EN

Velázquez

OCtober 28,, 2014 – february 15, 2015 1st Floor

17 ■ Special exhibition »Velázquez« 18 Entrance to the exhibition 16 ■ Picture Gallery Dutch, Flemish and German painting xi 15 ■ Picture Gallery Italian, Spanish and French painting x 14

ix Viii xiv

xv 1

I 24 2

II III 3 4

5 Vii 6 13 7

Vi IV 8 12

V 11 9 Introduction Velázquez, celebrated as the »painter of paint- 1 Today this Maria Immaculata is regarded as ers« by Édouard Manet, inspired some of his one of Velázquez’ earliest works. When it first greatest fellow artists – Goya, Picasso, Francis appeared on the art market it was attributed Diego Velázquez Bacon: come and fall under his spell in the to Alonso Cano, Velázquez’ fellow pupil in first-ever Velázquez exhibition in Austria! the workshop of Francisco Pacheco. However, The Immaculate following scientific analyses it is now gener- Conception The Kunsthistorisches Museum holds the largest ally regarded as a work by the then eighteen- collection of portraits by Velázquez outside the c. 1617 year-old Velázquez, possibly executed imme- Prado. For the first time these paintings are Sevilla, Fundación diately after he had completed his training Focus-Abengoa now displayed in the context of the master’s (March 14, 1617). oeuvre. Though not yet a dogma, the Immaculate Con- His early works featuring haunting every-day ception had numerous fervent supporters in scenes, his paintings for the court in Madrid, Seville and was the subject of many passion- portraits of kings and royal children as well as ate debates. of jesters and dwarfs, religious and mytholog- ical scenes, among them the Rokeby Venus, per- In his composition Velázquez follows St. John’s haps the most beautiful nude back ever painted Apocalypse: «a woman clothed with the sun, – all this is on show in the exhibition. with the moon under her feet and a crown of twelve stars on her head«. This composition This booklet comprises the labels of all the differs from Velázquez’ second version (see paintings in the exhibition, inviting you to view no. 2) in the figure’s strict frontality and com- them at your leisure, close up or from a dis- pact silhouette, and the Blessed Virgin’s tance. direct gaze.

For more information please see the exhibition catalogue. 2 Velázquez probably painted his second Maria 3 When Velázquez painted this Adoration of Immaculata for the Carmelite monastery in the Magi it was his largest and most ambitious Seville. The order was a particularly fervent composition to date. It was probably commis- Diego Velázquez Diego Velázquez defender of the dogma of the Immaculate Con- sioned by the Jesuits in Seville, with whom ception. the artist’s teacher and father-in-law main- The Immaculate The Adoration tained excellent relations. Velázquez’ obvious Conception of the Magi In a very short span of time the young artist desire to achieve a great degree of authen­­ c. 1618–1619 demonstrated his ability to render a then very 1619 ticity and emotional intensity reflects and cor- London, The National popular and frequently depicted figure in dif- Madrid, Museo responds with the Jesuits’ educational pro- Gallery Nacional del Prado ferent ways: here the Virgin’s eyes are low- gramme. The protagonists were clearly paint- ered to the left, and her cloak is billowing in ed from the life: the aged king on the left is a the same direction, while she has turned slight- portrait of Pacheco, and both the king in the ly to the right. In these subtle and complex foreground and St. Joseph are modelled on counter-movements the second Virgin differs Velázquez’ own features. markedly from the strict frontality of her pre- decessor (see no. 1). These highly individual figures are arranged in a monumental composition, and their pres- The painting was originally displayed in the ence is enhanced by Velázquez’ choice of chapter house of the Carmelite monastery to- strong colour highlights. gether with a painting commensurate to it de- picting St. John on Patmos, i.e. the author of The effective lighting of this nocturnal scene the Apocalypse. Other orders in Seville such shows that the artist was aware of the novel as the Antonites and the Jesuits began to take ideas propagated by Caravaggio and his fol- notice of the young master and commissioned lowers. works from him (see no. 3). 4 Depictions of the Apostles, often as part of a 5 Inscription and size (both of the figures and cycle, were popular in Counter-Reformation of the painting) document that these two art; they were Christ’s original audience, then Apostles belong together; this makes it even Diego Velázquez Diego Velázquez the propagators of his teachings, and finally more impressive how clearly Velázquez dif- the first martyrs of the Catholic Church. ferentiated their characters: the diagonal lance Saint Paul Saint Thomas and St. Thomas’ profile portrait suggest move- c. 1619–1620 Spain has celebrated series by El Greco and c. 1619–1620 ment, his features express restlessness – Barcelona, Museu Ribera, the Netherlands by Rubens and Van Orléans, Musée des Velázquez is depicting St. Thomas’ doubts, Nacional d’Art de Beaux Arts Dyck. However, only two depictions by which he overcame to proselyte and teach the Catalunya Velázquez are known today; they were prob- word of the Lord. ably once part of a larger ensemble, one most likely commissioned for the Carthusian mon- In India, St. Thomas was martyred with a astery Santa Maria de las Cuevas in Seville. lance; it is also the weapon with which Christ’s Velázquez depicts St. Paul without his sword, side was pierced, the very wound into which i.e. not as a martyr but as the author of the doubting Thomas had to place his fingers be- Epistles – hence the large book. The figure’s fore believing that the man in front of him monumental compactness expresses the saint’s was truly the Risen Christ. strong, steadfast character, while the shimmer of light surrounding the Apostle’s head de- We encounter the young man Velázquez used notes the divine sphere. The impressive ren- as a model for his Apostle in a number of dering of his features is based on a thorough works from this period: for example he is one study of nature. of the Peasants at Table (no. 8), and the vio- linist in The Three Musicians (no. 7). 6 All four Gospels record the denial of Saint 7 Three Musicians is regarded as the artist’s earl­i­ Peter: thrice he denied knowing Jesus, but af- ­est extant work in the genre then known as ter his third denial he heard the rooster crow bodegones (cookshops or inns). Velázquez did Diego Velázquez Diego Velázquez for the first time and recalled the Lord’s pre- not invent this genre, but – clearly aware of diction of his faithlessness. Theologians have Caravaggio’s work – he developed it dramat- The Tears of Three Musicians interpreted it as an example of repentance ically. Showing a profound love of experiment- Saint Peter and penitence, and as a precursor of the sac- c. 1617–1618 ing, the eighteen-year-old artist painted what c. 1618–1619 rament of confession. Berlin, Staatliche were then regarded as lowly scenes depicting Museen, Gemäldegalerie Madrid, Collection drinking musicians. Villar Mir Most of the versions by Velazquez’ contem- poraries usually focus on depicting emotions, His teacher Pacheco described such compo- showing Saint Peter crying, his head bent in sitions as »ridiculous figures in various ugly shame, the rooster at his side. subject matters that are intended to make one laugh«. The boy on the left is doing exactly Not so Velázquez: as the new day dawns in that: he has stopped playing his vihuela, raised the background he depicts the moment that his full glass and faces us, laughing. And we precedes Peter’s tears, and the terrible reali- understand: the two musicians’ ecstatic con- zation of his faithlessness is reflected in his centration is probably the result of having face. drunk too much.

