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diff --git a/old/65034-0.txt b/old/65034-0.txt deleted file mode 100644 index 647fcab..0000000 --- a/old/65034-0.txt +++ /dev/null @@ -1,1422 +0,0 @@ -The Project Gutenberg eBook of Velázquez en el museo del Prado, by A. de -Buruete y Moret - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Velázquez en el museo del Prado - -Author: A. de Buruete y Moret - -Release Date: April 09, 2021 [eBook #65034] - -Language: Spanish - -Character set encoding: UTF-8 - -Produced by: Chuck Greif and the Online Distributed Proofreading Team at - http://www.pgdp.net (This file was produced from images - available at The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK VELÁZQUEZ EN EL MUSEO DEL -PRADO *** - - - - - EL ARTE EN ESPAÑA - - BAJO EL PATRONATO DE LA COMISARÍA REGIA - DEL TURISMO Y CULTURA ARTÍSTICA - - - VELAZQUEZ - - EN EL MUSEO DEL PRADO - - _Cuarenta y ocho ilustraciones con texto de_ - A. de Beruete y Moret - - [Illustration] - - HIJOS DE J. THOMAS - - c. MALLORCA, 291--BARCELONA - - - RESERVADOS LOS DERECHOS DE - PROPIEDAD ARTÍSTICA Y LITERARIA - - - - -[Illustration] VELÁZQUEZ - - -El desarrollo progresivo del arte español en los tiempos de Felipe II, -debido en parte a las influencias de artistas extranjeros aportadas por -las relaciones personales y preferencias de aquel significado monarca, -ayudaron poderosamente al brillante apogeo pictórico del siglo XVII. -Pero entre aquel período que pudiera denominarse de gestación aun -indefinida y borrosa, al del florecimiento nacional castizo, mediaron -algunos años, los últimos del siglo XVI y los primeros de la centuria -siguiente, que fueron poco afortunados para nuestra pintura. Degenerada -la escuela de los retratistas, muerto El Greco, aislada gran parte de su -producción en Toledo, sin una sola personalidad pictórica las ciudades -más notables y la Corte sin pintores de valía, no era fácil predecir que -el momento brillante estaba tan próximo ni que iba a ser tan rico, tan -extenso y tan vario. - -Por aquellos días tristes para la pintura española empezaba su educación -artística un joven, casi un niño, que había nacido en Sevilla en 6 de -Junio de 1599: Diego Rodríguez de Silva y Velázquez. - -Desde la temprana edad de once años fué alumno de Francisco Pacheco, -aquel cultísimo pintor a cuya casa acudía lo más selecto en Letras y -Artes de la ciudad andaluza. Las enseñanzas de Pacheco, sus máximas -artísticas, trasnochado trasunto del pseudo-clasicismo imperante a la -sazón, no consiguieron torcer el temperamento y las inclinaciones de su -joven alumno, enderezadas al culto de la interpretación fiel del -natural. Nada de convencionalismos de escuela, nada de embellecer la -forma ruda que a menudo presenta el modelo vivo a los ojos de un -espíritu que anhela un ideal superior. Copiarlo tal y cómo a su vista se -presentaba, sin atenuaciones ni falseamientos, fué su eterno propósito, -al cual se mantuvo fiel, ayudado por su temperamento reposado y sereno y -por el más perfecto órgano visual. Multitud de estudios seriamente -realizados, ya al lápiz, ya en color, fueron sus primeros ensayos. Aun -adolescente, ejecutó alguna de aquellas obras que asombran por su -realismo, por su magistral dibujo (cualidad que le fue ingénita), por su -relieve escultural, por su sobriedad, _La vieja friendo huevos_, de la -colección Cook, y _El aguador de Sevilla_, perteneciente al Duque de -Wellington, ambos cuadros en Inglaterra, nos demuestran la forma y -resolución que daba el artista en aquellos años a estas obras de -carácter popular, a juzgar por su asunto y modelos. En cuanto a las -obras de carácter religioso, pueden servir de tipo _La Inmaculada -Concepción_, _San Juan en Patmos_, _Cristo