KHM Booklet Velazquez eng fuer pdf · 2014-10-24 · The painting was originally displayed in the chapter house of the Carmelite monastery to - gether with a painting commensurate

Velázquez

EN

OCtOber 28,, 2014 – february 15, 2015

1st Floor

■ Special exhibition »Velázquez«

■ Picture Gallery Dutch, Flemish and German painting

■ Picture Gallery Italian, Spanish and French painting

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Entrance to the exhibition

1

Diego Velázquez

the ImmaCulate COnCeptIOn

c. 1617Sevilla, Fundación Focus-Abengoa

Today this Maria Immaculata is regarded as

one of Velázquez’ earliest works. When it first

appeared on the art market it was attributed

to Alonso Cano, Velázquez’ fellow pupil in

the workshop of Francisco Pacheco. However,

following scientific analyses it is now gener-

ally regarded as a work by the then eighteen-

year-old Velázquez, possibly executed imme-

diately after he had completed his training

(March 14, 1617).

Though not yet a dogma, the Immaculate Con-

ception had numerous fervent supporters in

Seville and was the subject of many passion-

ate debates.

In his composition Velázquez follows St. John’s

Apocalypse: «a woman clothed with the sun,

with the moon under her feet and a crown of

twelve stars on her head«. This composition

differs from Velázquez’ second version (see

no. 2) in the figure’s strict frontality and com-

pact silhouette, and the Blessed Virgin’s

direct gaze.

Velázquez, celebrated as the »painter of paint-

ers« by Édouard Manet, inspired some of his

greatest fellow artists – Goya, Picasso, Francis

Bacon: come and fall under his spell in the

first-ever Velázquez exhibition in Austria!

The Kunsthistorisches Museum holds the largest

collection of portraits by Velázquez outside the

Prado. For the first time these paintings are

now displayed in the context of the master’s

oeuvre.

His early works featuring haunting every-day

scenes, his paintings for the court in Madrid,

portraits of kings and royal children as well as

of jesters and dwarfs, religious and mytholog-

ical scenes, among them the Rokeby Venus, per-

haps the most beautiful nude back ever painted

– all this is on show in the exhibition.

This booklet comprises the labels of all the

paintings in the exhibition, inviting you to view

them at your leisure, close up or from a dis-

tance.

For more information please see the exhibition

catalogue.

INtroductIoN

When Velázquez painted this Adoration of

the Magi it was his largest and most ambitious

composition to date. It was probably commis-

sioned by the Jesuits in Seville, with whom

the artist’s teacher and father-in-law main-

tained excellent relations. Velázquez’ obvious

desire to achieve a great degree of authen -

ticity and emotional intensity reflects and cor-

responds with the Jesuits’ educational pro-

gramme. The protagonists were clearly paint-

ed from the life: the aged king on the left is a

portrait of Pacheco, and both the king in the

foreground and St. Joseph are modelled on

Velázquez’ own features.

These highly individual figures are arranged

in a monumental composition, and their pres-

ence is enhanced by Velázquez’ choice of

strong colour highlights.

The effective lighting of this nocturnal scene

shows that the artist was aware of the novel

ideas propagated by Caravaggio and his fol-

lowers.

3

Diego Velázquez

the adOratIOn Of the magI

1619Madrid, Museo Nacional del Prado

2

Diego Velázquez

the ImmaCulate COnCeptIOn

c. 1618–1619London, The National Gallery

Velázquez probably painted his second Maria

Immaculata for the Carmelite monastery in

Seville. The order was a particularly fervent

defender of the dogma of the Immaculate Con-

ception.

In a very short span of time the young artist

demonstrated his ability to render a then very

popular and frequently depicted figure in dif-

ferent ways: here the Virgin’s eyes are low-

ered to the left, and her cloak is billowing in

the same direction, while she has turned slight-

ly to the right. In these subtle and complex

counter-movements the second Virgin differs

markedly from the strict frontality of her pre-

decessor (see no. 1).

The painting was originally displayed in the

chapter house of the Carmelite monastery to-

gether with a painting commensurate to it de-

picting St. John on Patmos, i.e. the author of

the Apocalypse. Other orders in Seville such

as the Antonites and the Jesuits began to take

notice of the young master and commissioned

works from him (see no. 3).

Inscription and size (both of the figures and

of the painting) document that these two

Apostles belong together; this makes it even

more impressive how clearly Velázquez dif-

ferentiated their characters: the diagonal lance

and St. Thomas’ profile portrait suggest move-

ment, his features express restlessness –

Velázquez is depicting St. Thomas’ doubts,

which he overcame to proselyte and teach the

word of the Lord.

In India, St. Thomas was martyred with a

lance; it is also the weapon with which Christ’s

side was pierced, the very wound into which

doubting Thomas had to place his fingers be-

fore believing that the man in front of him

was truly the Risen Christ.

We encounter the young man Velázquez used

as a model for his Apostle in a number of

works from this period: for example he is one

of the Peasants at Table (no. 8), and the vio-

linist in The Three Musicians (no. 7).

5

Diego Velázquez

SaInt thOmaS

c. 1619–1620Orléans, Musée des Beaux Arts

Depictions of the Apostles, often as part of a

cycle, were popular in Counter-Reformation

art; they were Christ’s original audience, then

the propagators of his teachings, and finally

the first martyrs of the Catholic Church.

Spain has celebrated series by El Greco and

Ribera, the Netherlands by Rubens and Van

Dyck. However, only two depictions by

Velázquez are known today; they were prob-

ably once part of a larger ensemble, one most

likely commissioned for the Carthusian mon-

astery Santa Maria de las Cuevas in Seville.

Velázquez depicts St. Paul without his sword,

i.e. not as a martyr but as the author of the

Epistles – hence the large book. The figure’s

monumental compactness expresses the saint’s

strong, steadfast character, while the shimmer

of light surrounding the Apostle’s head de-

notes the divine sphere. The impressive ren-

dering of his features is based on a thorough

study of nature.