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. 8 There are two possible explanations for the 9 Many regard this as Velázquez’ best work from uneven handling in this painting: it is either his early years in Seville, and it is undoubted- in a deplorable condition, with large areas ly the most important of his bodegones. Diego Velázquez Diego Velázquez overpainted by a later hand, or a co-produc- tion between Velázquez and one of his assist­ The artist achieved such a degree of verisim­ Peasants The Waterseller ants. Today, most art historians support the ilitude that the scene seems to take place in at Table latter explanation. c. 1622 front of our eyes. In fact, the composition is (El almuerzo) London, Apsley House, so carefully balanced and arranged as to re- The Wellington c. 1618–1620 The young man on the right (possibly the semble a regal ceremony. Then ubiquitous Collection Budapest, model also used for Saint Thomas; see no. 5) throughout Europe, watersellers were essen- Szépmu´´vészeti Múzeum is most probably by Velázquez himself, an at- tial in Seville. Nonetheless, they were ranked tribution supported by the lighting and the near the bottom of the social pyramid. But natural modelling of his skin and clothes. Velázquez reverses this completely and im- bues the old man with dignity, although the The composition evolved out of the undoubt- higher social status of the boy clutching the edly autograph table scene now in the Her- full glass is clearly indicated by his fine clothes mitage in St. Petersburg (c. 1618). There are a and light skin. number of other bodegones by Velázquez of which several versions and copies have sur- In this painting Velázquez has »reversed ques- vived; many of them differ markedly in their tions of class in primary needs« (Martin Warn- handling, bearing witness to the fact that the ke). We find the same expression of humanity successful young artist obviously had a studio in all his portraits of court jesters and dwarfs. with able assistants to satisfy the growing de- mand for his compositions. 10 Góngora’s portrait comprises a combination 11 The excellent connections of Francisco Pache- of clearly defined planes that capture both his co, Velázquez’ father-in-law, helped the young actual features and his character. A native of artist to establish himself in Madrid in 1623. Diego Velázquez Diego Velázquez Córdoba, the poet Luis de Góngora (1571–1627) After the king had seen Velázquez’ portrait of was one of the leaders of Madrid’s intellec- his prime minister, the Conde Duque de Oli- Don Luis Portrait of tual elite. vares, Philip IV decided to sit for him too. A de Góngora King Philip IV number of portraits connected to Velázquez 1622 Velázquez made the most of his chance to por- 1623–1624 have survived from this time, both full-length Boston, Museum tray this celebrated man-of-letters. The young Dallas, Meadows and half-length compositions. of Fine Arts Museum painter had only recently arrived in Madrid in the hope of securing a position at the court This may be the original version of the half- of the young king. With this portrait Velázquez length portraits, because Pacheco recorded demonstrated his virtuosity in the genre most that the king had but little time to sit to closely connected with the court: portraiture. Velázquez and that the young artist finished The painting was a huge success and led to the picture in a single day, which would have commissions from members of the aristocracy­ been impossible if it had been a full-length and eventually from the king himself. portrait. The execution of the collar and the Velázquez became court painter and was right shoulder suggest this is an autograph granted the exclusive privilege to portray the work. The king was extremely pleased with king. his portrait, promising Velázquez that no other painter wold ever be allowed to paint him (see no. 34). 12 In this full-length portrait of Don Carlos de 13 Rufina, the daughter of a Christian potter in Austria, the brother of King Philip IV, 3rd century Seville, is said to have refused to Velázquez depicts the prince in an empty sell pottery during a heathen feast, upon which Diego Velázquez Diego Velázquez room. But the shimmering reflections add she was tortured and killed. splendour, texture and colour as well as vol- The Infante Saint Rufina ume to the body. With a natural, self-assured From 1868 this picture of Saint Rufina, who Don Carlos gesture Don Carlos clasps his glove, and the c. 1630–1632 continues to be revered in Seville, was attrib- c. 1628 delicate hues and the play of light and shadows Sevilla, Fundación uted to Murillo, although until then it had Madrid, Museo imbue even the smallest detail with meaning. Focus-Abengoa been regarded as a work by Velázquez, one Nacional del Prado that could be traced back to the collection of

Note also the impressive effect of the face being one of his patrons, Luis Méndez de Haro set before a diffuse dark background, adding (1598–1661). tension to the overall atmosphere. At the same time, the sitter’s melancholy gaze reflects both After the painting was acquired for Seville his mood and his role at the Spanish court. from a private collection in 2007 it was ana- Surrounded by siblings with successful polit- lysed and restored, resulting in its re-attribu- ical careers, Don Carlos spent his entire life tion to Velázquez and its dating to the years in the shadow of his royal brother. after his first trip to Italy (see no. 21).

