of an unidentified man in his fifties or sixties, who could possibly be Juan Mateos, the Master of the Hunt for Velázquez's patron, King Philip IV of Spain. The painting measures 47 x 39 cm and was sold at auction on December 7, 2011, for £3,000,000. Velázquez, through his"
"year. It was described as ""a kitchen where a woman is pounding garlic"" without mention of the religious scene. It reached England probably already owned by Lt. Col. Henry Packe, who fought in the Peninsular War, and after the death of his son William in 1880 was auctioned at Christie's in 1881. It was bought by Sir William Henry Gregory who bequeathed it to the National Gallery in 1892. 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."
"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 Lady with a Fan (Velázquez) The Lady with a Fan is a major oil painting by the Spanish court painter Diego Velázquez. It depicts a woman wearing a black lace veil on her head and a dark dress with a low-cut bodice. On the basis of its place in Velázquez's stylistic development, the portrait is thought to have been painted between 1638 and 1639. It is now in the Wallace Collection in London. ""The Lady with a Fan"" is an enigmatic portrait. Although most other Velázquez portraits are easily recognizable likenesses of the members of the Spanish royal family,"
"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"
"Equestrian Portrait of the Count-Duke of Olivares Gaspar de Guzmán, Count-Duke of Olivares, on Horseback () is an oil on canvas painting by Spanish painter Diego Velázquez, made around the year 1636. It has been in the Museo del Prado in Madrid since its inauguration in 1819. The object of the work was to validate the power of Gaspar de Guzman, Count of Olivares and Duke of Sanlúcar la Mayor, known as the Count-Duke of Olivares, the chief minister under Philip IV of Spain, a Spanish nobleman and influential politician. In the style of Velázquez, this painting is an exception,"
"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"
"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"""
"mirror behind it. Infanta Margarita Teresa in a Blue Dress Infanta Margarita Teresa in a Blue Dress is one of the best known portraits by Spanish painter Diego Velázquez. Executed in oil on canvas, it measures 127 cm high by 107 cm wide and was one of Velázquez's last paintings, produced in 1659, a year before his death. It shows Margaret Theresa of Spain who also appears in the artist's ""Las Meninas"". Currently, the painting is in the Kunsthistorisches Museum. This is one of the several court portraits made by Velázquez on different occasions of Infanta Margaret Theresa who, at"
"of the picture. Despite their jeers, the woman to the left is also likely masturbating, which — in the absence of any written or oral comment from Goya on any work on the series — art critics and historians believe lends to the image's futile and sterile intent. The ""Black Paintings"" are housed in the Museo del Prado, Madrid. At the age of 75, living alone and in mental and physical despair, he completed the work as one of his 14 ""Black Paintings"", his final major series, which were executed in oil directly onto the plaster walls of the house"
"such famous variation, entitled ""Figure with Meat"" (1954), shows the pope between two halves of a bisected cow. In 2009, the ""Portrait of a Man"" in the collection of the Metropolitan Museum of Art, which had long been associated with the followers of Velázquez' style of painting, was cleaned and restored. It was found to be by Velázquez himself, and the features of the man match those of a figure in the painting ""the Surrender of Breda"". The newly cleaned canvas may therefore be a study for that painting. Although the attribution to Velázquez is regarded as certain, the identity"
"The Lunch (Velázquez) The Lunch is a very early painting by Spanish artist Diego Velázquez, finished c. 1617. The work, an oil painting on canvas, is in the Hermitage Museum of Saint Petersburg. The painting portrays a table covered by a creased cloth, on which lie two pomegranates and a piece of bread. People attending the lunch include an aged man on the left and a young man on the right, while, in the background, an apparently carefree boy pours wine into a jug. On the wall in the background hang a white neck-band, a leather bag and, on the"
"St. Pius V Palace, built in the 17th–18th centuries. It has also sections dedicated to sculpture, to contemporary art and to archaeological findings. Museu de Belles Arts de València The Museu de Belles Arts de València (; ; English: ""Museum of Fine Arts of Valencia"") is an art gallery in Valencia, Spain, founded in 1913. It houses some 2,000 works, most dating from the 14th–17th centuries, including a ""Self portrait of Diego Velázquez"", a ""St. John the Baptist"" by El Greco, Goya's ""Playing Children"", Gonzalo Pérez's ""Altarpiece of Sts. Ursula, Martin and Antony"" and a ""Madonna with Writing Child and"
"female nude models was frowned upon. The painting is believed to have been executed during one of Velázquez's visits to Rome, and Prater has observed that in Rome the artist ""did indeed lead a life of considerable personal liberty that would have been consistent with the notion of using a live nude female model"". It has been claimed that the painting depicts a mistress Velázquez is known to have had while in Italy, who is supposed to have borne his child. Others have claimed that the model is the same as in ""Coronation of the Virgin"" and ""Las Hilanderas"", both"
"Trucos"" of the same palace, at which time it gained its alternative name of ""Niño de Vallecas"". Portrait of Francisco Lezcano Portrait of Francisco Lezcano or The ""Niño de Vallecas"" is the 1645 portrait by Diego Velázquez of Francisco Lezcano (died 1649), also known as ""Lezcanillo"" or ""el Vizcaíno"", a jester at the court of Philip IV of Spain. It has been in the Prado since 1819. The mountains round Madrid can be seen in the right background, whilst the subject holds cards in his hands. He is shown with his head slightly tilted and his right leg stuck out,"
"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 Palacio de Velázquez, which is the only building that remains today. The Development Minister commissioned architect Ricardo Velázquez Bosco to build the main pavilion, later known as the Palacio de Velázquez; his team included engineer Alberto Palacio and ceramist tile maker Daniel Zuloaga, who through the Real Fábrica de La Moncloa, handled the palace's decoration. Exposición Nacional de Minería (1883) The Exposición Nacional de Minería, Artes Metalúrgicas, Cerámica, Cristalería y Aguas Minerales (National Exhibition of Mining, Metallurgical Arts, Ceramics, Glass and Mineral Waters) was an exhibition held in Madrid, Spain in 1883. Situated in the Parque del Buen Retiro"