4

Diego Velázquez

SaInt paul

c. 1619–1620Barcelona, Museu Nacional d’Art de Catalunya

7

Diego Velázquez

three muSICIanS

c. 1617–1618 Berlin, Staatliche Museen, Gemäldegalerie

Three Musicians is regarded as the artist’s earl i-

est extant work in the genre then known as

bodegones (cookshops or inns). Velázquez did

not invent this genre, but – clearly aware of

Caravaggio’s work – he developed it dramat-

ically. Showing a profound love of experiment-

ing, the eighteen-year-old artist painted what

were then regarded as lowly scenes depicting

drinking musicians.

His teacher Pacheco described such compo-

sitions as »ridiculous figures in various ugly

subject matters that are intended to make one

laugh«. The boy on the left is doing exactly

that: he has stopped playing his vihuela, raised

his full glass and faces us, laughing. And we

understand: the two musicians’ ecstatic con-

centration is probably the result of having

drunk too much.

All four Gospels record the denial of Saint

Peter: thrice he denied knowing Jesus, but af-

ter his third denial he heard the rooster crow

for the first time and recalled the Lord’s pre-

diction of his faithlessness. Theologians have

interpreted it as an example of repentance

and penitence, and as a precursor of the sac-

rament of confession.

Most of the versions by Velazquez’ contem-

poraries usually focus on depicting emotions,

showing Saint Peter crying, his head bent in

shame, the rooster at his side.

Not so Velázquez: as the new day dawns in

the background he depicts the moment that

precedes Peter’s tears, and the terrible reali-

zation of his faithlessness is reflected in his

face.

No less than six extant copies and versions of

this compositions bear witness to its popular-

ity. The one on show here is regarded as the

earliest and best, and is generally attributed

to Velázquez.

6

Diego Velázquez

the tearS Of SaInt peter

c. 1618–1619Madrid, Collection Villar Mir

9

Diego Velázquez

the WaterSeller

c. 1622London, Apsley House, The Wellington Collection

Many regard this as Velázquez’ best work from

his early years in Seville, and it is undoubted-

ly the most important of his bodegones.

The artist achieved such a degree of verisim-

ilitude that the scene seems to take place in

front of our eyes. In fact, the composition is

so carefully balanced and arranged as to re-

semble a regal ceremony. Then ubiquitous

throughout Europe, watersellers were essen-

tial in Seville. Nonetheless, they were ranked

near the bottom of the social pyramid. But

Velázquez reverses this completely and im-

bues the old man with dignity, although the

higher social status of the boy clutching the

full glass is clearly indicated by his fine clothes

and light skin.

In this painting Velázquez has »reversed ques-

tions of class in primary needs« (Martin Warn-

ke). We find the same expression of humanity

in all his portraits of court jesters and dwarfs.

8

Diego Velázquez

peaSantS at table (el almuerzO)

c. 1618–1620Budapest, Szépmuvészeti Múzeum

There are two possible explanations for the

uneven handling in this painting: it is either

in a deplorable condition, with large areas

overpainted by a later hand, or a co-produc-

tion between Velázquez and one of his assist-

ants. Today, most art historians support the

latter explanation.

The young man on the right (possibly the

model also used for Saint Thomas; see no. 5)

is most probably by Velázquez himself, an at-

tribution supported by the lighting and the

natural modelling of his skin and clothes.

The composition evolved out of the undoubt-

edly autograph table scene now in the Her-

mitage in St. Petersburg (c. 1618). There are a

number of other bodegones by Velázquez of

which several versions and copies have sur-

vived; many of them differ markedly in their

handling, bearing witness to the fact that the

successful young artist obviously had a studio

with able assistants to satisfy the growing de-

mand for his compositions.

11

Diego Velázquez

pOrtraIt Of KIng phIlIp IV

1623–1624Dallas, Meadows Museum

The excellent connections of Francisco Pache-

co, Velázquez’ father-in-law, helped the young

artist to establish himself in Madrid in 1623.

After the king had seen Velázquez’ portrait of

his prime minister, the Conde Duque de Oli-

vares, Philip IV decided to sit for him too. A

number of portraits connected to Velázquez

have survived from this time, both full-length

and half-length compositions.

This may be the original version of the half-

length portraits, because Pacheco recorded

that the king had but little time to sit to

Velázquez and that the young artist finished

the picture in a single day, which would have

been impossible if it had been a full-length

portrait. The execution of the collar and the

right shoulder suggest this is an autograph

work. The king was extremely pleased with

his portrait, promising Velázquez that no

other painter wold ever be allowed to paint

him (see no. 34).

Góngora’s portrait comprises a combination

of clearly defined planes that capture both his

actual features and his character. A native of

Córdoba, the poet Luis de Góngora (1571–1627)

was one of the leaders of Madrid’s intellec-

tual elite.

Velázquez made the most of his chance to por-

tray this celebrated man-of-letters. The young

painter had only recently arrived in Madrid

in the hope of securing a position at the court

of the young king. With this portrait Velázquez

demonstrated his virtuosity in the genre most

closely connected with the court: portraiture.

The painting was a huge success and led to

commissions from members of the aristoc racy

and eventually from the king himself .

Velázquez became court painter and was

granted the exclusive privilege to portray the

king.

10

Diego Velázquez

dOn luIS de góngOra

1622Boston, Museum of Fine Arts

13

Diego Velázquez

SaInt rufIna

c. 1630–1632Sevilla, Fundación Focus-Abengoa

Rufina, the daughter of a Christian potter in

3rd century Seville, is said to have refused to

sell pottery during a heathen feast, upon which

she was tortured and killed.

From 1868 this picture of Saint Rufina, who

continues to be revered in Seville, was attrib-

uted to Murillo, although until then it had

been regarded as a work by Velázquez, one

that could be traced back to the collection of

one of his patrons, Luis Méndez de Haro

(1598–1661).

After the painting was acquired for Seville

from a private collection in 2007 it was ana-

lysed and restored, resulting in its re-attribu-

tion to Velázquez and its dating to the years

after his first trip to Italy (see no. 21).

Its intimate mood has given rise to the – as

yet unproven – suggestion that one of Velá z-

quez’ daughters (Francisca, born in 1619, or

Ignacia, born in 1621) may have served as his

model.