Its intimate mood has given rise to the – as yet unproven – suggestion that one of Veláz­ ­ quez’ daughters (Francisca, born in 1619, or Ignacia, born in 1621) may have served as his model. 14 A fight has broken out in front of an inn; sev- 15 Ovid records that Venus cheated on her hus- eral people are involved and one of them has band Vulcan with Mars. Here, Velázquez de- already been knocked to the ground. The scat- picts the moment when Apollo enters Vul- Diego Velázquez Diego Velázquez tered cards are probably the reason for the can’s forge to tell him of his wife’s infidelity. brawl. Velázquez composed a highly dramat- Apollo’s ideal youthful beauty is set off by The Brawl Vulcan’s Forge ic scene within a compact space, one in which the realistic rendering of the divine black- (»La rissa«) every figure is shown in a different pose but 1630 smith and his assistants. These men are used 1630 where all interact with one another. It is not Madrid, Museo to hard labour, their gestures and expressions Nacional del Prado Rom, Collection clear who is fighting with whom, the drama are extremely life-like. At the same time their Pallavicini is approaching its climax, but the outcome is semi-nude bodies are informed by classical still unclear. sculpture.

At the beginning of his career Velázquez de- The painting dates from Velázquez’ first Ital- picted kitchen and inn scenes, and, inspired ian sojourn. For the first time he used a light by Caravaggio and his followers, scenes of grounding which increases the intensity of the everyday life. During his first trip to Italy colours. Details like the rendering of materi- Velázquez was able to meet some of the Lom- als such as Apollo’s shimmering cloak, the bard’s followers. Velázquez’ compositions are red-hot iron, or the jug on the ledge document probably inspired not only by their works but his virtuosity, but he also renders emotions also by every-day scenes he witnesses in the convincingly. All this makes the painting a streets of Rome. seminal turning point in Velázquez’ artistic development. 16 With a few quick brushstrokes Velázquez 17 This painting plays a seminal role in evokes a youthful head in profile. The laurel Velázquez’ oeuvre: it and a companion piece wreath identifies him as the god Apollo. The painted at the same time are his sole autono- Diego Velázquez Diego Velázquez delicate paint layers that outline his silhou- mous landscapes. ette, the freely painted curls, and especially Head of Apollo View of the the leaves of the wreath document the artist’s Velázquez travelled twice to Italy, where rec- Gardens of the c. 1630 virtuosity. The painting is almost mono- ommendation letters from his royal patron Villa Medici New York, private chrome, its only colour accents are the green opened the doors to the palaces of the great collection in Rome, with laurel leaves and the deity’s slightly flushed noblemen and their collections. His teacher a Statue of cheeks. The head is generally identified as a Francisco Pacheco reports that Velázquez Ariadne preparatory study for the figure of Apollo in stayed at the Villa Medici in Rome in the sum- Vulcan’s Forge. However, it is softer and more c. 1630 mer of 1630, during which time he probably youthful than the deity in the finished paint- Madrid, Museo painted this picture. Note his incredible open Nacional del Prado ing, whose turn of the head is somewhat dif- handling (some details are merely suggested ferent and which is also more majestic. X-ray by his almost transparent brushstrokes) that analyses of the Forge have shown that this perfectly captures a momentary mood of light study conforms to the first version of Apollo and air. His free brushwork emphasises how that Velázquez altered in the final painting. 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. 18 Philip IV was the last king of Spain whose 19 Isabel of Bourbon, the daughter of Maria de foreign policy reflected Spain’s status as a Medici and Henry IV of France, was the first major European power. But the independence wife of King Philip IV and the mother of Don Diego Velázquez and Diego Velázquez and of the States General, the rise of England as Baltasar Carlos (see nos. 23 and 24) and the workshop workshop a naval power, the loss of Portugal, and the Infanta Maria Teresa (see no. 33). Much loved King Philip IV ultimate triumph of France, which replaced Queen Isabel by the Spanish people, she was in many ways of Spain Spain as Europe’s leading power, resulted in of Spain her husband’s equal partner. From her ar­rival the country’s rapid demise. Despite all this, at the Spanish court Isabel was closely 1631–1632 Spain experienced a cultural flowering gener- 1632 watched by the power-hungry Conde Duque Vienna, Kunst- Vienna, Kunst- ally known as the »siglo de oro« with artists de Olivares but was eventually able to rejoice historisches­ Museum historisches­ Museum such as Velázquez and Murillo, and writers at his fall from favour. like Lope de Vega and Calderón. Like its companion piece (see no. 18), the Velázquez painted this portrait together with painting was executed with the help of one of Queen Isabel (see no. 19) shortly after Velázquez’ workshop. On the one hand it is his return from his first trip to Italy. Both informed by Flemish court portraiture, which paintings were probably intended as gifts for found its apex in the portraits painted by An- the sister of Philip IV, Maria Anna, and her thony van Dyck while at Genoa. On the oth- husband, the future Emperor Ferdinand III. er hand, the shimmering reflexions documents To fulfil all his royal commissions Velázquez Velázquez’ admiration for Titian’s work. The quickly established a workshop. Both portraits fabric gleaming through her closed fan offers were cropped at some later date. insights into the work’s genesis. 