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LOS “VELAZQUEÑOS”: Pintores que trabajaron en el taller de Velázquez M’ del Mar Doval Trueba Licenciada en Historia del Arte Tesis doctoral dirigida por el Prof. Dr. D. Alfonso E. Pdrez Sánchez Catedrilco de Historia del Arte Univasidad Complutensede Madrid 1 Mi más sincero agradecimiento a todas aquellas personas e instituciones gracias acuya colaboración ha sido posible la realización de esta tesis. INDICE INTRODUCCIÓN 1 PRIMERAPARTE: EL TALLER EXTENSO 8 CapItulo 1: Responsable de la decoración de los Reales Sidos 9 Velázquez y el Conde-Duque 10 La linagen del Reyy de laMonarquía creadapor Velázquez 18 La imagen del Rey 18 La imagen de laMonarquía 23 Supeuintendatede Obras Reales (1643)32 Velázquezyel espíritu académico 35 La Arquitectura palatina 39 La Escultura m losSalones Regios 49 La Pintura y el Mobiliario de losPalacios 60 Capítulo II: Lanecesidad de un taller 69 tas madianzas de Pacheco 70 Los libros queposeían ambos 71 Un m&odo de qrmdizaje: laprimacía del dibuja 73 El ejerciciodel oficio depintor 74 Unas notas sobre iconografla 78 El proceso de elaboración de la obra velazqueña 80 La sitI¡acidfl personal del pintor de Felipe iv 88 El taller de Velázquez 93 SEGUNDA PARTE: EL TALLER PROPIAMENTE DICHO 101 Capítulo 1: Miembros permanentes ¡02 Aprendices 102 Diegode Melgar 102 Andrés deBrizuela 102 Oficiales 104 Juan Velázquez 104 Hfrculs Bartolussi 105 Juan Bautista Mutinez del Mazo 108 Biografla 108 Fechaylugar de nacimiento: las montañas de Burgas 108 Primer Matrimonio 110 Prima Empleo Burocrático 111 Primeros Hijos 111 ji Relación con otros pintores: Fugay Carducho 112 Nombre deMazo. Primeas hijos varones ¡¡2 Posible existencia de afta hija de Velázquez y Juana Pacheco 113 Relación conlafamilia del pintor MatíasPastor 114 María del Páramo, viuda de Pacheco, y Juan Velázquez ¡14 Nacimiento deflaltasar del Mazo 115 Amistad conMomo Cano 115 Pintor del Prlncipt ‘Vistas dezaragozay de Pamplona” ¡16 LadecoracióndelosSalonesRegios 117 Nacimiento de Teresa del Mazo 118 Participación en asuntos económicos de lafamilia Velázquez 118 Carta deMazoaAndrés deUstarroz ¡19 Viaje de Velázquez aItalia Nacimiento de laúltima nieta del pintor 119 Cobros 119 Nace el último de los hijos del matrimonio Mazo-Velázquez 120 Mazo como tasador de obras 120 Muertee inventario de losbienes de Francisca Velázquez 120 Otros cobros y ayudas económicas del Rey a Mazo 121 Matrimonio de Inés del Mazo 122 Partición de bienes de Francisca Velázquez 122 Parientes ¡23 Residencia 123 Ayuda de laFuniera. ViajeaItalia Viudez de Inés del Mazo 124 Garren cortesana de Gaspar del Mazo 125 Peticiones de Juan Bautista para sus hijos. Segundo matrimonio del pintor 127 Trabajo conjunto conVelázquez Pintorde Cámn 128 Dananda de los bienes de Velázquez 128 La segunda boda de DoñaInés 129 Continúa lademanda de losbienes de Velázquez 130 Baltasar del Mazo: carrera palatina 130 Otros hijos. Muerte de Francisca de laVega 131 Posición de Melchor y Teresa, últimos hijos del matrimonio Mazo- Velázquez 132 Continúa la recupnciónde los bienes de Velázquez 133 Tuca matrimonio del pintor. Fallecindato 133 UnacartadepagoafavardeiuanAztoniodelMazo 133 Hijos del matrimonio Mazo-De laVega 134 Descendencia de Gaspar 135 Descendencia de Baltasar 137 Estilo 139 Ternasreligiosas 140 Retratos 141 Vistas de ciudades 145 Cacerías 148 Paisajes ¡49 ¡Li Copie de grandes maestros ¡SO varios 153 Datos cronológicos 155 Catálogo de sus obras 166 Tenias religiosos 166 Retratos 167 Vistas de ciudades 182 Escuela de Mazo 188 Cacerías 189 Colaboración 191 Paisajes ¡92 Copias de grandes maestros 194 Religiosas 194 Mitológicas 195 Animales 208 Retratos 210 Vatios 211 Dibujos 211 Atribuciones211 Documentos 216 Juan de Pareja 225 Biografla 225 Su situaciónjurídica227 Estilo 230 Datos cronológicos233 Catákgo de sus obras 234 En paradero desconocido 238 Participación mcl taller Real 241 Benito ManuelAgúero242 Biowafla 242 Estilo 243 Los paisajes244 Datos cronológicos248 Catálogo de su obra 249 Capitulo II: Colaboradores 261 Momo Cano 261 Fecha de su llegada aMadrid 261 Motivo de la llegada 262 Supapel como Maestro Mayor de Obras Reales 263 La laborde Cano como pintory escultor265 Lasrelaciones con Velázquez y otros “veiazqusos” 266 Estilo 267 Datos cronológicos 271 iv Catálogo de sus obras 273 Posibles atribuciones 275 