In this full-length portrait of Don Carlos de

Austria, the brother of King Philip IV,

Velázquez depicts the prince in an empty

room. But the shimmering reflections add

splendour, texture and colour as well as vol-

ume to the body. With a natural, self-assured

gesture Don Carlos clasps his glove, and the

delicate hues and the play of light and shadows

imbue even the smallest detail with meaning.

Note also the impressive effect of the face being

set before a diffuse dark background, adding

tension to the overall atmosphere. At the same

time, the sitter’s melancholy gaze reflects both

his mood and his role at the Spanish court.

Surrounded by siblings with successful polit-

ical careers, Don Carlos spent his entire life

in the shadow of his royal brother.

12

Diego Velázquez

the Infante dOn CarlOS

c. 1628Madrid, Museo Nacional del Prado

15

Diego Velázquez

VulCan’S fOrge

1630Madrid, Museo Nacional del Prado

Ovid records that Venus cheated on her hus-

band Vulcan with Mars. Here, Velázquez de-

picts the moment when Apollo enters Vul-

can’s forge to tell him of his wife’s infidelity.

Apollo’s ideal youthful beauty is set off by

the realistic rendering of the divine black-

smith and his assistants. These men are used

to hard labour, their gestures and expressions

are extremely life-like. At the same time their

semi-nude bodies are informed by classical

sculpture.

The painting dates from Velázquez’ first Ital-

ian sojourn. For the first time he used a light

grounding which increases the intensity of the

colours. Details like the rendering of materi-

als such as Apollo’s shimmering cloak, the

red-hot iron, or the jug on the ledge document

his virtuosity, but he also renders emotions

convincingly. All this makes the painting a

seminal turning point in Velázquez’ artistic

development.

A fight has broken out in front of an inn; sev-

eral people are involved and one of them has

already been knocked to the ground. The scat-

tered cards are probably the reason for the

brawl. Velázquez composed a highly dramat-

ic scene within a compact space, one in which

every figure is shown in a different pose but

where all interact with one another. It is not

clear who is fighting with whom, the drama

is approaching its climax, but the outcome is

still unclear.

At the beginning of his career Velázquez de-

picted kitchen and inn scenes, and, inspired

by Caravaggio and his followers, scenes of

everyday life. During his first trip to Italy

Velázquez was able to meet some of the Lom-

bard’s followers. Velázquez’ compositions are

probably inspired not only by their works but

also by every-day scenes he witnesses in the

streets of Rome.

14

Diego Velázquez

the braWl (»la rISSa«)

1630Rom, Collection Pallavicini

17

Diego Velázquez

VIeW Of the gardenS Of the VIlla medICI In rOme, WIth a Statue Of arIadne


This paint ing plays a seminal role in

Velázquez’ oeuvre: it and a companion piece

painted at the same time are his sole autono-

mous landscapes.

Velázquez travelled twice to Italy, where rec-

ommendation letters from his royal patron

opened the doors to the palaces of the great

noblemen and their collections. His teacher

Francisco Pacheco reports that Velázquez

stayed at the Villa Medici in Rome in the sum-

mer of 1630, during which time he probably

painted this picture. Note his incredible open

handling (some details are merely suggested

by his almost transparent brushstrokes) that

perfectly captures a momentary mood of light

and air. His free brushwork emphasises how

transient this mood is. It is hard to believe

that he did not paint this in situ. Still the ex-

ception rather than the rule in the 17th century,

it reflects a modern understanding of art and

has been admired as a precursor of the ideas

propounded by the Impressionists.

With a few quick brushstrokes Velázquez

evokes a youthful head in profile. The laurel

wreath identifies him as the god Apollo. The

delicate paint layers that outline his silhou-

ette, the freely painted curls, and especially

the leaves of the wreath document the artist’s

virtuosity. The painting is almost mono-

chrome, its only colour accents are the green

laurel leaves and the deity’s slightly flushed

cheeks. The head is generally identified as a

preparatory study for the figure of Apollo in

Vulcan’s Forge. However, it is softer and more

youthful than the deity in the finished paint-

ing, whose turn of the head is somewhat dif-

ferent and which is also more majestic. X-ray

analyses of the Forge have shown that this

study conforms to the first version of Apollo

that Velázquez altered in the final painting.

16

Diego Velázquez

head Of apOllO

c. 1630New York, private collection

Isabel of Bourbon, the daughter of Maria de

Medici and Henry IV of France, was the first

wife of King Philip IV and the mother of Don

Baltasar Carlos (see nos. 23 and 24) and the

Infanta Maria Teresa (see no. 33). Much loved

by the Spanish people, she was in many ways

her husband’s equal partner. From her ar rival

at the Spanish court Isabel was closely

watched by the power-hungry Conde Duque

de Olivares but was eventually able to rejoice

at his fall from favour.

Like its companion piece (see no. 18), the

painting was executed with the help of

Velázquez’ workshop. On the one hand it is

informed by Flemish court portraiture, which

found its apex in the portraits painted by An-

thony van Dyck while at Genoa. On the oth-

er hand, the shimmering reflexions documents

Velázquez’ admiration for Titian’s work. The

fabric gleaming through her closed fan offers

insights into the work’s genesis.

19

Diego Velázquez and workshop

Queen ISabel Of SpaIn

1632Vienna, Kunst- histori sches Museum

Philip IV was the last king of Spain whose

foreign policy reflected Spain’s status as a

major European power. But the independence

of the States General, the rise of England as

a naval power, the loss of Portugal, and the

ultimate triumph of France, which replaced

Spain as Europe’s leading power, resulted in

the country’s rapid demise. Despite all this,

Spain experienced a cultural flowering gener-

ally known as the »siglo de oro« with artists

such as Velázquez and Murillo, and writers

like Lope de Vega and Calderón.

Velázquez painted this portrait together with

one of Queen Isabel (see no. 19) shortly after

his return from his first trip to Italy. Both

paintings were probably intended as gifts for

the sister of Philip IV, Maria Anna, and her

husband, the future Emperor Ferdinand III.

To fulfil all his royal commissions Velázquez

quickly established a workshop. Both portraits

were cropped at some later date.