en casa de Marta_, todas tres -en Inglaterra como las anteriores; _San Pedro_, en una colección -particular de Madrid; _La Adoración de los Reyes_, en el Museo del -Prado, y _Cristo y los peregrinos de Emaus_, que ha sido adquirido -recientemente en los Estados Unidos. - -Aun cuando el arte que revelan estos cuadros y todos los demás que por -aquellos años, aun de aprendizaje, pintara en Sevilla, no son sino lo -opuesto a las máximas preconizadas por Pacheco, éste, lejos de torcer -una manifestación tan patente, alentó las tendencias a la realización de -una pintura tan francamente naturalista que realizaba su discípulo, y, -cautivado por las cualidades morales que demostraba, le hizo su yerno -antes de cumplir los diez y nueve años. Algo después, tras una tentativa -infructuosa hecha en 1622, consiguió Pacheco, en 1623, la introducción -de Velázquez en la Corte del rey Felipe IV, de cuyo servicio no se había -de separar durante el transcurso de su vida. - -Del asombro que produjo en la Corte el retrato de Fonseca, el primero -que hizo el joven sevillano, como ensayo de su capacidad, da testimonio -el hecho de que al verlo el Rey, sus hermanos los Infantes y los nobles, -Velázquez fué agraciado con puesto y sueldo en Palacio y encargado de -pintar sin dilación la efigie del Soberano. - -Perdido el retrato de Fonseca, existen varios del Monarca, del Infante -D. Carlos, del Conde-Duque de Olivares, pintados en aquellos primeros -años de Velázquez en Madrid, obras maestras, tan personales, que bastan -a explicar la rivalidad que despertara aquel joven intruso entre los -pintores adocenados de Felipe IV. Su posición, sin embargo, se afianzó -de día en día, no contribuyendo poco a esto el triunfo obtenido en 1625 -con un retrato ecuestre del Monarca, hoy desaparecido, y el premio que -le fué acordado por el lienzo _La Expulsión de los Moriscos_, para el -cual fué abierto un concurso en competencia con otros tres pintores del -Rey, Vicente Carducho, Eugenio Caxes y Angel Nardi. Obtuvo Velázquez la -palma que le concedió por unanimidad un Jurado compuesto de artistas. -Perdido también este lienzo en el incendio del Alcázar de 1734, queda -otro, _Los Borrachos_, terminado dos años después, síntesis suprema de -cuanto hasta aquella fecha produjera. Muestra este lienzo las cualidades -todas de aquellas obras ejecutadas en Sevilla en sus primeros años de -aprendizaje, pero en un grado muy superior. Nunca ha tenido la picaresca -española, que hace un papel tan brillante en la literatura de aquellos -días, más genuina representación que la que ostenta este lienzo -prodigioso. En él se reveló el artista con un vigor no superado después -en la caracterización de tipos y en la fuerza de expresión. Si Velázquez -hubiera muerto luego de pintado el cuadro de _Los Borrachos_, bastara -esta sola obra para darle la supremacía y el título de creador de una -escuela indefinida hasta entonces por falta de orientación fija y -personal. - -Y sin embargo, aquellos comienzos tan brillantes en la Corte no fueron -sino pálidos anuncios y tenues vislumbres del asombroso florecimiento -que había de alcanzar más adelante. - -Su primer viaje a Italia, en el año de 1629, que fué en el que terminó -_Los Borrachos_, marca un progreso en el perfeccionamiento de sus -cualidades nativas tan desarrolladas por el estudio de los grandes -maestros italianos y por su constante afán de realizar una -interpretación sobria y siempre fiel del natural. - -En aquellos países y por aquellos años, en el ambiente clásico, produjo -_La Fragua de Vulcano_, obra mitológica en la que, si no demostró un -saber profundo acerca de los cánones clásicos, dejó bien patente su -maestría en la resolución del desnudo. Asimismo y entre otras obras, -pintó