Toutes peintures à l'huile d'Velasquez

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59558

Abbot and hermit Paulo

mk267 1633 years linen canvas 261 x 192.5 cm Prado Museum in Madrid

59565

Aesop

mk267 in linen canvas 179.5 x 94 cm Prado Museum in Madrid

59567

Archbishop of Cape Verde

mk267 1640-1645 years linen canvas 63.5 x 59.6 cm National Museum of London

59501

Assumption

mk267 1618 years linen canvas 135 x 101.6 cm London, National Gallery collection

59560

Awes Telia

mk267 1634 years linen canvas 210 x 124 cm Prado Museum in Madrid

59571

Bishop Maximilian

mk267 1650 years linen canvas 76 x 58.5 cm National Museum of London

59544

Carlos Prince Buster

mk267 mk267 1631-1632 years linen canvas 128 x 101.9 cm Art Museum of Boston

59559

Carlos Prince Buster

mk267 1634-1635 years linen canvas 208 x 173 cm Prado Museum in Madrid

59552

Christ on the Cross

mk267 1631 years linen canvas 248 x 169 cm Prado Museum Madrid

59528

Dionysus

mk267 1629 years linen canvas 1655 x 227.5 cm Prado Museum in Madrid

59566

Dwarf Juarez

mk267 1636 -1644 in linen canvas 107 x 83.5 cm Madrid Prado Museum

59575

Female Textile

mk267 linen canvas 220 x 289 cm Prado Museum in Madrid

59562

Hunting De accepts Crown Prince Cady

mk267 1635-1636 cm linen canvas 191 x 107cm Prado Museum in Madrid

59561

In Austria Duke Varser

mk267 1634 years linen canvas 314 x 240 cm Prado Museum in Madrid

59534

Jacob give Joseph a coat of blood

mk267 1630 years linen canvas 213.5 x 284 cm collection of the Spanish monastery

59502

Jesus and Maria Mada at home

mk267 1619-1620 years linen canvas 60 x 103.5 cm London, National Gallery collection

59570

Juan Sebastian

mk267 1644 years linen canvas 106.5 x 82.5 cm Madrid Prado Museum

59564

Money Booth

mk2671939 in linen canvas 178.5 x 93.5 cm Madrid Prado Museum

59500

Omelette woman

mk267 linen canvas 99 x 128 cm National Museum of London

59568

Our Lady of Dai Guanzhong map

mk267 1641-1642 years linen canvas 176 x 124 cm Prado Museum in Madrid

59576

Palace lady

mk267 linen canvas 105 x 88 cm Prado Museum in Madrid

59578

Perrone Prince

mk267 1659 years linen canvas 128.5 x 99.5 cm

59527

Philip IV

mk267 1623 linen canvas 198 x 101.5 cm Prado Museum Madrid

59556

Philip IV

mk267 linen canvas 195 x 110 cm London, National Gallery collection

59572

Pope Innocent X

mk267 1650 years linen canvas 82 x 71.5 cm Wellington Museum London

59577

Princess Margaret

mk267 1659 years linen canvas 129 x107 cm

59573

Princess Marian

mk267 1652 years linen canvas 234 x 132 cm Prado Museum in Madrid

59574

Princess Marian

mk267 1653 years linen canvas 127 x 98.5 cm Dallas Museum

50521

Smelt Factory

mk212 1630 Oil on canvas 222.9x289.9cm

59504

St. John in Bai Temu Si

mk267 1619 years linen canvas 135.5 x 102.2 cm London, National Gallery collection

59498

St. Thomas

mk267 Years 1618-1620 linen canvas 105 x 85 cm Orleans Museum of Art Collection

59555

St. Thomas s confusing

mk267 1631 years linen canvas 244 x 203 cm London, National Gallery collection

59523

The Louise Asia gram raises

mk267 linen canvas 50.3 x 40.5 cm collection of the Boston Museum of Art

59516

The spirit of Christ and supervision

mk267 1628 years linen canvas 165 x 206 cm National Museum of London

50874

The Warter-seller of Seville

mk216 Oil on canvas

52738

The Water-seller of Seville

mk223 Oil on canvas

59499

Those who sell water

mk267 Years 1618-1622 linen canvas 107.7 x 81.3 cm Wellington Museum London

59514

Three Oriental doctor's blessing

mk267 1619 years linen canvas 203 x 125 cm Prado Museum in Madrid

59537

Vulcan s smelter

mk267 1630 years linen canvas 223 x 290 cm Prado Museum in Madrid

59569

Yage Arab League are many

mk267 1644 years linen canvas 106 x 82.5 cm Madrid Prado Museum

Velasquez

1599-1660,Spanish painter. He was apprenticed to Francisco Herrera the Elder before being trained by Francisco Pacheco. His early works were mostly religious or genre scenes. After arriving in Madrid in 1623, he painted a portrait of Philip IV that won him immediate success and an appointment as court painter. His position gave him access to the royal collections, including works by Titian, who exerted the greatest influence on his style. In his portraits from this period, only the faces and hands of the figures are accentuated, and the dark figures stand out against a light background. A visit to Italy (1629 ?C 31) further developed his style, and on his return to Madrid he entered his most productive period. Velazquez created a new type of informal royal portrait for Philip hunting lodge, and his portraits of court dwarfs display the same discerning eye as those of his royal subjects. On a second visit to Rome (1649 ?C 51) he painted a portrait of Pope Innocent X. The powerful head, brilliant combinations of crimson of the curtain, chair, and cope are painted with fluent technique and almost imperceptible brushstrokes that go far beyond the late manner of Titian and announce the last stage in Velazquez development. This portrait was copied innumerable times and won him immediate and lasting renown in Italy. In his last years he created his masterpiece, Las Meninas (The Maids of Honour, 1656). In this casual scene, the artist is shown painting the king and queen in the presence of the infanta Margarita and her attendants; the nearly life size figures are painted in more or less detail according to their relation to the central figure of the infanta and to the source of light, creating a remarkable illusion of reality never surpassed by Velazquez or any other artist of his age. He is universally acknowledged as one of the giants of Western art.

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