Orbital

by Samantha Harvey

There was a lesson at school about the painting Las Meninas, when Shaun was fifteen. It was about how the painting disoriented its viewer and left them not knowing what it was they were looking at. It’s a painting inside a painting, his teacher had said – look closely. Look here. Velázquez, the artist, is in the painting, at his easel, painting a painting, and what he’s painting is the king and queen, but they’re outside of the painting, where we are, looking in, and the only way we know they’re there is because we can see their reflection in a mirror directly in front of us. What the king and queen are looking at is what we’re looking at – their daughter and her ladies-in-waiting, which is what the painting is called – Las Meninas, ‘The Ladies-in-Waiting’. So what is the real subject of this painting – the king and queen (who are being painted and whose white reflected faces, though small, are in the centre background), their daughter (who is the star in the middle, so bright and blonde in the gloom), her ladies- (and dwarves and chaperones and dog) in-waiting, the furtive man mid-stride in the doorway in the background who seems to be bringing a message, Velázquez (whose presence as the painter is declared by the fact of him being in the painting, at his easel painting what is a picture of the king and queen but what also might be Las Meninas itself), or is it us, the viewers, who occupy the same position as the king and queen, who are looking in, and who are being looke...