entonces los dos paisajes de la Villa Médicis, en Roma, donde -mostró, no obstante la sencillez de estas obras, la manera cómo él -comprendía y trataba el paisaje. En este respecto se le ha considerado -como un precursor de la forma en que las modernas escuelas han entendido -la resolución de la pintura al aire libre. - -Desde 1631, en que regresó de Italia, hasta 1649, en que emprendió su -segundo viaje, se halla comprendido el período de la más variada y -asombrosa producción del artista, no por lo fecundo, que Velázquez no lo -fué nunca en cuanto al número de las obras de su pincel, aunque sí por -lo selecto de esas obras. - -El cuadro de _Las Lanzas_, de sin igual nobleza, obra representativa del -genio pictórico de una raza hidalga; los retratos ecuestres de Reyes y -Príncipes; aquellos otros en que estos mismos personajes aparecen -vestidos de cazadores, en los que se sirvió para fondo de diferentes -paisajes del monte del Pardo, que con sus seculares encinas, plantadas -en un terreno rico en accidentes, pero pobre de suelo, se ve limitado en -el horizonte por la cadena de montañas de la sierra de Guadarrama, donde -brillan al sol de Castilla sus altas cumbres casi siempre cubiertas de -nieve; otros retratos como el del Conde Duque de Olivares; el del Rey -en traje militar, pintado en Fraga en 1644 y descubierto el año pasado; -los de algunos bufones de la Corte; el de mujer española, tan típico en -su clase, que atesora la colección Wallace; el Cristo en la cruz; las -escenas de caza, son obras que bastan para dar idea del crecimiento que -adquiere el pintor durante ese período, acentuando su personalidad -potente. Durante estos diez y ocho años de su edad madura desenvuelve lo -que la crítica ha denominado su segunda manera, más amplia y grandiosa -que la de su juventud, más colorista cada día, enriqueciendo todas las -obras que salían de sus pinceles con aquellas finas armonías grises, a -veces plateadas, tan características y tan inconfundibles. - -Pero aun guardaba bríos para crear un arte superior, quizá enigmático de -puro sencillo, que se muestra en todas las obras de la última década de -su vida, arte tan sublime que empezó no ha mucho a ser comprendido y que -hoy está dando sus mejores frutos. - -Desde que en 1650 Velázquez pintó en Roma el retrato del Papa Doria, -precedido del busto de Juan Pareja, de Longford Castle, y del estudio -para dicho retrato del Papa que se guarda en San Petersburgo, en el -Museo del Ermitage, hasta la muerte del artista en Agosto de 1660, -Velázquez, alto funcionario de la Corte ocupado en comisiones de obras -de los Alcázares y Palacios Reales, tarea completamente ajena al -ejercicio del arte y que contribuyó no poco a mermar su producción, -robó, no obstante, a tan múltiples y enojosas tareas el tiempo -suficiente para crear obras como los últimos retratos de los Reyes y de -los Príncipes que admiramos en Madrid, Viena, Londres y París; la -segunda serie de los enanos de la Corte, más asombrosa aun y más rica -que la pintada en los años medios, en la cual deben ser colocadas las -dos características figuras de _Esopo_ y _Menipo_, que nada de griegos -tienen, pero que son en esta última época de la vida del pintor lo que -fueron en la primera el lienzo de _Los Borrachos_, los dos cuadros -religiosos de _La Coronación de la Virgen_ y _Los Santos Ermitaños_, los -seis mitológicos, tres de ellos perdidos en el incendio del Alcázar en -1734, pero de los que afortunadamente conservamos en nuestro Museo -Nacional _El Dios Marte_ y _Mercurio y Argos_, y la _Venus del Espejo_, -que posee la Galería Nacional de Londres, y la originalidad del cual ha -sido tan injustamente discutida; y, por último, los lienzos capitales -_Las Hilanderas_ y _Las