Baroque Style - artworks. Related Artists. Titian c. Francisco Pacheco - Caravaggio - Peter Paul Rubens - Gerard Terborch - Joshua Reynolds - Francisco Goya - Gustave Courbet - Caravaggio was famous for his dark, dramatically lit works and un-idealised models.
Copies of his paintings spread all over Europe. A year later, he married Pacheco's daughter Juana and by , the couple had two daughters. Occasionally, and more unusually, he combined the two. His picture of Christ in the House of Martha and Mary is a kitchen scene, but on the back wall is a hatch revealing Christ addressing Mary in the background.
When Rubens arrived in Madrid on a diplomatic mission in , the two artists became well acquainted. He also sought out new paintings to buy on behalf of the King. Its loosely painted technique shows a distinctly Venetian influence.
From his arrival he had continued to rise up the ranks in the royal household. In he was made Assistant to the Wardrobe - a position of trust and responsibility. He continued to be busy with commissions however, producing paintings for the new Palacio del Buen Retiro, and other residencies.
A large proportion of his work was made up of royal portraits of the king and his family including the queen, their children, and their court jesters and dwarfs. He was also made superintendent of the palace works. While there he painted several portraits, including one of Pope Innocent X. However, if few ladies of the court of Philip have been depicted, Velazquez painted several of his buffoons and dwarfs. Velazquez appears to represent them with respect and sympathetically, as in El Primo , English: The Favorite , whose intelligent face and huge folio with ink-bottle and pen by his side show him to be a wiser and better-educated man than many of the gallants of the court.
The greatest of the religious paintings by Velazquez also belongs to this middle period, the Cristo Crucificado , English: Christ on the Cross. The Savior's head hangs on his breast and a mass of dark tangled hair conceals part of the face. The figure stands alone. The picture was lengthened to suit its place in an oratory, but this addition has since been removed. Some believe that the man in this painting is his uncle.
Velazquez's son-in-law Juan Bautista Martinez del Mazo had succeeded him as usher in , and Mazo himself had received a steady promotion in the royal household. Mazo received a pension of ducats in , increased to in , for portraits painted and to be painted, and was appointed inspector of works in the palace in Philip now entrusted Velazquez with carrying out a design on which he had long set his heart: the founding of an academy of art in Spain. Rich in pictures, Spain was weak in statuary, and Velazquez was commissioned once again to proceed to italy to make purchases.
Accompanied by his manservant Juan de Pareja, whom he trained in painting, Velazquez sailed from Malaga in , landing at Genoa, and proceeded from Milan to Venice, buying paintings of Titian, Tintoretto and Veronese as he went. At Modena he was received with much favor by the duke, and here he painted the portrait of the duke at the Modena gallery and two portraits that now adorn the Dresden gallery, for these paintings came from the Modena sale of Those works presage the advent of the painter's third and latest manner, a noble example of which is the great portrait of Pope innocent X in the Doria Pamphilj Gallery in Rome, where Velazquez now proceeded.
There he was received with marked favor by the Pope, who presented him with a medal and golden chain. Velazquez took a copy of the portrait-which Sir Joshua Reynolds thought was the finest picture in Rome-with him to Spain. Several copies of it exist in different galleries, some of them possibly studies for the original or replicas painted for Philip.
Velazquez, in this work, had now reached the manera abreviada, a term coined by contemporary Spaniards for this bolder, sharper style.
The portrait shows such ruthlessness in innocent's expression that some in the Vatican feared that Velazquez would meet with the Pope's displeasure, but innocent was well pleased with the work, hanging it in his official visitor's waiting room. This portrait procured his election into the Academy of St. Purportedly Velazquez created this portrait as a warm-up of his skills before his portrait of the Pope.
King Philip wished that Velazquez return to Spain; accordingly, after a visit to Naples, where he saw his old friend Jose Ribera, he returned to Spain via Barcelona in , taking with him many pictures and pieces of statuary, which afterwards were arranged and cataloged for the king. Undraped sculpture was, however, abhorrent to the Spanish Church, and after Philip's death these works gradually disappeared. He was specially chosen by the king to fill the high office of aposentador mayor, which imposed on him the duty of looking after the quarters occupied by the court-a responsible function which was no sinecure and one which interfered with the exercise of his art.
Yet far from indicating any decline, his works of this period are amongst the highest examples of his style. Had it not been for this royal appointment, which enabled Velazquez to escape the censorship of the inquisition, he would not have been able to release his La Venus del espejo c. There were essentially only two patrons of art in Spain-the church and the art-loving king and court. Bartolome Esteban Murillo was the artist favored by the church, while Velazquez was patronized by the crown.
One difference, however, deserves to be noted. Born in in Seville, he lived and painted until his death in at the age of sixty one. He was the eldest of six siblings, five brothers and one sister, although little to nothing is known about them. In addition, his place of work was a regular meeting place for leading Seville intellectuals, including artists, poets, and various scholars.
Frequent discussion centered on artists such as Michelangelo, Raphael, Titian, and Caravaggio, while the theory of art was, as one would expect, a central topic of discussion. Luke, he was accepted in and marked the beginning of his independent career as an artist.
His membership in the guild allowed him to establish his own workshop, complete with assistants. More importantly, it allowed him to accept commission from the Holy Church, the major commissioner of significant artistic works at the time.
His personal life was not as successful as his professional life because over the course of the following three years, he had two daughters, but only Francisca survived. The social contacts which were readily available via Juana and her father though, ensured the survival of his professional artistic career.
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