18


KIng phIlIp IV Of SpaIn

1631–1632Vienna, Kunst- histori sches Museum

Velázquez probably painted this portrait short-

ly after his return from Italy, filled with many

new impressions. Typical for works from this

period are a white or light grey grounding that

begins to replace the red grounding Velázquez

had used up to now: a change probably occa-

sioned by the arrival of Rubens in Madrid in

1628. The sitter has not yet been identified al-

though there are a number of similarities with

portraits of Leonor Maria de Guzmán, count-

ess of Monterrey. She was a sister of the Conde

Duque de Olivares and the wife of the Conde

de Monterrey, who was Spanish ambassador

to Rome (1628–1631) and then (1631–1637) Vice-

roy in Naples. Whoever she is, the formal pose

with one hand resting on the back of a chair

reflects her elevated social rank. The portrait

documents the sitter’s exalted status, which

allowed her to remain seated in the presence

of members of the royal family.

21

Diego Velázquez

pOrtraIt Of a lady

1630–1633Berlin, Staatliche Museen, Gemäldegalerie

20

Diego Velázquez

pOrtraIt Of Juan mateOS

c. 1632Dresden, Staatliche Gemäldesammlung

Objects associated with hunting such as the

pistol and the dagger in his belt identify the

sitter as Juan Mateos, Philip VI’s head hunts-

man. Mateos had trained with his father, mov-

ing with him from the Estremadura to Madrid

in 1603 and working as a marksman and a

beater first for Queen Margarita and then for

King Philip III. Under Philip IV he was pro-

moted to head huntsman. His duties com-

prised accompanying the king when he hunt-

ed, and organizing the three great royal hunts

held every year for the court. Hunting was re-

garded as the noblest training for war. It was

less a sport than a disciplined princely duty

that hardened the noble hunter and intro-

duced him to danger. Mateos wrote a treatise

on hunting and dedicated it to the king. Con-

sidering his prominent position at court, it

may even have been Philip IV himself who

commissioned this portrait of one of his clos-

est servants.

23


Infante baltaSar CarlOS


In 1639 Philip IV sent this painting to Vienna

in connection with a proposed marriage. Now

cropped on all sides, it depicts the heir to the

Spanish crown aged about ten. Parts of this

full-length portrait are by Velázquez’ work-

shop. The prince is dressed in black velvet em-

broidered in silver, one hand on his rapier,

the other on the back of a chair. He is wear-

ing the chain of the Order of the Golden

Fleece, of which he became a member on Oc-

tober 24, 1638. The portrait was probably paint-

ed to commemorate this momentous event,

or shortly afterwards. In 1643 Mazo was in-

stalled as court painter to the crown prince,

so this is Velázquez’ last picture of Baltasar

Carlos, who died suddenly in 1646 aged only

sixteen.

Note the marvellous rendering of fabrics and

materials: Velázquez used quick broad strokes

for the heavy black velvet and fine, almost in-

visible brushstrokes for the prince’s delicate

skin.

22

Diego Velázquez

Infante baltaSar CarlOS WIth a dWarf

1631–1632Boston, Museum of Fine Arts

Velázquez was in Italy when the long-await-

ed heir to the Spanish crown was born in 1629,

but Philip IV refused to have his son painted

by anyone but him. Probably executed short-

ly after the painter’s return, this double-por-

trait is regarded as the earliest portrait of the

prince. Velázquez’ new palette reflects his

study of Titian and Venetian painting during

his Italian sojourn.

The prince is standing on a small podium.

Sash, gorget and the plume hat on a velvet

pillow, together with his marshal’s baton and

rapier, celebrate the future ruler and com-

mander-in-chief. The poignant contrast with

the court dwarf underlines the majesty and

decorum of the sumptuously dressed little

prince. The former clutches a rattle instead of

a sceptre, a real apple instead of an orb. In

the Baroque, court jesters and dwarfs were

believed to be able to avert the »evil eye« and

other calamities from members of the ruling

family by drawing it onto themselves.

24

Juan Bautista Martínez del Mazo & Diego Velázquez(copy after Peter Paul Rubens)

phIlIp IV On hOrSebaCK

1644–1648Florence, Uffizi Gallery

As early as 1625 Velázquez was commissioned

to paint an equestrian portrait of the king for

the »New Hall« at the Alcázar in Madrid. A

few years later, however, the picture was re-

placed by a work by Peter Paul Rubens.

Rubens’ original was lost in the 1734 fire of the

Alcázar but is recorded in this copy. Mazo

painted the king’s horse and the women. The

face of Philip IV, however, is by Velázquez

himself.

The composition is an allegory celebrating

Philip IV as the defender of the Catholic faith

and the New World. Throwing bolts of light-

ning, the personification of divine wrath leads

the way. Fides – faith – proffers a wreath of

laurels and holds a cross over a globe – a sym-

bol of world domination – to which the Indi-

an on the right also alludes. The horse’s pose

symbolizes the sovereign’s authority over his

people and his enemies. The lost original in-

spired a chorus of praise from Lope de Vega.

In 1634 Velázquez painted five equestrian por-

traits for the Salón de Reinos at Buon Retiro

Palace, one of which was this portrait of the

crown prince aged five or six.

Clutching a marshal’s baton, the prince rides

a fiery pony. The fluttering sash and his ex-

tended arm suggest vitality and resolve. Un-

like Rubens, for example, Velázquez painted

a real and easily identifiable landscape back-

ground and a realistic sky. Under a pale win-

ter sun, Baltasar Carlos is riding near the

snow-capped mountains of the Sierra de Gua-

darrama.

The second half of the 1630s were among

Velázquez’ most productive years. He evolved

what his contemporaries called »manchas dis-

tantes« (»distant stains«), his open handling

that brings to life the paint surface and im-

merses the heir of the casa de Austria in an

atmosphere of light, colour and air. Velázquez

dramatically foreshortened the horse’s body

because the portrait was originally displayed

above a door.

25

Diego Velázquez

baltaSar CarlOS On hOrSebaCK

1635Madrid, Museo del Prado

27

Diego Velázquez

dOn Juan de auStrIa


Because of the sea battle ranging the back-

ground and the arms and armour arranged on

the floor this was long identified as the por-

trait of a soldier. Despite these military attri-

butes, however, the fearfulness evident in the

man’s pose and his timid expression do not

really suggest this is the portrait of a hero.

