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Velázquez
The undeniable pinnacle of the golden age of Spanish painting Acclaimed for its blending of realism with atmosphere, and for its deeply sensitive appreciation of character, the work of Diego Rodríguez de Silva y Velázquez represents the undeniable pinnacle of the golden age of Spanish painting.
Born in Seville but of Portuguese origin, Velázquez became Court Painter to Philip IV in 1623. A steady worker, using primarily sombre low-toned colouring, he met Rubens in 1628, and soon after made a first trip to Italy. The pictures painted there reveal a growing interest in both colour range and in the male nude.
Velázquez only returned to Italy once again in the late 1640’s, where he painted his famous portrait of Pope Innocent X and his only female nude, the "Rokeby Venus". But his greatness lies perhaps in his empathetic studies of such characters as the dwarf playmates of the royal children. The weathering of the skin, rags and mortality, as well as the ageing face of the despondent monarch increasingly preoccupied him in later years. The power, insight and brilliant technique of these paintings were to prove profoundly influential on such later artists as Manet, Delacroix, Picasso and Bacon. About the
Each book in TASCHEN’s Basic Art series
Born in Seville but of Portuguese origin, Velázquez became Court Painter to Philip IV in 1623. A steady worker, using primarily sombre low-toned colouring, he met Rubens in 1628, and soon after made a first trip to Italy. The pictures painted there reveal a growing interest in both colour range and in the male nude.
Velázquez only returned to Italy once again in the late 1640’s, where he painted his famous portrait of Pope Innocent X and his only female nude, the "Rokeby Venus". But his greatness lies perhaps in his empathetic studies of such characters as the dwarf playmates of the royal children. The weathering of the skin, rags and mortality, as well as the ageing face of the despondent monarch increasingly preoccupied him in later years. The power, insight and brilliant technique of these paintings were to prove profoundly influential on such later artists as Manet, Delacroix, Picasso and Bacon. About the
Each book in TASCHEN’s Basic Art series
96 pages, Paperback
First published August 1, 1999
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About the author
Norbert Wolf
104 books10 followersNorbert Wolf is an art historian and author based in Munich. He has published several books with Prestel, including "Art Nouveau", "Art Deco", "Impressionism", "Spanish Painting", and "The Golden Age of Dutch and Flemish Painting", as well as monographs on Albrecht Dürer and Titian.
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Displaying 1 - 14 of 14 reviews
July 25, 2022
Diego Velásquez (1599-1660) was a Spanish painter, one of the biggest names in European Baroque. He was the painter of the court of Felipe IV of Spain.
Diego Rodriguez de Silva Velázquez was born in Seville, Spain, on June 6, 1599. In 1611 he started an apprenticeship at Francisco Pacheco's studio that lasted six years. In 1617 obtained a painter's license. In 1618 he married Joana, daughter of Francisco Pacheco.
Still a teenager, he painted some religious works, among them: "Jesus at Marta and Maria's house" (1618), Immaculate Conception (1619) and Adoration of the Magi (1619), works of unusual realism and with beautiful light and dark effects.
In 1621, Velázquez completed his masterpiece, O Aguadeiro de Sevilha, in which the artist already stood out for exploring the contour and the illusionist contrasts of light and shadow.
In 1622 carries the portrait of Francisco Pacheco. In 1623 he was called to Madrid by the Count of Olivares, a Sevillian who was very influential in State affairs, to paint a portrait of King Philip IV.
With a reputation as a good portraitist, Velázquez soon became the king's painter. From then on, his task was to portray the sovereign and some court members, thus beginning what would become a long and prestigious career in the court of Felipe IV. One of the most outstanding portraits of the new function was the painting Felipe IV with Armor (1628).
Still, in 1628, Velázquez painted the Triumph of Bacchus, representing the god Bacchus and the glorious celebration of the mythological character and real-life scene. Again, Velázquez worked with live models and produced sets rich in details, movements and perspectives.
In 1629, he went to Genoa, Italy, on his first trip to the country. Then, in January 1630, he went to Rome.
In early 1631, Velázquez returned to Madrid, and for the next twenty years, he was almost always busy portraying the same people at court. It produced the works in the studio inside the palace.