20 Objects associated with hunting such as the 21 Velázquez probably painted this portrait short- pistol and the dagger in his belt identify the ly after his return from Italy, filled with many sitter as Juan Mateos, Philip VI’s head hunts- new impressions. Typical for works from this Diego Velázquez Diego Velázquez man. Mateos had trained with his father, mov- period are a white or light grey grounding that ing with him from the Estremadura to Madrid begins to replace the red grounding Velázquez Portrait Portrait in 1603 and working as a marksman and a had used up to now: a change probably occa- of Juan Mateos of a Lady beater first for Queen Margarita and then for sioned by the arrival of Rubens in Madrid in c. 1632 King Philip III. Under Philip IV he was pro- 1630–1633 1628. The sitter has not yet been identified al- Dresden, Staatliche moted to head huntsman. His duties com- Berlin, Staatliche though there are a number of similarities with Gemäldesammlung Museen, prised accompanying the king when he hunt- portraits of Leonor Maria de Guzmán, count­ Gemäldegalerie ed, and organizing the three great royal hunts ess of Monterrey. She was a sister of the Conde held every year for the court. Hunting was re- Duque de Olivares and the wife of the Conde garded as the noblest training for war. It was de Monterrey, who was Spanish ambassador less a sport than a disciplined princely duty to Rome (1628–1631) and then (1631–1637) Vice- that hardened the noble hunter and intro- roy in Naples. Whoever she is, the formal pose duced him to danger. Mateos wrote a treatise with one hand resting on the back of a chair on hunting and dedicated it to the king. Con- reflects her elevated social rank. The portrait sidering his prominent position at court, it documents the sitter’s exalted status, which may even have been Philip IV himself who allowed her to remain seated in the presence commissioned this portrait of one of his clos- of members of the royal family. est servants. 22 Velázquez was in Italy when the long-await- 23 In 1639 Philip IV sent this painting to Vienna ed heir to the Spanish crown was born in 1629, in connection with a proposed marriage. Now but Philip IV refused to have his son painted cropped on all sides, it depicts the heir to the Diego Velázquez Diego Velázquez and by anyone but him. Probably executed short- Spanish crown aged about ten. Parts of this workshop ly after the painter’s return, this double-por- full-length portrait are by Velázquez’ work- Infante trait is regarded as the earliest portrait of the shop. The prince is dressed in black velvet em- Baltasar CarloS Infante prince. Velázquez’ new palette reflects his broidered in silver, one hand on his rapier, with a Dwarf Baltasar Carlos study of Titian and Venetian painting during the other on the back of a chair. He is wear- 1631–1632 his Italian sojourn. 1638–1639 ing the chain of the Order of the Golden Vienna, Kunst- Boston, Museum Fleece, of which he became a member on Oc- of Fine Arts historisches­ Museum The prince is standing on a small podium. tober 24, 1638. The portrait was probably paint- Sash, gorget and the plume hat on a velvet ed to commemorate this momentous event, pillow, together with his marshal’s baton and or shortly afterwards. In 1643 Mazo was in- rapier, celebrate the future ruler and com- stalled as court painter to the crown prince, mander-in-chief. The poignant contrast with so this is Velázquez’ last picture of Baltasar the court dwarf underlines the majesty and Carlos, who died suddenly in 1646 aged only decorum of the sumptuously dressed little sixteen. prince. The former clutches a rattle instead of a sceptre, a real apple instead of an orb. In Note the marvellous rendering of fabrics and the Baroque, court jesters and dwarfs were materials: Velázquez used quick broad strokes believed to be able to avert the »evil eye« and for the heavy black velvet and fine, almost in- other calamities from members of the ruling visible brushstrokes for the prince’s delicate family by drawing it onto themselves. skin. 24 As early as 1625 Velázquez was commissioned 25 In 1634 Velázquez painted five equestrian por- to paint an equestrian portrait of the king for traits for the Salón de Reinos at Buon Retiro the »New Hall« at the Alcázar in Madrid. A Palace, one of which was this portrait of the Juan Bautista Martínez Diego Velázquez few years later, however, the picture was re- crown prince aged five or six. del Mazo & placed by a work by Peter Paul Rubens. Diego Velázquez Baltasar Carlos (copy after Peter Paul Rubens’ original was lost in the 1734 fire of the Clutching a marshal’s baton, the prince rides on Horseback Rubens) Alcázar but is recorded in this copy. Mazo a fiery pony. The fluttering sash and his ex- painted the king’s horse and the women. The 1635 tended arm suggest vitality and resolve. Un- Philip IV on face of Philip IV, however, is by Velázquez Madrid, Museo del like Rubens, for example, Velázquez painted Horseback Prado himself. a real and easily identifiable landscape back-