The sitter is, in fact, a jester at the court of

King Philip IV known as Don Juan de Aus-

tria. His name is derived from that of the il-

lustrious Habsburg victor at the Battle of

Lepanto, who was still celebrated at the Span-

ish court. It has sometimes been suggested

that this was not the buffoon’s real name; it

was, however, not unusual to name children

after famous men. Changing a jester into a

soldier reflects both contemporary courtly cul-

ture, which questioned the boundaries that

separated reality and illusion, and the char-

acter of Velázquez, a painter who enjoyed

playing with paradoxes.

The ancients already celebrated Democritus

as the »smiling philosopher«. To »laugh at the

world« reflects his deep understanding and

wisdom. In the guise of all that was ridiculous

and blasphemous, court jesters were able to

utter truths not normally tolerated at court.

The Torre de la Parada of the royal hunting

palace in El Pardo housed portraits of jesters

and dwarfs as well as depictions of ancient

philosophers by Rubens (Democritus and Her-

aclitus) and Velázquez (Aesop and Menippus).

Democritus’ large hand and less-than-noble

face – which may have been modelled on that

of the jester Pablo de Valladolid – contrasts

with his contemporary black attire with a lace

collar and his classical cloak. Velázquez pro-

duced a clever variation of the popular »beg-

gar philosophers« by Jusepe de Ribera, to

whom the painting was long attributed.

26

Diego Velázquez

demOCrItuS

1628–1629/1640Rouen, Museé des Beaux-Arts

29

Diego Velázquez

pOrtraIt Of a man ( JOSé nIetO?)

1635–1645London, Apsley House, The Wellington Collection

This half-length portrait of a man is probably

one of the unofficial portraits Velázquez exe-

cuted of his friends and fellow courtiers at the

Spanish court. This is why the sitter’s face is

livelier than in one of his official and there-

fore more formal court portraits. Velázquez’

brushwork is free and open. The face is exe-

cuted with great care but the rest of the fig-

ure is modelled with loose thick brushstrokes.

The painting was probably always highly re-

garded; we know of numerous copies exe-

cuted over the centuries. Nonetheless, the

identity of the sitter was long controversial.

The maiden name of the mother of José Nieto

(1600/01–1684) also happened to be Velázquez

(Nieto y Velázquez). One of Queen Mariana’s

chamberlains, he was responsible for opening

and locking the royal apartments. This is why

the artist included him in the background of

his picture »Las Meninas« (1656), where he is

doing exactly that.

The portraits of dwarfs and buffoons are

among the most s tr iking paint ings in

Velázquez’ oeuvre. The sitters’ physical and

psychological abnormalities formed an estab-

lished counter-world to the highly structured

and hierarchical world of the court. With this

as his starting point, Velázquez emphasized

their »differentness« in his paintings. Gourds

were the attribute of Juan Calabazas. Gourds

were also frequently identified with madness,

with precipitate or rash actions. In addition,

the glass in the foreground reminds us of the

effects of alcohol. We can see that Velázquez

replaced the original clay jug with the gourd.

Courtly portraits are generally marked by their

lack of emotions and the distance between

the sitter and the spectator, which allows but

little empathy. Here, however, Velázquez uses

the fact that the jester is an outsider for a rad-

ical rendering of emotions – his laughter.

28

Diego Velázquez

the buffOOn Juan de CalabazaS (CalabaCIllaS)


31

Diego Velázquez

VenuS at her tOIlet (rOKeby VenuS)

1648–1651London, The National Gallery

Surrounded by silky fabrics, a slim nude wom-

an is reclining on a bed, striking an elegant

yet natural pose while giving us her back. Her

slender body does not reflect the contempor-

ary ideal of beauty. The lack of any jewellery

or attribute turns this into an intimate bed-

room scene, but the presence of Cupid hold-

ing the mirror turns the slight young woman

into the goddess Venus. It is the only extant

nude in Velázquez’ oeuvre. This is a highpoint

in the depiction of the female nude, not only

because of Velázquez’ open brushwork, which

heightens the composition’s sensuality, but

also because of the interplay of glances, which

focus on the act of seeing, one of the funda-

mental aspects of painting: what Cupid sees

differs from what the spectator sees; Venus is

not gazing into the mirror but at us. We see

her sensual body but cannot see her »true

face«, which is obscured by the unfocused

contours reflected in the mirror.

Her mouth slightly open as though about to

speak; her hand on the tablet on which she

sees a truth hidden from us: the young wom-

an in this composition looks like a Sibyl, a

prophetess in classical mythology. She lacks,

however, the rich elaborate clothes and hair-

do generally associated with Sibyls. Her hair

is unkempt and her clothes informal. This is

reflected in the wonderful free brushwork, the

at first glance unfinished state of the com-

position. It is as though the artist captured a

spontaneous movement; her finger touches

the tablet (or the canvas), casting a shadow.

Perhaps this is an allusion to the ancient story

about how painting was invented: in order to

preserve the image of her lover, the daughter

of the modeller Butades traced the silhouette

of his shadow. This ambiguity, together with

the virtuoso handling of colour and light,

make this painting an outstanding artwork.

30

Diego Velázquez

female fIgure (SIbyl WIth tabula raSa)

c. 1648Dallas, Meadows Museum

33

Diego Velázquez

Infanta marIa tereSa (1638–1683)


Maria Teresa is Philip IV’s daughter from his

first marriage to Isabel of France (see nos. 18

and 19), and a sister of Don Baltasar Carlos

(see no. 23). Her marriage in 1660 to Louis XIV

of France sealed the peace that ended a long

war between the two countries. A marriage to

one of her Austrian cousins was also long re-

garded as a possibility, which is why this orig-

inally full-length – but now cropped – portrait

was sent to Vienna.

In homage to its imperial recipient Velázquez

pulls out all the stops and displays his virtu-

osity as a painter. He reduced his palette to a

subtle interplay of silver, white and pink. Both

his brushwork and the pink details increase

the closer one gets to the princess’s head,

forming an aureole that highlights her face

and makes it glow. Here, too, Velázquez’ free

handling counteracts the stiffness of the com-

position, turning an official portrait of the

princess described as intelligent and lively

into a spontaneous and pulsating piece of vir-

tuoso painting.

