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Velazquez; an Account of His Life and Works CORNELL UNIVERSITY LIBRARY Date Due D D u>iA.^A Rft-TJrt^* Cm' ;"",. .':'-.-.'Sv-^jmtmiimmKm NO. 23233 PRINTED IN U. 9 (t*f CAT. Cornell University Library ND 813.V43C16 Velazquez; an account of his life and wor 3 1924 008 713 319 9 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31 92400871 331 THE SPANISH SERIES VELAZQUEZ THE SPANISH SERIES VELAZQUEZ AN ACCOUNT OF HIS LIFE AND WORKS, BY ALBERT F. CALVERT AND C. GASQUOINE HARTLEY, WITH 136 REPRO- DUCTIONS FROM HIS MOST CELEBRATED PICTURES LONDON: JOHN LANE, THE BODLEY HEi^D, NEW YORK: JOHN LANE COMPANY MCMVIII ' < ^ ^inburgh: Ti and A. Constable, Printers to His Majesty To THE DUCHESS OF SAN CARLOS My dear Duchess, I venture to offer for your acceptance the dedication of my poor appreciation of Velazquez, in the hope that the greatness of the subject will atone for demerits in the treatment of the theme, and in the confidence that even those demerits will be regarded with the gracious lenience that my work has always received at your hands. I am, my dear Duchess, Your ever grateful and devoted, ALBERT F. CALVERT. PREFACE For nearly two centuries Velazquez was but a name in the dictionary of the arts. His ter- centenary, celebrated on 6th of June 1899, three hundred years from the day of his birth in Seville, was the first commemoration of the event that could be said to possess any special and inter- national significance. One can discover few parallels to the quick neglect which overtook his paintings after his death in 1660, or to the equally rapid and sustained appreciation they have gained during the last few decades. To-day Velazquez has come anew into his kingdom of fame. He is, above all, acclaimed the painters' painter ; he is not an old master, but one whose influence lives still in contemporary art. Much has been written about Velazquez, and thanks to the perfection of modern photography, every one may become acquainted with his pictures. And this last is of supreme import- viii VELAZQUEZ ance, for the one way to know Velazquez is to approach him through his pictures. Many writers have dealt in luminous and scholarly fashion with his art, and in venturing to add yet another volume to those that have appeared, the present writers would ask their readers to bear in mind the modest limitation of their purpose. The object of this little book, then, is to induce the reader to turn to the pictures of Velazquez, the plates of many of which are here reproduced. It is not an exhaustive treatise on the painter's work, nor a full biographical essay, still less is it a handbook to explain his pictures. It is just an invitation, as it were, to look more carefully at the pictures themselves. Velazquez is the last painter in the world to be made the subject of a lengthy biography. This essay does not pretend to add any new knowledge to the now familiar facts of his life or to the appraisement made already of his perfect art. Almost all the bio- graphical details are quoted from Pacheco's record of his pupil, or are drawn from Professor Carl Justi's very full work on the subject. In questions as to the chronology and authenticity of certain pictures important facts have been PREFACE Ix taken from Seftor de Beruete's splendid volume on Velazquez. Much help, too, has been gained from the works of Mr. R. A. L. M. Stevenson, Sir Walter Armstrong, and Mr. Charles Ricketts. For permission to reproduce many of the pictures, thanks are given to Messrs. J. Lacoste, Braun Clement, Hanfstaengl, and Messrs. Mansell & Co. But although the last word on Velazquez has probably been uttered, there are many to whom his pictures are still not truly known. The fact that he is the painters' painter has been insisted upon so strongly that some have been deluded into the belief that his art appeals exclusively to artists. It is unquestionably true that those who understand the technique of painting, can appreciate best the supreme quality of the master's work, but all lovers of beautiful things can learn to see and delight in the special charm of his pictures. In conclusion, it is admitted that much might have been added to this essay. Discussions on the authenticity of this or that picture have been passed over quickly ; few statements have been made on the theories of Velazquez' art ; and the writers feel that much might have been said X VELAZQUEZ differently. However, apologies for work that is done are useless. Yet they who take on themselves to criticise great paintings must pause often ashamed at their facile presumption. Criticism is, after all, no more than the state- ments of individual minds. To remeniber this is especially needful in the case of a painter like Velazquez. A. F. C. C. G. H. — CONTENTS CHAP. PAGE I. THE MAN AND HIS AGE I II. EARLY PICTURES PAINTED IN SEVILLE . 