Círculo de Cano 276 En paradero desconocido276 Antonio Puga 277 Biografla 277 Testamento, inventarioy almnoneda de susbienes 280 Sobre sus posibles vocaciones religiosa y militar 283 Posibles llegada a Madridy relación con Velázquez 283 El taller de Antonio Puga 286 Estilo 288 Datos cronológicos 293 Catálogo de sus obras 295 Cuadros que se conservande su mano 295 Cuadros en los que colaboré 296 Cuadros de sumano en paradero desconocido 298 Atribuciones 312 Juan de ¡a Corte 314 Vida 314 Supuestarelación con Velázquez 315 Obras relacionadas con el pintor de Cámara 316 Datos cronológicos 318 Catálogo de sus obras 319 Capitulo III: Discípulos 322 Francisco de Burgos Mantilla 322 Origen y fecha de nacimiento 322 Matrimonios y fallecimiento 323 Estilo 325 Datos cronológicos 330 Catálogo de sus obras 332 Únicaobra conservada 332 Cuadros en paradero desconocido 332 Francisco Palacios 344 Vida 344 Estilo 347 Datos cronológicos 350 Catálogo35) Obras conservadas 351 Obras desu mano y desaparecidas 353 Atribuciones 354 Tomás de Aguiar 355 Vida 355 Algunos datos sobre su posible origen aristocrático 356 ¶7 La afición poética de Aguiar 356 Obra 359 Datos cronológicos 360 Catálogo 361 Juan de Alfaro 363 Biocrafla363 Faniiliav nacimiento 363 Motivo por el cual entróen contacto con Velázquez y primera estancia en Madrid 364 Regreso aCórdoba y encargos en aquella ciudad 365 Devuelta aMadrid Vida social 366 Destierro del Almirantede Castilla. Segundo matrimonio, en Córdoba 366 Enfuniedadv muerte 367 La relación de Alfaro con el Almirantede Castilla. Posible parentesco 368 La afición poética. Sus escritos en prosa 369 Estilo 374< Su papel en el taller de Velázouez 375 Discípulos 376 Datos cronológicos 377 Catálogo de sus obras 379 Retablos y otras construcciones similares 379 Pinturas murales 382 Temas religiosos 382 a) Fimiados 382 b) Mencionados por Palomino y hoy perdidos 383 c) Atribuidos por la crítica moderna 384 Temas mitológicos 386 Retratos 386 a’) De autoría documentada 386 b’) Mencionados por Palomino y otras firntes. Atribuciones de la críticamoderna 387 Series 391 Dibujos 393 Inacabados. Terminados por Palomino 394 Capítulo IV: Más supuestos discípulos 396 Miguelde la Cmz 366 Diego deLucena 366 Sebastián Martínez Domedel 367 Nicolás de Villacis Arias 399 Capítulo V: Analogías estilísticu con otros pintores del momento 401 Juan Cairdio de Miranda 401 José Leonardo 404 Jusepe Martínez 406 vi Antonio de Pueda 406 DiegoPolo 408 Francisco Rizí 409 Bartolomé Román 410 Francisco de Zurbarán 411 CapítuloVI: Otros artistas que se relacionaron con Velázquez y los “velazqueños” 414 Arquitectos 4)4 Sebastián deHareraBarnuevo 414 Pedrode laTorre 415 Capinteros 416 Martín Orjero 416 Doradores, decoradores y escenógrafos 416 Simón López 4)6 Juan de Villegas Gallego 418 Entalladores 419 P. GutiWez 419 Escultoresy ensambladores 419 Jerónimo Velázquez 419 Maestros de obra 419 Andrés de Bárcena 420 Pintora 420 Francisco Ante (o Janete) 420 Francisco Barrera421 Francisco Bergés (o Vega) 421 Testamento e inventario de pinturas 423 Isidoro Burgos Mantilla 425 Juan Carreño de Miranda 426 Felipe Diricksen 426 Juan de Espinosa426 Antonio FaTiández de Castro 427 José Gallego 427 Antonio García Reinoso 427 Francisco Gómez428 Pedro Gómez428 Bartolomé González 428 Antonio Grojano 430 Domingo Cuera Coronel 431 Francisco Gutiérez Cabello 432 Juan Guti&rez 433 Francisco Janda Va Francisco Ande 434 Francisco López Caro 434 Matías López 435 Francisco Luján 435 Jerónimo Márquez 435 vi’ Gonzalo Martín 436 Juan Mateo 436 Santiago MorAn 436 Angelo Nardi 437 Jusepe Pareja 439 Matías Pastor 439 Francisco Terrones 44) Juan de Solís 44) Diego Ungo de Velasco 441 Francisco Vergés.Ver Francisco Bergés 442 Domingo Yanguas 442 Pedro Zamudio 443 Francisco de Zurbarén 444 BIBLIOGRAFÍA GENERAL 445 LAMINAS Tomo II INTRODUCCIÓN Como todos los pintores de su época, Velázquez tuvo que tener un tallerpuesto que era lo normal del momento, todos lo tenían y no se concebía otra manera de trab~ar. Lo extraño hubiera sido la idea que se ha querido defender, hasta el momento, del pintor aislado. La concepción de gremio. imperante en el siglo XVII, imposibilita esta segunda situación a no ser que, la escasa calidad o la mala suerte, impidieran mantener a unas persona trabajando, lo que no es el caso1. Paulatinamente han ido surgiendo documentos sobre