Velázquez painted this portrait of Camillo As-

talli Pamphilj (1616-1663) during his second

sojourn in Italy. In 1650 the sitter was made

a cardinal and a cardinal-nephew of Pope In-

nocent X. Astalli may have commissioned the

portrait to celebrate his new honours. His rise

was impressive but short-lived. He quickly lost

favour with the pope, drawing closer and clos-

er to the Spanish ambassador in Rome, going

so far as to warn him of an imminent attack

on the Kingdom of Naples. But his treason

did not remain a secret for long. In 1654 he

lost all his privileges and was forced to leave

Rome. As in many of his portraits, Velázquez

attempts to capture his sitter’s personality –

which is in marked contrast to his much more

aloof and impersonal Spanish court portraits.

Fittingly, the cardinal’s beret – initially worn

straight across his brow – was later reset at a

jauntier angle.

32

Diego Velázquez

pOrtraIt Of CardInal CamIllO aStallI pamphIlJ

1650–1651New York, Hispanic Society of America

35

Workshop of Diego Velázquez

Queen marIana Of SpaIn


Mariana (or Maria Anna) was the daughter of

Emperor Ferdinand III and the Infanta Ma-

ria Anna of Spain, a sister of Philip IV. Plans

for her to marry her cousin Baltasar Carlos

(see no. 32) fell through when he died sudden-

ly. After the death of his son, Philip IV decid-

ed to take his son’s place and marry his niece.

After she was widowed, Mariana acted for a

short time as regent for her son Charles II, an

invalid unable to rule, trying unsuccessfully

to secure his succession (see no. 36).

The version in Vienna is a workshop copy of

the first official portrait of the queen (Madrid,

Museo del Prado) executed by Velázquez after

his return from his second trip to Italy. He

may have used a cartoon to facilitate copying

the painting as both the composition and the

size of the figures in Vienna are identical to

those of the original. In the former, the de-

tails are meant to be seen from a distance,

and despite the virtuoso handling the figure

appears ossified.

Unlike Velázquez’ early portrait also on show

here (see no. 11) this excellent copy by his

workshop depicts the aged king. The young

ruler’s insecure expression has been replaced

by one of nobility and serenity. His origin ally

firm facial muscles have slackened. Velázquez

explores the limits of court portraiture by play-

ing so openly with the material quality of the

paint. It is not clear whether the brushstrokes

modelling the royal chin depict an anatom-

ical deformation or a beard.

The painting in Vienna follows Velázquez’

final portrait of the king (Madrid, Museo del

Prado). Today, over twenty copies are known.

The version now in Vienna was originally

larger; it was cropped to its present size in

1781 when it was installed at Belvedere Pal-

ace. A recent X-ray analysis has revealed that

it was painted over a half-length portrait of

the king’s eldest daughter Maria Teresa (see

no. 33).

34


KIng phIlIp IV Of SpaIn

c. 1653–1656/59Vienna, Kunst- histori sches Museum

In the 17th century the Spanish Habsburgs sent

portraits of their children to their Habsburg

cousins in Vienna. Among the most beautiful

are the three portraits by Velázquez depicting

Infanta Margarita aged two, aged five and

aged eight. She was the daughter of Philip IV

and his second wife Mariana of Austria.

This is the first of these portraits: in keeping

with the conventions of court portraiture, the

princess faces us; she is standing on a small

pedestal covered with a precious carpet. Her

formal pose is a reflection of strict court eti-

quette. She has placed one hand on the table,

the other is clutching a fan; the sumptuously

appointed room is merely suggested. Here,

too, Velázquez relieves the strict formality of

the composition by his open »impressionis-

tic« handling. With just a few dabs of paint

he conjures up the silver embroidery on her

robe and the light reflections on the gold

chain, outlines seem to dissolve and details

are subordinated to the overall effect.

37

Diego Velázquez

Infanta margarIta (1651–1673) In a pInK dreSS


Mariana, the daughter of Emperor Ferdinand

III, was the second wife of Philip IV of Spain.

Their eldest son and heir Felipe Prospero (see

no. 42) died as a child. His fourteen-year-old

sister Infanta Margarita (see nos. 37–41) mar-

ried Archduke, later Emperor Leopold I. The

death of Mariana’s invalid son Charles II led

to the War of the Spanish Succession and the

house of Habsburg losing the Spanish crown.

The play of light creates shimmering reflec-

tions that transform the queen’s robe into

something like mother-of-pearl, engendering

a regal mood. This is, however, not an auto-

graph work by Velázquez but a copy by his

workshop. Note the strange, almost modern

psychological rendering of the young queen’s

expression, whose cheerful temperament was

brutally repressed and subjugated to Spanish

court etiquette.

36


Queen marIana In a lIght-red dreSS


This portrait documents the degree of free-

dom Velázquez was able to achieve in his

hand ling. It was his final portrait of the now

eight-year-old princess. Together with the por-

trait of her brother Felipe Prospero (no. 42) it

was sent to Emperor Leopold I in Vienna in

1659.

She wears a blue guardainfante, her left hand

is clutching a precious muff. The heavy chain

of honour lies on her wide skirt. Both fabrics

and fur are rendered with remarkable virtu-

osity, painted, like the golden chain, with flu-

ent brushstrokes. Close up one sees only

quick, thick brushwork, but from a distance

they turn into a snapshot of flashing highlights

on velvet and gold, with the shimmering dabs

of paint turning into incredibly realistic ren-

derings of real objects. It was details such as

these that led Édouard Manet to hai l

Velázquez as the »painter of painters« in the

19th century.

39

Diego Velázquez

Infanta margarIta (1651–1673) In a blue dreSS


This picture of the five-year-old princess was

also sent to her grandfather Emperor Ferdi-

nand III in Vienna. She is wearing the white

court robe in which Velázquez depicted her

in his celebrated painting »Las Meninas«,

which is now in the Prado in Madrid. Our

portrait is probably not a study for this mas-

terpiece but an earlier version and an autono-

mous work for the imperial court in Vienna.

Here too Velázquez does not discard the rigid

conventions of Spanish court portraiture: the

Infanta faces us, erect and distant. But his free

brushwork and his virtuosity in rendering the

different materials brings everything to life.