24 III. FIRST PORTRAITS PAINTED AT THE COURT IN MADRID 36 ' IV. THE VISIT OF RUBENS— ' LOS BORRACHOS THE JOURNEY TO ITALY—THE PICTURES PAINTED IN ITALY 54 V. THE YEARS 163I-1649—PICTURES OF DECO- RATION 72 VI. THE YEARS 1631-1649—PORTRAITS OF PRINCE DON BALTASAR CARLOS—PORTRAITS OF THE COUNT-DUKE OF OLIVARES—THE FRAGA PORTRAIT—OTHER PORTRAITS OF THIS PERIOD 91 VII. THE SECOND VISIT TO ITALY—PORTRAITS PAINTED IN ROME IIO VIII. PORTRAITS OF THE COURT DWARFS AND BUFFOONS—THE PORTRAITS OF 2ESOP AND MENIPPUS 121 xi xii VELAZQUEZ CHAP. PAGE IX. THE LAST YEARS: 1651-1660—PORTRAITS OF QUEEN MARIANA OF AUSTRIA—POR- TRAITS OF THE OFFSPRING OF THE NEW ROYAL MARRIAGE : THE INFANTA MAR- GARITA, AT VIENNA, PARIS, FRANKFORT, AND MADRID ; THE INFANTE DON PHILIP PROSPER AT VIENNA—THE TWO LAST PORTRAITS OF PHILIP IV., AT MADRID AND IN THE NATIONAL GALLERY, LON- DON—MYTHOLOGICAL PICTURES PAINTED FOR THE TORRE DE LA PARADA, AND FOR THE 'ROOM OF MIRRORS' IN THE ALCAZAR 135 X. THE LAST YEARS: 1651-1660—'LAS HILAN- DERAS ' AND ' LAS MENINAS '—THE TWO ' LAST RELIGIOUS PICTURES : THE CORONA- TION OF THE VIRGIN' AND ' ST. ANTHONY VISITING ST. PAUL' 1 56 A LIST OF THE PAINTINGS OF VELAZQUEZ. WITH AN INDICATION OF WHERE THE ORIGINALS ARE TO BE FOUND . 181 ILLUSTRATIONS PLATE TITLE GALLERY 1. The Velazquez Gallery in the Prado Museum Madrid. 2. The Adoration of the Kings, . Prado, Madrid, 3. Fragment of ' The Adoration of the Kings,' . .... Prado, Madrid. 4. Christ in the House of Martha, . National Gallery, London. S- The Old Cook ; or. The Omelette, . Sir Frederick Cook, Rich- mond. 6. The Steward Sir J. C. Robinson. 7. The Breakfast St. Petersburg. 8. Bust Portrait of Philip IV. as a Young Man, .... Prado, Madrid. 9. PortraitofPhilipiv. asaYoung Man, Prado, Madrid. 10. Portrait of the Infante Don Carlos, Second Son of King PhiUp iii.„ . Prado, Madrid. 11. Portrait of a Buffoon of Philip iv., called Pablillos de Valladolid, . Prado, Madrid. 12. Fragment of the Portrait of the Buffoon Pablillos de Valladolid, . Prado, Madrid. 13. Portrait of a Man Prado, Madrid. 14. Portrait of a Man Prado, Madrid. 15. Portrait of Dona Juana Pacheco, Wife of Velazquez, . Prado, Madrid. 16. Portrait of a Little Girl, . Prado, Madrid. 17. Portrait of a Little Girl, . Prado, Madrid. 18. Portrait of Don Antonio Pimentel, ninth Earl of Benavente, Lord of the Bedchamber to Philip IV., . Prado, Madrid. xiv VELAZQUEZ PLATE TITLE GALLERY , 19. Fragment of the Portrait of Don Antonio Pimentel, . Prado, Madrid. 20. Portrait of the Poet Don Luis de G6ngora y Argote, . Prado, Madrid. 21. Portrait of a Man with a Globe, . Rouen Museum. 22. A Meeting of Thirteen Persons, . Louvre, Paris. 23. The Betrothal, .... National Gallery, London. 24. A Dead Warrior National Gallery, London. ' 25. The Topers : Los Borrachos, ' . Prado, Madrid. 26. Fragment of 'The Topers,' . Prado, Madrid. 27. Fragment of 'The Topers,' . Prado, Madrid. 28. The Forge of Vulcan, . Prado, Madrid. 29. Fragment of 'The Forge of Vulcan,' Prado, Madrid. 30. Fragment of 'The Forge of Vulcan,' Prado, Madrid. 31. Christ on the Cross, . Prado, Madrid. 32. Fragment of ' Christ on the Cross,' Prado, Madrid. 33. View taken in the Garden of the Villa Medici at Rome, . Prado, Madrid. 34. View taken in the Garden of the Villa Medici at Rome, . Prado, Madrid. 35. View of the Arch of Titus in the Campo Vaccino of Rome, . Prado, Madrid. 36. Philip IV. , King of Spain, hunting the Wild Boar National Gallery, London 37. Prince Balthasar Carlos in the Rid- ing School, ... Duke of Westminster. 38. The Sin-render of Breda : ' Las Lanzas,' . Prado, Madrid. 39. Fragment of ' The Surrender of Breda,' Prado, Madrid. 40. Fragment of 'The Surrender of Breda,' Prado, Madrid. 41. Fragment of 'The Surrender of Breda,' Prado, Madrid. 42. Portrait of Philip IV. in Hunting Costume Prado, Madrid. 43. Portrait of Philip iv.. King of Spain, Louvre, Paris. ,, ILLUSTRATIONS xv PLATE TITLE GALLERY 44. Portrait of the Infante Don Fer- nando of Austria, Brother of Philip IV., dressed for the Chase, with Dog and Gun Prado, Madrid. 45. Fragment of the Portrait of the Infante Don Fernando of Austria, Prado, Madrid. of Prince Balthasar 46. Portrait Don , Carlos Prado, Madrid. 47. Portrait of the Child Prince Balthasar Carlos, Prado, Madrid. 48. Don Balthasar Carlos, . Vienna. 49. Equestrian Portrait of Philip III. , . Prado, Madrid. 50. Fragment of the Equestrian Por- trait of Philip in.
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