1644–1648 ground and a realistic sky. Under a pale win- Florence, Uffizi Gallery The composition is an allegory celebrating ter sun, Baltasar Carlos is riding near the Philip IV as the defender of the Catholic faith snow-capped mountains of the Sierra de Gua- and the New World. Throwing bolts of light- darrama. ning, the personification of divine wrath leads the way. Fides – faith – proffers a wreath of The second half of the 1630s were among laurels and holds a cross over a globe – a sym- Velázquez’ most productive years. He evolved bol of world domination – to which the Indi- what his contemporaries called »manchas dis- an on the right also alludes. The horse’s pose tantes« (»distant stains«), his open handling symbolizes the sovereign’s authority over his that brings to life the paint surface and im- people and his enemies. The lost original in- merses the heir of the casa de Austria in an spired a chorus of praise from Lope de Vega. atmosphere of light, colour and air. Velázquez dramatically foreshortened the horse’s body because the portrait was originally displayed above a door. 26 The ancients already celebrated Democritus 27 Because of the sea battle ranging the back- as the »smiling philosopher«. To »laugh at the ground and the arms and armour arranged on world« reflects his deep understanding and the floor this was long identified as the por- Diego Velázquez Diego Velázquez wisdom. In the guise of all that was ridiculous trait of a soldier. Despite these military attri­ and blasphemous, court jesters were able to butes, however, the fearfulness evident in the Democritus Don Juan utter truths not normally tolerated at court. man’s pose and his timid expression do not de Austria 1628–1629/1640 The Torre de la Parada of the royal hunting really suggest this is the portrait of a hero. Rouen, Museé des palace in El Pardo housed portraits of jesters c. 1633 The sitter is, in fact, a jester at the court of Beaux-Arts and dwarfs as well as depictions of ancient Madrid, Museo King Philip IV known as Don Juan de Aus- Nacional del Prado philosophers by Rubens (Democritus and Her- tria. His name is derived from that of the il- aclitus) and Velázquez (Aesop and Menippus). lustrious Habsburg victor at the Battle of Democritus’ large hand and less-than-noble Lepanto, who was still celebrated at the Span- face – which may have been modelled on that ish court. It has sometimes been suggested of the jester Pablo de Valladolid – contrasts that this was not the buffoon’s real name; it with his contemporary black attire with a lace was, however, not unusual to name children collar and his classical cloak. Velázquez pro- after famous men. Changing a jester into a duced a clever variation of the popular »beg- soldier reflects both contemporary courtly cul- gar philosophers« by Jusepe de Ribera, to ture, which questioned the boundaries that whom the painting was long attributed. separated reality and illusion, and the char- acter of Velázquez, a painter who enjoyed playing with paradoxes. 28 The portraits of dwarfs and buffoons are 29 This half-length portrait of a man is probably among the most striking paintings in one of the unofficial portraits Velázquez exe- Velázquez’ oeuvre. The sitters’ physical and cuted of his friends and fellow courtiers at the Diego Velázquez Diego Velázquez psychological abnormalities formed an estab- Spanish court. This is why the sitter’s face is lished counter-world to the highly structured livelier than in one of his official and there- The Buffoon Juan Portrait of a and hierarchical world of the court. With this fore more formal court portraits. Velázquez’ de Calabazas Man (José Nieto?) as his starting point, Velázquez emphasized brushwork is free and open. The face is exe- (Calabacillas) their »differentness« in his paintings. Gourds 1635–1645 cuted with great care but the rest of the fig- c. 1638 were the attribute of Juan Calabazas. Gourds London, Apsley ure is modelled with loose thick brushstrokes. House, The Wellington Madrid, Museo were also frequently identified with madness, The painting was probably always highly re- Nacional del Prado Collection with precipitate or rash actions. In addition, garded; we know of numerous copies exe- the glass in the foreground reminds us of the cuted over the centuries. Nonetheless, the effects of alcohol. We can see that Velázquez identity of the sitter was long controversial. replaced the original clay jug with the gourd. The maiden name of the mother of José Nieto Courtly portraits are generally marked by their (1600/01–1684) also happened to be Velázquez lack of emotions and the distance between (Nieto y Velázquez). One of Queen Mariana’s the sitter and the spectator, which allows but chamberlains, he was responsible for opening little empathy. Here, however, Velázquez uses and locking the royal apartments. This is why the fact that the jester is an outsider for a rad- the artist included him in the background of ical rendering of emotions – his laughter. his picture »Las Meninas« (1656), where he is doing exactly that. 30 Her mouth slightly open as though about to 31 Surrounded by silky fabrics, a slim nude wom- speak; her hand on the tablet on which she an is reclining on a bed, striking an elegant sees a truth hidden from us: the young wom- yet natural pose while giving us her back. Her Diego Velázquez Diego Velázquez an in this composition looks like a Sibyl, a slender body does not reflect the contempor­ prophetess in classical mythology. She lacks, ary ideal of beauty. The lack of any jewellery Female Figure Venus at Her however, the rich elaborate clothes and hair- or attribute turns this into an intimate bed- (Sibyl with Toilet (Rokeby do generally associated with Sibyls. Her hair room scene, but the presence of Cupid hold- Tabula Rasa) Venus) is unkempt and her clothes informal. This is ing the mirror turns the slight young woman c. 1648 reflected in the wonderful free brushwork, the 1648–1651 into the goddess Venus. It is the only extant Dallas, Meadows at first glance unfinished state of the com­ London, The National nude in Velázquez’ oeuvre. This is a highpoint Museum Gallery position. It is as though the artist captured a in the depiction of the female nude, not only spontaneous movement; her finger touches because of Velázquez’ open brushwork, which the tablet (or the canvas), casting a shadow. heightens the composition’s sensuality, but Perhaps this is an allusion to the ancient story also because of the interplay of glances, which about how painting was invented: in order to focus on the act of seeing, one of the funda- preserve the image of her lover, the daughter mental aspects of painting: what Cupid sees of the modeller Butades traced the silhouette differs from what the spectator sees; Venus is of his shadow. This ambiguity, together with not gazing into the mirror but at us. We see the virtuoso handling of colour and light, her sensual body but cannot see her »true make this painting an outstanding artwork. face«, which is obscured by the unfocused contours reflected in the mirror. 32 Velázquez painted this portrait of Camillo As- 33 Maria Teresa is Philip IV’s daughter from his talli Pamphilj (1616-1663) during his second first marriage to Isabel of France (see nos. 18 sojourn in Italy. In 1650 the sitter was made and 19), and a sister of Don Baltasar Carlos Diego Velázquez Diego Velázquez a cardinal and a cardinal-nephew of Pope In- (see no. 23). Her marriage in 1660 to Louis XIV nocent X. Astalli may have commissioned the of France sealed the peace that ended a long Portrait of Infanta portrait to celebrate his new honours. His rise war between the two countries. A marriage to Cardinal Camillo Maria Teresa was impressive but short-lived. He quickly lost one of her Austrian cousins was also long re- Astalli Pamphilj (1638–1683) favour with the pope, drawing closer and clos- garded as a possibility, which is why this orig- 1650–1651 er to the Spanish ambassador in Rome, going 1652–1653 inally full-length – but now cropped – portrait New York, Hispanic so far as to warn him of an imminent attack Vienna, Kunst- was sent to Vienna. Society of America historisches­ Museum on the Kingdom of Naples. But his treason did not remain a secret for long. In 1654 he In homage to its imperial recipient Velázquez lost all his privileges and was forced to leave pulls out all the stops and displays his virtu- Rome. As in many of his portraits, Velázquez osity as a painter. He reduced his palette to a attempts to capture his sitter’s personality – subtle interplay of silver, white and pink. Both which is in marked contrast to his much more his brushwork and the pink details increase aloof and impersonal Spanish court portraits. the closer one gets to the princess’s head, Fittingly, the cardinal’s beret – initially worn forming an aureole that highlights her face straight across his brow – was later reset at a and makes it glow. Here, too, Velázquez’ free jauntier angle. 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. 34 Unlike Velázquez’ early portrait also on show 35 Mariana (or Maria Anna) was the daughter of here (see no. 11) this excellent copy by his Emperor Ferdinand III and the Infanta Ma- workshop depicts the aged king. The young ria Anna of Spain, a sister of Philip IV. Plans Workshop of Diego Workshop of Diego ruler’s insecure expression has been replaced for her to marry her cousin Baltasar Carlos Velázquez Velázquez by one of nobility and serenity. His originally­ (see no. 32) fell through when he died sudden- King Philip IV firm facial muscles have slackened. Velázquez Queen Mariana ly. After the death of his son, Philip IV decid- of Spain explores the limits of court portraiture by play- of Spain ed to take his son’s place and marry his niece. ing so openly with the material quality of the After she was widowed, Mariana acted for a c. 1653–1656/59 paint. It is not clear whether the brushstrokes 1652–1653 short time as regent for her son Charles II, an Vienna, Kunst- Vienna, Kunst- modelling the royal chin depict an anatom­ invalid unable to rule, trying unsuccessfully historisches­ Museum historisches­ Museum ical deformation or a beard. to secure his succession (see no. 36).