Meninas_, monumentos supremos de toda una -escuela pictórica, modelos de arte sintético, de asombrosa sencillez en -su factura, de armonías deliciosas y de estudios de valores, trozos, en -fin, de pintura sublime que, bajo una modesta apariencia, nada -aparatosa, son, no obstante, obras mágicas creadas espontáneamente, sin -que en parte alguna de ellas revelen ni esfuerzo, ni debilidad, ni -fatiga. - -Tal fué el genio que tanta gloria ha dado a España y que con sólo un -centenar de obras ha ejercido la más poderosa influencia en casi todas -las escuelas contemporáneas. - - A. DE BERUETE Y MORET - -Los números que van al pié de las láminas corresponden a los del -catálogo oficial del Museo del Prado. - - - - -[Illustration] VELAZQUEZ - -_Traduit par M. Emile Bertaux, Correspondant de l’Académie Royale de -Saint Ferdinand et Professeur à l’Université de Paris_ - - -Le développement progressif de l’art espagnol à l’époque de Philippe II, -qui avait été dû en partie à l’influence d’artistes étrangers groupés -par les relations personnelles et les préférences d’un monarque dont la -personnalité fut dominatrice, contribua puissament à l’éclat de la -peinture qui atteint son apogée pendant le XVIIᵉ siècle. Cependant la -période de gestation encore mal définie et confuse qui précède la -floraison d’un art purement national en est séparée par quelques années, -les dernières du XVIᵉ siècle et les premières du siècle suivant, qui -furent peu heureuses pour notre peinture. La décadence de l’école des -portraitistes, la mort du Greco, dont l’œuvre presque entière demeurait -isolée à Tolède, l’absence d’une personnalité artistique dans les villes -les plus importantes et d’un peintre de valeur à la Cour ne laissaient -guère prévoir que l’époque brillante fut si proche pour l’art, ni -qu’elle dut être si riche, si prolongée et si variée dans ses -manifestations. - -C’est dans ces jours tristes pour la peinture espagnole qu’un jeune -homme, né à Séville le 6 Juin 1599, commençait son éducation artistique: -il s’appelait Diego Rodríguez de Silva y Velázquez. - -Dès l’âge de onze ans il fut élève de Francisco Pacheco, ce peintre -d’esprit très cultivé qui attirait dans sa maison tout ce qui formait -dans la capitale andaleuse l’élite des lettres et des arts. Les -enseignements de Pacheco, ses maximes artistiques, résumés du -pseudo-classicisme qui était de mode alors, n’arrivèrent pas à détourner -le tempérament et les tendances du jeune homme, qui se consacrait déjà a -l’interprétation fidèle de la nature. Point de conventions d’école; -point d’embellissements de la forme brute que le modèle vivant offre à -la vue d’un esprit qui souvent aspire à un idéal supérieur. Copier la -nature, telle qu’elle se présentait à ses yeux, sans atténuations ni -falsifications, tel fut toujours le principe auquel il demeura fidèle et -qu’il put observer grâce à la froideur sereine de son tempérament -d’artiste et à la perfection unique de son organe visuel. Ses premiers -essais furent de nombreuses études très sérieusement exécutées au moyen -du crayon ou de la couleur. Encore adolescent il peignit quelques unes -de ces œuvres si étonnantes par le réalisme, par le dessin magistral -(que Velázquez posséda comme un don inné), par le relief sculptural et -la sobriété: la _Vieille femme faisant frire des œufs_ (de la collection -Cook) et le _Porteur d’eau de Séville_ (appartenant au duc de -Wellington). Ces deux tableaux d’Angleterre nous montrent la vigueur que -l’artiste donnait dès lors à ces œuvres de caractère populaire par le -sujet et les modèles. Quant aux œuvres de caractère religieux, on peut -citer comme types l’_Immaculée Conception_, _Saint Jean à Pathmos_, le -_Christ dans la maison de Marthe_, trois tableaux