Inspired by Titian, Velázquez uses highly di-

vergent brushstrokes: some are thick and oily,

some appear cursory and random. When seen

together, however, the paint surface seems to

vibrate, giving us the illusion that the sitter is

alive and moving. Velazquez’ virtuoso use of

light and shadows also plays a seminal part

in bringing the painting to life.

38

Diego Velázquez

Infanta margarIta (1651–1673) In a WhIte dreSS

c. 1656Vienna, Kunst- histori sches Museum

Cropped on all sides, this portrait of the

daughter of Philip IV and his second wife

Mari ana of Austria (see nos. 34 and 35) was

long identified as a workshop copy of a simi-

lar painting now in Madrid. Recently, howev-

er, Juan Bautista Martínez del Mazo has been

suggested as its author. In April 1661 he was

installed as court painter, succeeding his fa-

ther-in-law Velázquez who had died in 1660.

Stylistic and other reasons suggest that the

painting dates from this time. The excellent

handling also supports this attribution. The

composition is probably by Mazo, an artist

previously best known as a copyist.

The Infanta wears a large brooch featuring a

double-headed eagle; the painting may docu-

ment her engagement. The engagement of the

then nine-year-old princess to Emperor Leo-

pold I was announced in April 1660. The wed-

ding, however, only took place in Vienna in

1666.

41

Juan Bautista Martínez del Mazo

Infanta margarIta (1651–1673) In a pInK-and-SIlVer dreSS

after April 1661Vienna, Kunst- histori sches Museum

This portrait of the Infanta differs only in the

colour of her dress from the one executed by

Velázquez in 1659 that is now in Vienna (no.

39). The green-and-silver version is probably

a copy by Velázquez’ pupil and son-in-law

Mazo. We know that he painted the princess

repeatedly and that such copies were not un-

usual, satisfying contemporary demand for

portraits of members of the royal family.

This copy was in Vienna until 1934 when it

was handed over to Hungary in accordance

with the Venice Agreement. In the 19th centu-

ry Margarita in a Blue Dress hung in the pri-

vate apartments of the Imperial family at Hof-

burg Palace; it was only rediscovered in 1922.

Until then, the well-known green-and-silver

version was identified as the portrait by

Velázquez described by Palomino. After 1922

details damaged and/or missing in the blue

Infanta were restored with the help of the

green-and-silver copy.

40


Infanta margarIta (1651–1673) In a green-and- SIlVer dreSS

c. 1659Budapest, Szépmuvészeti Múzeum

Until well into the 19th century this family por-

trait was regarded as a major work by Diego

Velázquez. However, with the help of the coat-

of-arms depicted in the top left corner it has

now been identified as a work by his son-in-

law, Mazo. The arm clutching a hammer re-

veals the artist’s name: »mazo« means both

hammer and »bouquet« in Spanish – hence

the vase with flowers in the centre of the com-

position. Executed about a decade after

Velázquez’ »Las Meninas«, Mazo’s painting

must be regarded as the earliest artistic re-

sponse to his father-in-law’s masterpiece. Ma-

zo’s four elder children from his marriage to

Francisca Velázquez, who had died in 1653,

are arranged on the left – they are Velázquez’

grandchildren. The smaller children are those

born to Mazo’s second wife, Francisca de la

Vega; she is usually identified as the woman

seated in the centre. The foreground focuses

on family solidarity, but in the background

the artist celebrates himself. We see Mazo at

his easel, working on a portrait of the young

Infanta Margarita – and depicting himself as

the king’s painter.

43


the artISt’S famIly

1664/1665Vienna, Kunst- histori sches Museum

In 1657 Queen Mariana (no. 35), the second

wife (and niece) of King Philip IV, gave birth

to the long-awaited heir to the Spanish crown.

In 1659 this painting and the portrait of his

sister Margarita in a blue dress (no. 39) were

sent to Emperor Leopold I in Vienna.

Felipe Prospero was a sickly child. This mov-

ing portrait is among Velázquez’ last and great-

est works. He shows us both the crown prince

and the ailing child, draped with amulets and

good-luck-charms, behind the formal façade.

With fluid brushstrokes he evokes the boy’s

delicate skin, the fine batiste of his white

apron, the heavy red velvet, the thick carpet.

Palomino tells us that the small dog is

Velázquez’ beloved bitch, comparing her to

Issa, the dog of the ancient painter Publius of

whom Martial writes: »death should not take

her from him entirely, so he painted her more

like herself that than she was. If one set her

next to her painting one would believe both

were painted or – both were real.« Velázquez

is here also reflecting on image and reality.

42

Diego Velázquez

the Infante felIpe prOSperO


Francisco Pacheco recorded that Velázquez

gave him a self-portrait that he, his pupil and

son-in-law, had executed during his first trip

to Rome. Full of admiration, Pacheco com-

pared it to the great works by Titian. We are

told that the drapery on this portrait remained

unfinished – as is the case here. The incom-

plete round collar – which replaces the

straight golilla normally worn by Spaniards –

may suggest that Velázquez depicted himself

in the robes of a »Virtuoso al Pantheon«, the

Papal association of artists of which he be-

came a member in 1650. However, compari-

sons with portraits by Velázquez from his first

Roman sojourn (1629–1631) suggest that this

painting capturing the sitter’s somewhat

dreamy gaze and his straightforward and mod-

est character may have been painted much

earlier.

45

Attributed to Velázquez

pOrtraIt Of a man (Self-pOrtraIt?)

c. 1630 (?)Rome, Musei Capitolini

With the exception of his self-staging in »Las

Meninas«, this painting is today regarded as

Velázquez’ sole self-portrait. Artists’ self-por-

traits were extremely rare in Spain. By depict-

ing his own features the artist is also focusing

on painting’s intellectual aspirations; he can

thus hold his own against competing sis-

ter-arts. Despite the efforts of some Italian art-

ists, the emancipation of painting took much

longer in Spain; Velázquez played a seminal

role in this development as he was the first to

focus on the act of painting, to make it the

topic of much of his art. Self-portraits played

an increasingly important role in this. Queen

Isabel, the wife of Philip V, gave this painting

to the celebrated singer Carlo Broschi, better

known as Farinelli, whose extensive collec-

tion also included Mazo’s portrait of his fam-

ily (no. 43). It later entered the Vatican Col-

lections, was removed to France by Napole-

on, and is now in the Academia de San Carlos

de Valencia.