The painting in Vienna follows Velázquez’ The version in Vienna is a workshop copy of final portrait of the king (Madrid, Museo del the first official portrait of the queen (Madrid, Prado). Today, over twenty copies are known. Museo del Prado) executed by Velázquez after The version now in Vienna was originally his return from his second trip to Italy. He larger; it was cropped to its present size in may have used a cartoon to facilitate copying 1781 when it was installed at Belvedere Pal- the painting as both the composition and the ace. A recent X-ray analysis has revealed that size of the figures in Vienna are identical to it was painted over a half-length portrait of those of the original. In the former, the de- the king’s eldest daughter Maria Teresa (see tails are meant to be seen from a distance, no. 33). and despite the virtuoso handling the figure appears ossified. 36 Mariana, the daughter of Emperor Ferdinand 37 In the 17th century the Spanish Habsburgs sent III, was the second wife of Philip IV of Spain. portraits of their children to their Habsburg Their eldest son and heir Felipe Prospero (see cousins in Vienna. Among the most beautiful Workshop of Diego Diego Velázquez no. 42) died as a child. His fourteen-year-old are the three portraits by Velázquez depicting Velázquez sister Infanta Margarita (see nos. 37–41) mar- Infanta Margarita aged two, aged five and Infanta ried Archduke, later Emperor Leopold I. The aged eight. She was the daughter of Philip IV Queen Mariana Margarita death of Mariana’s invalid son Charles II led and his second wife Mariana of Austria. in a Light-Red (1651–1673) in a to the War of the Spanish Succession and the Dress Pink Dress house of Habsburg losing the Spanish crown. This is the first of these portraits: in keeping 1651–1661 The play of light creates shimmering reflec- 1654 with the conventions of court portraiture, the Vienna, Kunst- tions that transform the queen’s robe into Vienna, Kunst- princess faces us; she is standing on a small historisches­ Museum historisches­ Museum something like mother-of-pearl, engendering pedestal covered with a precious carpet. Her a regal mood. This is, however, not an auto- formal pose is a reflection of strict court eti- graph work by Velázquez but a copy by his quette. She has placed one hand on the table, workshop. Note the strange, almost modern the other is clutching a fan; the sumptuously psychological rendering of the young queen’s appointed room is merely suggested. Here, expression, whose cheerful temperament was too, Velázquez relieves the strict formality of brutally repressed and subjugated to Spanish the composition by his open »impressionis- court etiquette. 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. 38 This picture of the five-year-old princess was 39 This portrait documents the degree of free- also sent to her grandfather Emperor Ferdi- dom Velázquez was able to achieve in his nand III in Vienna. She is wearing the white handling.­ It was his final portrait of the now Diego Velázquez Diego Velázquez court robe in which Velázquez depicted her eight-year-old princess. Together with the por- in his celebrated painting »Las Meninas«, trait of her brother Felipe Prospero (no. 42) it Infanta Infanta which is now in the Prado in Madrid. Our was sent to Emperor Leopold I in Vienna in Margarita Margarita portrait is probably not a study for this mas- 1659. (1651–1673) in a (1651–1673) in a terpiece but an earlier version and an autono­ White Dress Blue Dress mous work for the imperial court in Vienna. She wears a blue guardainfante, her left hand c. 1656 1659 is clutching a precious muff. The heavy chain Vienna, Kunst- Here too Velázquez does not discard the rigid Vienna, Kunst- of honour lies on her wide skirt. Both fabrics historisches­ Museum historisches­ Museum conventions of Spanish court portraiture: the and fur are rendered with remarkable virtu- Infanta faces us, erect and distant. But his free osity, painted, like the golden chain, with flu- brushwork and his virtuosity in rendering the ent brushstrokes. Close up one sees only different materials brings everything to life. quick, thick brushwork, but from a distance Inspired by Titian, Velázquez uses highly di- they turn into a snapshot of flashing highlights vergent brushstrokes: some are thick and oily, on velvet and gold, with the shimmering dabs some appear cursory and random. When seen of paint turning into incredibly realistic ren- together, however, the paint surface seems to derings of real objects. It was details such as vibrate, giving us the illusion that the sitter is these that led Édouard Manet to hail alive and moving. Velazquez’ virtuoso use of Velázquez as the »painter of painters« in the light and shadows also plays a seminal part 19th century. in bringing the painting to life. 40 This portrait of the Infanta differs only in the 41 Cropped on all sides, this portrait of the colour of her dress from the one executed by daughter of Philip IV and his second wife Velázquez in 1659 that is now in Vienna (no. Mariana­ of Austria (see nos. 34 and 35) was Juan Bautista Martínez Juan Bautista Martínez 39). The green-and-silver version is probably long identified as a workshop copy of a simi­ del Mazo del Mazo a copy by Velázquez’ pupil and son-in-law lar painting now in Madrid. Recently, howev- Infanta Mazo. We know that he painted the princess Infanta er, Juan Bautista Martínez del Mazo has been Margarita repeatedly and that such copies were not un- Margarita suggested as its author. In April 1661 he was (1651–1673) in usual, satisfying contemporary demand for (1651–1673) in installed as court painter, succeeding his fa- a Green-and- portraits of members of the royal family. a Pink-and-Silver ther-in-law Velázquez who had died in 1660. Silver Dress Dress Stylistic and other reasons suggest that the This copy was in Vienna until 1934 when it painting dates from this time. The excellent c. 1659 was handed over to Hungary in accordance after April 1661 handling also supports this attribution. The Budapest, Vienna, Kunst- with the Venice Agreement. In the 19th centu- composition is probably by Mazo, an artist Szépmu´´vészeti Múzeum historisches­ Museum ry Margarita in a Blue Dress hung in the pri- previously best known as a copyist. vate apartments of the Imperial family at Hof- burg Palace; it was only rediscovered in 1922. The Infanta wears a large brooch featuring a Until then, the well-known green-and-silver double-headed eagle; the painting may docu- version was identified as the portrait by ment her engagement. The engagement of the Velázquez described by Palomino. After 1922 then nine-year-old princess to Emperor Leo- details damaged and/or missing in the blue pold I was announced in April 1660. The wed- Infanta were restored with the help of the ding, however, only took place in Vienna in green-and-silver copy. 1666. 