In addition to the official portraits of members of the royal family, Velázquez painted intimate portraits and dwarves and jesters. The most solemn image is the canvas Felipe IV on Horseback (1635), found in the Prado Museum in Madrid.
In 1643 Diego Velázquez is appointed Knight of the Chamber of the King of Spain. In 1649 he made his second trip to Italy to buy works of art in the king's name. He is received in Venice, at the court of Modena, in Rome and in Naples.
In January 1650, he had admitted to the Academy of San Luca. In March, he exhibits the "Portrait of Juan de Pareja" at the Pantheon.
Back in Madrid, he is appointed chief of staff of the king's palace and takes on the decoration of all the royal courts. However, he continues with his painting works. The portraits of Queen D. Mariana (1652-1653) and Infanta D. Maria Teresa (1652-1653), who later became Queen of France, are from that time.
In 1657, Velázquez painted another masterpiece, the Self Portrait with the Family of Felipe IV, the canvas As Meninas, which is on display at the Prado Museum in Madrid.
In 1660, Diego Velázquez went to the border with France to supervise the construction of a pavilion, where Felipe IV and Louis XIV must meet to sign a peace agreement. However, it does not complete the work.
Diego Velázquez died in Madrid, Spain, on August 6, 1660.
Source: https://www.ebiografia.com/diego_vela...
Diego Rodriguez de Silva Velázquez was born in Seville, Spain, on June 6, 1599. In 1611 he started an apprenticeship at Francisco Pacheco's studio that lasted six years. In 1617 obtained a painter's license. In 1618 he married Joana, daughter of Francisco Pacheco.
Still a teenager, he painted some religious works, among them: "Jesus at Marta and Maria's house" (1618), Immaculate Conception (1619) and Adoration of the Magi (1619), works of unusual realism and with beautiful light and dark effects.
In 1621, Velázquez completed his masterpiece, O Aguadeiro de Sevilha, in which the artist already stood out for exploring the contour and the illusionist contrasts of light and shadow.
In 1622 carries the portrait of Francisco Pacheco. In 1623 he was called to Madrid by the Count of Olivares, a Sevillian who was very influential in State affairs, to paint a portrait of King Philip IV.
With a reputation as a good portraitist, Velázquez soon became the king's painter. From then on, his task was to portray the sovereign and some court members, thus beginning what would become a long and prestigious career in the court of Felipe IV. One of the most outstanding portraits of the new function was the painting Felipe IV with Armor (1628).
Still, in 1628, Velázquez painted the Triumph of Bacchus, representing the god Bacchus and the glorious celebration of the mythological character and real-life scene. Again, Velázquez worked with live models and produced sets rich in details, movements and perspectives.
In 1629, he went to Genoa, Italy, on his first trip to the country. Then, in January 1630, he went to Rome.
In early 1631, Velázquez returned to Madrid, and for the next twenty years, he was almost always busy portraying the same people at court. It produced the works in the studio inside the palace.
In addition to the official portraits of members of the royal family, Velázquez painted intimate portraits and dwarves and jesters. The most solemn image is the canvas Felipe IV on Horseback (1635), found in the Prado Museum in Madrid.
In 1643 Diego Velázquez is appointed Knight of the Chamber of the King of Spain. In 1649 he made his second trip to Italy to buy works of art in the king's name. He is received in Venice, at the court of Modena, in Rome and in Naples.
In January 1650, he had admitted to the Academy of San Luca. In March, he exhibits the "Portrait of Juan de Pareja" at the Pantheon.
Back in Madrid, he is appointed chief of staff of the king's palace and takes on the decoration of all the royal courts. However, he continues with his painting works. The portraits of Queen D. Mariana (1652-1653) and Infanta D. Maria Teresa (1652-1653), who later became Queen of France, are from that time.
In 1657, Velázquez painted another masterpiece, the Self Portrait with the Family of Felipe IV, the canvas As Meninas, which is on display at the Prado Museum in Madrid.
In 1660, Diego Velázquez went to the border with France to supervise the construction of a pavilion, where Felipe IV and Louis XIV must meet to sign a peace agreement. However, it does not complete the work.
