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The Rokeby Venus Poster Print by Diego Velazquez (24 x 18)

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Snyder, Joel (June 1985). " Las Meninas and the Mirror of Prices". Critic

Carr, Dawson W., Xavier Bray, and Diego Velázquez (2006). Velázquez. London: National Gallery. ISBN 1857093038. Antes de la apertura hemos realizado la desinfección completa en nuestras instalaciones, incluyendo el aire acondicionado y máquinas de extracción de aire. Brown, Jonathan (1986). Velázquez: Painter and Courtier. Yale University Press, New Haven. ISBN 0-300-03466-0.Tremlett, Giles (July 1, 2010). "Yale basement yields Spanish treasure – a possible Velázquez masterpiece". The Guardian. UK . Retrieved December 22, 2010. Kubler, George (1966). "Three Remarks on the Meninas". The Art Bulletin. 48 (2): 212–214. doi: 10.2307/3048367. JSTOR 3048367. Brown, Jonathan (2008). Collected Writings on Velázquez, CEEH & Yale University Press, New Haven. ISBN 978-0-300-14493-2. Wolf, Norbert (1998) Diego Velázquez, 1599–1660: the face of Spain Taschen, Köln. ISBN 3-8228-6511-7. According to López-Rey, "[The Arnolfini Portrait] has little in common with Velázquez' composition, the closest and most meaningful antecedent to which is to be found within his own oeuvre in Christ in the House of Martha and Mary, painted almost forty years earlier, in Seville, before he could have seen the Arnolfini portrait in Madrid". [74]

While it's certainly not uncommon for artists to include themselves in paintings—Raphael featured himself in The School of Athens—Velázquez gives his self-portrait a prominent position in the painting. Not only does Las Meninastake place within his painting studio at the Alcázar, but everything in the work revolves around the painter's actions. Working not only as court painter but also as the curator of Philip's expansive art collection, Velázquez's role was vital to the court's cultural life. Here, the Spanish painter shows himself in front of a canvas working on a portrait of the royal couple. Clark, Kenneth (1960). Looking at Pictures. New York: Holt Rinehart and Winston. ISBN 978-0-7195-0232-3. Our first feeling is of being there. We are standing just to the right of the King and Queen, whose reflections we can see in the distant mirror, looking down an austere room in the Alcázar (hung with del Mazo's copies of Rubens) and watching a familiar situation. The Infanta Doña Margarita doesn't want to pose...She is now five years old, and she has had enough. [It is] an enormous picture, so big that it stands on the floor, in which she is going to appear with her parents; and somehow the Infanta must be persuaded. Her ladies-in-waiting, known by the Portuguese name of meninas... are doing their best to cajole her, and have brought her dwarfs, Maribarbola and Nicolasito, to amuse her. But in fact they alarm her almost as much as they alarm us. [41] Snyder proposes it is "a mirror of majesty" or an allusion to the mirror for princes. While it is a literal reflection of the king and queen, Snyder writes "it is the image of exemplary monarchs, a reflection of ideal character". [58] Later he focuses his attention on the princess, writing that Velázquez's portrait is "the painted equivalent of a manual for the education of the princess—a mirror of the princess". [59]

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Velázquez's paintings of Aesop and Menippus (both c. 1636–1638) portray ancient writers in the guise of portraits of beggars. [18] Mars Resting (c. 1638) is both a depiction of a mythological figure and a portrait of a weary-looking, middle-aged man posing as Mars. [45] The model is painted with attention to his individuality, while his unkempt, oversized mustache is a faintly comic incongruity. [46] The equivocal image has been interpreted in various ways: Javier Portús describes it as a "reflection on reality, representation, and the artistic vision", while Alfonso E. Pérez Sánchez says it "has also been seen as a melancholy meditation on the arms of Spain in decline". [18]

Canaday, John (1972) [1969]. "Baroque Painters". The Lives of the Painters. New York: Norton Library. ISBN 978-0-393-00665-0. Xavier d'Hérouville (2015). Les Ménines ou l'art conceptuel de Diego Vélasquez (in French). L'Harmattan, collection Ouverture philosophique, série Esthétique. p.77-119. ISBN 978-2-343-07070-4. .


Queremos pediros vuestra comprensión, paciencia y colaboración que serán muy importantes para que todas estas medidas sean efectivas y nos permitan reducir la probabilidad de contagios y así salvaguardar la salud de las personas. The fascinating painting places viewers in the position of the king and queen. This interesting twist makes whoever is looking at the painting both a spectator and a participant. Of course, originally the spectator would have been Philip, as it hung in his office. Considering this, Las Meninasshows the menagerie of characters who would have been important to the king himself.

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