44

Diego Velázquez

Self-pOrtraIt

c. 1650 (?)Valencia, Museo de Bellas Artes

A native of Cremona, the painter Pietro Mar-

tire Neri is recorded in Rome between 1647

and his death in 1661; in 1653 he was elected

principe of the Accademia di San Luca: As a

member of the Virtuosi al Pantheon he knew

the artists connected to the papal court. A col-

laboration between Velázquez and Neri – in

the former’s Roman studio – is recorded. Neri’s

work is informed by the art of his native Lom-

bardy and especially his extensive sojourn at

Mantua and in the workshop of Domenico

Fetti; Fetti’s compact painterly style is particu-

larly apparent in this portrait of Velázquez,

stronger even than the influence of the Span-

ish master. There is little controversy about

the sitter’s identity: it is a variation of Diego

Velázquez’ self-portrait in »Las Meninas«. The

painter seems to have copied Velázquez’ pose

and activity with only a few minor changes to

the latter’s attire.

46

Pietro Martire Neri

pOrtraIt Of dIegO VelázQuez

c. 1650Paris, Galerie Canesso

in German, duration c. 60 min.

meeting point: Entrance Hall

tickets € 3

in German, at 12.30 p.m.

duration c. 30 min.


Die Anbetung der Heiligen Drei Könige

Rotraut Krall

Infantin Margarita Teresa

Daniel Uchtmann

Die Schmiede des Vulkan

Barbara Herbst

Infant Baltasar Carlos zu Pferde

Agnes Stillfried; Daniel Uchtmann

Venus mit dem Spiegel (Rokeby Venus)

Andreas Zimmermann

Der Wasserverkäufer von Sevilla

Andreas Zimmermann

Selbstportrait

Daniel Uchtmann

GuIdEd tours tue - frI at 4.30 p.m.thurS alSO at 7 p.m. Sat/Sun at 11 a.m. and 3 p.m. luNchtImE lEcturEs

tue 4.11. and 8.1.

tue 11.11. and 27. 1.

tue 18.11. and 15.1.

tue 25.11. and 20.1.

tue 2.12. and 22.1.

tue 9.12. and 13.1.

tue 16.12. and 29.1.

To book a private tour in the special

exhibition or one of our collections call

or write to T +43 1 525 24 - 5202

[email protected]

PrIvatE tours

in German, duration c. 60 min.


Velázquez und die Genremalerei

Barbara Herbst

Velázquez und die Mythologie

Andreas Zimmermann

Velázquez und das höfische Portrait

Agnes Stillfried

Velázquez und die Altarmalerei

Daniel Uchtmann

Velázquez und Tizian

Rotraut Krall

Velázquez und Caravaggio

Andreas Zimmermann

Velázquez und Rubens

Barbara Herbst

Velázquez und seine spanischen Vorgänger

Daniel Uchtmann

in German, at 15.30 Uhr, duration c. 60 min.

Lecture Room, 2nd floor

Die Sage der Arachne –

Die mythologischen Bilder des Velázquez

Andreas Zimmermann

Las Meninas – Portrait und

Politik bei Velázquez

Daniel Uchtmann

Eierbraten und Wasserverkäufer –

Velázquez als Genremaler

Rotraut Krall

GallErY talKs frI 7.11., 10.15 a.m.

frI 14.11., 10.15 a.m.

frI 28.11., 10.15 a.m.

frI 5.12., 10.15 a.m.

Wed 7.1., 4 p.m.

Wed 4.1., 4 p.m.

frI 16.1., 10.15 a.m.

Wed 28.1., 4 p.m.

art IN coNtEXt

tue 2.12. and 27.1.

tue 16.12. and 13.1.

tue 10.2.

go to www.khm.at/kunstvermittlung

T +43 1 525 24 - 5202

[email protected]

WorKshoPs aNd chIldrEN’s tours (IN GErmaN)

We will post this postcard for you to an EU

address. Just drop it into the postbox in the

Museum Shop.

GrEEtINGs From thE KuNsthIsto-rIschEs musEum

Book an exclusive visit to the Velázquez exhi -

b ition and host your private event with tapas

and sparkling wine.

T +43 1 52524 - 4030 or [email protected]

PrIvatE EvENts

The exhibition catalogue will be published

in German and English.

EXhIbItIoN cataloGuE

Lecture Series organised in collaboration with

the Dorotheum (in German)

Rubens und Velázquez

Martin Warnke, Hamburg

Reservations: [email protected]

Diego Velázquez‘ »Las Meninas« –

des Rätsels Lösung?

Martina Pippal, Vienna

admittance is free with a valid entrance ticket

lEcturEs

mOn 3.11. 20147 p.m.Kuppelhalle

thurS 5.2.20156.30 p.m.leCture rOOm

Sabine Haag, director general

Kunsthistorisches Museum Wien

Burgring 5, 1010 Vienna

© 2014 KHM

Texts by:

Andreas Zimmermann (1-9, 13)

Daniel Uchtmann (10, 20, 21, 27-29, 32, 43-46)

Rotraut Krall (11, 12, 18, 19, 24, 34-36)

Barbara Herbst (14-17, 26, 30, 31)

Agnes Stillfried (22, 23, 25, 33, 37-42)

English translation: Agnes Stillfried

PublIshEd bY

PartNErs

EXhIbItIoN sPoNsor

cooPEratIoN PartNErs

Diego Velázquez, Balthasar Carlos on Horseback, 1635© Madrid, Museo Nacional del Prado

oPENING hours October 28, 2014 – February 15, 2015

Tue – Sun 10 a.m. – 6 p.m.;

Thurs 10 a.m. – 9 p.m.

The exhibition is organised by the Kunst-

historisches Museum in collaboration with

the Museo Nacional del Prado, Madrid,

and the Réunion des Musées Nationaux

and the Musée du Louvre, Paris.

Documents

KHM Booklet Velazquez eng fuer pdf · 2014-10-24 · The painting was originally displayed in the chapter house of the Carmelite monastery to - gether with a painting commensurate