qui, comme les -précédents, sont conservés en Angleterre; un _Saint Pierre_, dans une -collection particulière de Madrid; l’_Adoration des Mages_, au Musée du -Prado, et le _Christ avec les pélerins d’Emmaüs_, qui a été récemment -acquis par un collectionneur des Etats Unis. - -L’art que révèlent ces tableaux et les autres que Velázquez peignit à -Séville dans ces années d’apprentissage se trouvait en contradiction -avec les maximes professées par Pacheco; pourtant celui-ci, bien loin de -chercher à détourner son disciple de la vocation qu’il manifestait, -l’encouragea à réaliser une peinture franchement naturaliste, et séduit -par les qualités morales de Velázquez, il fit de lui son gendre, avant -que le jeune peintre eût accompli sa dix-neuvième année. Un peu plus -tard Pacheco, après avoir fait en 1622 une première tentative qui resta -infructueuse, parvint en 1623 à introduire Velázquez à la cour du roi -Philippe IV: le peintre devait rester toute sa vie attaché au service de -son souverain. - -Le portrait de Fonseca, le premier que le jeune Sévillan peignit à la -Cour, mit à l’épreuve son talent d’une manière si éclatante que lorsque -ce portrait eut été montré au Roi, aux Infants ses frères et aux -courtisans, Velázquez obtint une place et un traitement au Palais et fut -chargé de peindre sans délai l’effigie du souverain. - -Le portrait de Fonseca est perdu; mais il existe divers portraits du -Roi, de l’Infant D. Carlos, du Comte-Duc d’Olivares, qui ont été peints -dans les premières années que Velázquez passa à Madrid. Ce sont des -œuvres magistrales et si personnelles qu’elles suffisent à expliquer la -jalousie que le jeune intrus éveilla dans le groupe médiocre des -peintres de Philippe IV. Cependant la position de Velázquez se consolida -de jour en jour, et particulièrement après le triomphe qu’il obtint en -1626 avec un portrait équestre du roi, qui a disparu et après sa -victoire dans le concours institué pour le tableau de l’Expulsion des -Morisques. Dans ce concours, où il se recontrait avec trois autres -peintres du roi, Vicente Carducho, Eugenio Caxes et Angel Nardi, -Velázquez remporta la palme à l’unanimité d’un jury composé d’artistes. -Ce tableau a péri, lui aussi, dans l’incendie de l’Alcázar de Madrid en -1734. Il en reste un autre, les _Buveurs_, terminé deux ans plus tard, -et qui se présente comme la synthèse suprême de tout ce que Velázquez a -produit à cette époque. Ce tableau montre toutes les qualités des œuvres -exécutées à Séville dans les premières années d’apprentissage, mais à un -degré très supérieur. Nulle part l’esprit picaresque, qui joua un rôle -si brillant dans la littérature espagnole de ce temps, n’a trouvé une -expression plus originale que dans cette toile prodigieuse. L’artiste -s’y révèle avec une vigueur qui n’a pas été surpassée pour la -caractéristique des types et l’énergie de l’expression. Si Velázquez -était mort au lendemain des _Borrachos_, cette œuvre seule suffirait à -lui assurer la suprématie et le titre de créateur d’école dans un milieu -qui manquait encore d’orientation fixe et de personnalité. - -Ces commencements de Velázquez à la Cour, si brillants qu’ils fussent, -laissaient à peine prévoir le prodigieux éclat que devait atteindre le -génie de l’artiste. Son premier voyage en Italie, qui eut lieu dans -l’année même où il termina le tableau des Buveurs, en 1629, marque un -perfectionnement de ses qualités naturelles, qui se développent par -l’étude des grands maîtres italiens et par la volonté constante de -réaliser une interprétation plus sobre et plus fidèle de la nature. -C’est alors, en Italie et dans le milieu classique, qu’il peint la Forge -de Vulcain, œuvre mythologique qui, si elle ne montre pas une -connaissance