42 In 1657 Queen Mariana (no. 35), the second 43 Until well into the 19th century this family por- wife (and niece) of King Philip IV, gave birth trait was regarded as a major work by Diego to the long-awaited heir to the Spanish crown. Velázquez. However, with the help of the coat- Diego Velázquez Juan Bautista Martínez In 1659 this painting and the portrait of his of-arms depicted in the top left corner it has del Mazo sister Margarita in a blue dress (no. 39) were now been identified as a work by his son-in- The Infante sent to Emperor Leopold I in Vienna. law, Mazo. The arm clutching a hammer re- Felipe Prospero The Artist’s Family veals the artist’s name: »mazo« means both 1659 Felipe Prospero was a sickly child. This mov- hammer and »bouquet« in Spanish – hence Vienna, Kunst- ing portrait is among Velázquez’ last and great- 1664/1665 the vase with flowers in the centre of the com- historisches­ Museum Vienna, Kunst- est works. He shows us both the crown prince position. Executed about a decade after historisches­ Museum and the ailing child, draped with amulets and Velázquez’ »Las Meninas«, Mazo’s painting good-luck-charms, behind the formal façade. must be regarded as the earliest artistic re- With fluid brushstrokes he evokes the boy’s sponse to his father-in-law’s masterpiece. Ma- delicate skin, the fine batiste of his white zo’s four elder children from his marriage to apron, the heavy red velvet, the thick carpet. Francisca Velázquez, who had died in 1653, Palomino tells us that the small dog is are arranged on the left – they are Velázquez’ Velázquez’ beloved bitch, comparing her to grandchildren. The smaller children are those Issa, the dog of the ancient painter Publius of born to Mazo’s second wife, Francisca de la whom Martial writes: »death should not take Vega; she is usually identified as the woman her from him entirely, so he painted her more seated in the centre. The foreground focuses like herself that than she was. If one set her on family solidarity, but in the background next to her painting one would believe both the artist celebrates himself. We see Mazo at were painted or – both were real.« Velázquez his easel, working on a portrait of the young is here also reflecting on image and reality. Infanta Margarita – and depicting himself as the king’s painter. 44 With the exception of his self-staging in »Las 45 Francisco Pacheco recorded that Velázquez Meninas«, this painting is today regarded as gave him a self-portrait that he, his pupil and Velázquez’ sole self-portrait. Artists’ self-por- son-in-law, had executed during his first trip Diego Velázquez Attributed to Velázquez traits were extremely rare in Spain. By depict- to Rome. Full of admiration, Pacheco com- ing his own features the artist is also focusing pared it to the great works by Titian. We are Self-Portrait Portrait of on painting’s intellectual aspirations; he can told that the drapery on this portrait remained a Man c. 1650 (?) thus hold his own against competing sis- unfinished – as is the case here. The incom- (Self-Portrait?) Valencia, Museo de ter-arts. Despite the efforts of some Italian art- plete round collar – which replaces the Bellas Artes ists, the emancipation of painting took much c. 1630 (?) straight golilla normally worn by Spaniards – longer in Spain; Velázquez played a seminal Rome, Musei Capitolini may suggest that Velázquez depicted himself role in this development as he was the first to in the robes of a »Virtuoso al Pantheon«, the focus on the act of painting, to make it the Papal association of artists of which he be- topic of much of his art. Self-portraits played came a member in 1650. However, compari- an increasingly important role in this. Queen sons with portraits by Velázquez from his first Isabel, the wife of Philip V, gave this painting Roman sojourn (1629–1631) suggest that this to the celebrated singer Carlo Broschi, better painting capturing the sitter’s somewhat known as Farinelli, whose extensive collec- dreamy gaze and his straightforward and mod- tion also included Mazo’s portrait of his fam- est character may have been painted much ily (no. 43). It later entered the Vatican Col- earlier. lections, was removed to France by Napole- on, and is now in the Academia de San Carlos de Valencia. 46 A native of Cremona, the painter Pietro Mar- GUIDED TOURS in German, duration c. 60 min. tire Neri is recorded in Rome between 1647 meeting point: Entrance Hall and his death in 1661; in 1653 he was elected TUE - FRI at 4.30 p.m. tickets € 3 Pietro Martire Neri principe of the Accademia di San Luca: As a THURS also at 7 p.m. member of the Virtuosi al Pantheon he knew SAT/SUN at 11 a.m. Portrait of the artists connected to the papal court. A col- and 3 p.m. Diego Velázquez laboration between Velázquez and Neri – in c. 1650 the former’s Roman studio – is recorded. Neri’s lunchtime in German, at 12.30 p.m. Paris, Galerie Canesso work is informed by the art of his native Lom- Lectures duration c. 30 min. bardy and especially his extensive sojourn at meeting point: Entrance Hall Mantua and in the workshop of Domenico Fetti; Fetti’s compact painterly style is particu- TUE 4.11. aND 8.1. Die Anbetung der Heiligen Drei Könige larly apparent in this portrait of Velázquez, Rotraut Krall stronger even than the influence of the Span- TUE 11.11. aND 27. 1. Infantin Margarita Teresa ish master. There is little controversy about Daniel Uchtmann the sitter’s identity: it is a variation of Diego TUE 18.11. aND 15.1. Die Schmiede des Vulkan Velázquez’ self-portrait in »Las Meninas«. The Barbara Herbst painter seems to have copied Velázquez’ pose TUE 25.11. aND 20.1. Infant Baltasar Carlos zu Pferde and activity with only a few minor changes to Agnes Stillfried; Daniel Uchtmann the latter’s attire. TUE 2.12. aND 22.1. Venus mit dem Spiegel (Rokeby Venus) Andreas Zimmermann TUE 9.12. aND 13.1. Der Wasserverkäufer von Sevilla Andreas Zimmermann TUE 16.12. aND 29.1. Selbstportrait Daniel Uchtmann