Diego Velázquez died in Madrid, Spain, on August 6, 1660.
Source: https://www.ebiografia.com/diego_vela...
June 23, 2019
(04/09/13)
Ameno libro sobre Velázquez, aunque descuida un poco los aspectos biográficos y se centra casi exclusivamente en la obra.
Ameno libro sobre Velázquez, aunque descuida un poco los aspectos biográficos y se centra casi exclusivamente en la obra.
September 19, 2023
“There you have him, the true painter of reality.” (Pablo Picasso)
The book gives a nice overview on Diego Velázquez’s work and his influences, who not only portrayed the royal house of Phillip IV of Spain, but also painted true-to-life in an Impressionist fashion, while adding subtle philosophy to his work (explained in the book).
The book gives a nice overview on Diego Velázquez’s work and his influences, who not only portrayed the royal house of Phillip IV of Spain, but also painted true-to-life in an Impressionist fashion, while adding subtle philosophy to his work (explained in the book).
December 24, 2008
The obvious genius of Velazquez aside, Wolf's study of the artist, though thorough and well researched, is rather dull. There were the obligatory biography, some formal analysis, praises, and a note of Velazquez's monumental influence on later artists (Wolf really only mentions the influence, but doesn't dig deeper into the thoughts or dialogs provoked). The selection of reproduction was intelligent, but nothing out of the ordinary.
All in all, the book was informative but uninspiring.
All in all, the book was informative but uninspiring.
August 23, 2020
-¿Quién es Velázquez?
-El más grande.
💜
-El más grande.
💜
December 19, 2025
Just like the Klimt book, which belongs to this series of books summarizing artists' work, Velázquez's book is not far behind. It offers excellent image and text quality, introducing us to Velázquez's work and opening the doors to his universe. Although its textual content is concise, like Klimt's, the aim of these small books is to summarize the works. They serve as an introduction so that, if we are interested, we can then go on to buy or acquire the book containing the artist's complete works, which includes everything from the artist's biography to in-depth analyses of style, social context, and more.
It is precisely this type of summary book that belongs to the “Basic Art Series”, whose purpose is to give us a guide to who these artists were and why they are so important, including Velázquez.
It is precisely this type of summary book that belongs to the “Basic Art Series”, whose purpose is to give us a guide to who these artists were and why they are so important, including Velázquez.
January 11, 2026
Inspirador y emocionante. La luz en sus cuadros, la hoja de papel que hacía en algunas obras como firma o incluso mensaje, su notoria sensibilidad, y sobre todo me cautivó su última obra, donde la puerta abierta al fondo del pasillo oscuro eleva los sentimientos.
Si con algo me quedé con ganas, fue de más contenido biográfico.
Si con algo me quedé con ganas, fue de más contenido biográfico.
July 24, 2022
Lo que más valoro de esta obra es su edición; la calidad del papel y de las imágenes es excelente. Taschen no defrauda.
El aparato textual, en cambio, me ha parecido conciso, algo superficial para mi gusto. He echado en falta un análisis más detallado.
Lo recomiendo para no iniciados.
El aparato textual, en cambio, me ha parecido conciso, algo superficial para mi gusto. He echado en falta un análisis más detallado.
Lo recomiendo para no iniciados.
Read
October 21, 2022Hard to review what reads most like a textbook. It covers all the things it needs to. It has no narrative. I feel better informed but do better with stories. Have chosen not to give a star rating as I don't really know how to.
March 26, 2020
Easy to read, not to deep on the life of Velazquez but covers the most important events and painting. Good for an introduction on the topic.
May 21, 2023
Quadri bellissimi e descrizioni intense
January 30, 2024
Claro y ameno, el libro cumple con su objetivo informativo, la selección de cuadros y las explicación son buenas
March 27, 2008
Dali thought Velazquez was one of the greatest painters of all times. VerMeer was the other one.
April 2, 2015
Great companion book to go along with I JuAn de Pareja. Includes the paintings discussed in the book in beautiful full color.
Displaying 1 - 14 of 14 reviews