oficiales, aprendices y. ya Palomino, menciona la existencia de algún discipulo, con lo cuallatesis del tallerva tomado forma. Junto a la labor pictórica propiamente dicha, también se conservan datos sobre la actividad decorativa de Velázquez dentro de los muros del Alcázar y demás residencias Reales en este sentido, es importante su segundo viaje a Italia el cual tuvo coma objeto traer pinturas y esculturas para completar la decoración de las nuevas estancias Reales además de alcanzar Irnos honores que ningún otro artista español logró, al ser nombrado académico de San Lucas. y miembro de la Congregación de Virtuosos al Panteón. Enrique#h Harria ha sido la autora que ha dedicado, prácticamente un libro, a analizar la labor de Velázquez en el país vecin<9. Toda esta actividad decorativa la desempefló Don Diego al margendesuoflcioqueemeldepintor.Tslvezporsubuengustoysubuenhacez Felipe IV le puso al frente
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    [2] juan antonio de frías y escalante (Cordoba, 1633–Madrid, 1669). Attributed to Venus and Cupid c. 1660 Charcoal or soft black chalk on white paper 89 x 166 mm ntil the 19th century the depiction of the female The “Rokeby” Venus (London, National Gallery, NG2057) by nude was solely confi ned to mythological subjects Velázquez belonged to the Marquis of Carpio, who was close to Usuch as Venus, nymphs and the Three Graces or the monarch and was a great connoisseur of painting. 2 to the depiction of Eve in religious compositions. In line The manner of presenting the fi gures of Venus and with the prevailing morality of the day, these were the only Cupid in the present drawing recalls Velázquez’s “Rokeby” nude female fi gures that could be depicted in paintings or Venus . However, in the present work the fi gure of the goddess sculpture. Despite this fact, numerous artists were the subject is seen from the front, not from behind, and Cupid holds of criticism by writers and intellectuals who considered up a curtain rather than a mirror. Nonetheless, the similarity that such works encouraged lust and lasciviousness. 1 It was between the two works suggests that the creator of this sheet not until the 19th century that artists such as Goya, with the was familiar with Velázquez’s paintings, either the London Naked Maja, followed by fi gures such as Ingres with the Grand canvas or other similar ones such as the Venus and Cupid painted Odalisque and Manet with Olympia who ventured to depict for the Salón de los Espejos [Hall of Mirrors] in the Alcázar a female nude for its own sake.
  • The Politics of Painting: Velázquez and Diplomacy in the Court of Philip IV

    The Politics of Painting: Velázquez and Diplomacy in the Court of Philip IV

    Letras Hispanas, Volume 3, Issue 2 Fall 2006 The Politics of Painting: Velázquez and Diplomacy in the Court of Philip IV Chad M. Gasta Iowa State University The influence of Diego Velázquez on the history of art cannot be overstated, but studies to date have not taken note of his impact on Spanish politics during the mid-seventeenth century. In short, Velázquez was as much a politician as an artist, his position in the Spanish court required both responsibilities. In the years 1659-1660 the painter played an especially remarkable role in the affairs of state when he was called upon to make court preparations for the Paz de los Pirineos, a peace accord ending nearly thirty years of war between the two reigning European superpowers, France and Spain. The treaty was contingent upon the royal marriage of the Spanish princess María Teresa, daughter of king Philip IV, to French king Louis XIV (Philip’s nephew). In simple terms, we might say Velázquez’s involvement in the treaty and wedding celebrations appeared only to be artistic: he produced a few paintings, chose tapestries, sculptures, paintings, and furniture for exhibition, and determined the precise placement of other works of art for the treaty negotiations in Madrid, and also for the wedding celebrations near the Spanish border with France. However, in light of the importance European courts placed upon aesthetics and their ability to project certain attitudes, Velázquez’s actions had theoretical and real political consequences for the success of the treaty and marriage. His decisions set the overall tone for political events, and helped shaped their outcome.