Private Tours 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] GALLERY TALKS in German, duration c. 60 min. lectures Lecture Series organised in collaboration with meeting point: Entrance Hall the Dorotheum (in German) Fri 7.11., 10.15 a.m. Velázquez und die Genremalerei MOn 3.11. 2014 Rubens und Velázquez Barbara Herbst 7 p.m. Martin Warnke, Hamburg Fri 14.11., 10.15 a.m. Velázquez und die Mythologie kuppelhalle Reservations: [email protected] Andreas Zimmermann Fri 28.11., 10.15 a.m. Velázquez und das höfische Portrait THURS 5.2.2015 Diego Velázquez‘ »Las Meninas« – Agnes Stillfried 6.30 p.m. des Rätsels Lösung? Fri 5.12., 10.15 a.m. Velázquez und die Altarmalerei Lecture Room Martina Pippal, Vienna Daniel Uchtmann admittance is free with a valid entrance ticket WED 7.1., 4 p.m. Velázquez und Tizian Rotraut Krall WED 4.1., 4 p.m. Velázquez und Caravaggio WORKSHOPS AND go to www.khm.at/kunstvermittlung Andreas Zimmermann CHILDREN’S TOURS T +43 1 525 24 - 5202 FrI 16.1., 10.15 a.m. Velázquez und Rubens (IN GERMAN) [email protected] Barbara Herbst WED 28.1., 4 p.m. Velázquez und seine spanischen Vorgänger Daniel Uchtmann Private Events Book an exclusive visit to the Velázquez exhi­­­ bition­ and host your private event with tapas ART IN CONTEXT in German, at 15.30 Uhr, duration c. 60 min. and sparkling wine. Lecture Room, 2nd floor T +43 1 52524 - 4030 or [email protected] TUE 2.12. aND 27.1. Die Sage der Arachne – Die mythologischen Bilder des Velázquez Exhibition The exhibition catalogue will be published Andreas Zimmermann catalogue in German and English. TUE 16.12. aND 13.1. Las Meninas – Portrait und Politik bei Velázquez Daniel Uchtmann greetings from TUE 10.2. Eierbraten und Wasserverkäufer – the kunsthisto- We will post this postcard for you to an EU Velázquez als Genremaler risches Museum address. Just drop it into the postbox in the Rotraut Krall Museum Shop. Published by 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 Partners

EXHIBITION SPONSOR

COOPERATION The exhibition is organised by the Kunst- PARTNERS historisches Museum in collaboration with the Museo Nacional del Prado, Madrid, and the Réunion des Musées Nationaux and the Musée du Louvre, Paris. opening hours October 28, 2014 – February 15, 2015 Tue – Sun 10 a.m. – 6 p.m.; Thurs 10 a.m. – 9 p.m.

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