bien sérieuse des canons consacrés, révèle toute la -maîtrise du peintre dans l’exécution du nu. C’est alors encore que -Velázquez peint les deux paysages de la Villa Médicis, à Rome, où il -montra, dans de simples études, comment il comprenait et traitait le -paysage, en précurseur des écoles modernes et de la peinture de plein -air. - -Entre l’année 1631, qui est celle de son retour d’Italie, et l’année -1649, qui est celle de son second voyage à Rome, s’ouvre la période où -la production de l’artiste est la plus étonnante, non pour la fécondité, -que Velázquez ne connut jamais, mais pour la variété et le raffinement -des œuvres. - -Le tableau des Lances, de noblesse sans égale, où le génie du peintre -rend visible tout l’esprit chevaleresque de la race; les portraits -équestres du Roi, de la Reine et des princes; les autres toiles, où les -mêmes personnages se montrent vêtus en chasseurs, et qui ont pour fonds -les paysages montagneux du Pardo, avec leurs chênes séculaires, plantés -dans un terrain dont les formes sont aussi richement accidentées que le -sol est pauvre, ces paysages dont l’horizon est limité par la chaîne de -la Sierra de Guadarrama et par ses sommets neigeux qui brillent au -soleil de la Castille; d’autres portraits encore, comme celui du -Comte-Duc d’Olivares, celui du Roi en costume militaire, peint à Fraga -en 1644 et découvert en 1912; ceux des bouffons de la cour; celui d’une -femme espagnole, si typique entre tous les portraits du même genre, et -qui est l’un des trésors de la collection Wallace; le Christ en croix; -les scènes de chasses; ce sont autant d’œuvres qui donnent une idée de -la puissance qu’acquiert alors la personnalité du peintre. Pendant ces -dix huit ans de sa maturité se développe ce que la critique a appelé la -seconde manière de Velazquez, plus ample que elle de sa jeunesse, de -plus en plus colorée et enrichie de ces fines harmonies grises ou -argentées auquel rien ne peut être comparé. - -Il restait encore cependant au peintre des forces pour créer un art -supérieur, presque énigmatique, qui se révèle dans les œuvres de la -dernière décade de sa vie, art si sublime qu’il n’a été compris que -depuis peu et qu’il trouve peut-être aujourd’hui ses meilleurs -disciples. - -Après avoir peint à Rome en 1650 le portrait du _pape Doria_, précédé du -buste de _Juan Pareja_ (aujourd’hui à Longford Castle) et de l’étude -pour le portrait du pape qui est conservée à Saint-Pétersbourg, au Musée -de l’Ermitage, Velázquez devient l’un des plus hauts fonctionnaires de -la Cour d’Espagne. Il présida jusqu’à sa mort, au mois d’août 1660, aux -travaux des Palais Royaux. Ces fonctions officielles, complètement -étrangères à l’exercice de son art, contribuèrent beaucoup à -restreindre la production de l’artiste. Cependant il trouva moyen de -prendre sur ses occupations multiples et fastidieuses le temps de créer -des œuvres comme les derniers portraits des Rois et des Princes que nous -admirons à Madrid; la seconde série des nains de la cour, plus riche -encore et plus étonnante que celle qu’il avait peinte au milieu de sa -vie, et dans laquelle il faut placer les deux figures caractéristiques -d’_Esope_ et de _Ménippe_, qui n’ont rien de grec et qui sont dans cette -dernière époque de la vie du peintre ce qu’avait été dans la première -les tableaux des Buveurs; les deux tableaux religieux du _Couronnement -de la Vierge_ et des _Saints Ermites_; les six toiles mythologiques, -dont trois ont péri dans l’incendie de l’Alcazar en 1734, mais dont il -reste heureusement, dans notre Musée national, le _Dieu Mars_ et -_Mercure avec Argue_, et, dans la Galerie nationale de Londres, la -_Vénus au miroir_, dont l’authenticité a été discutée bien à tort; -enfin, les toiles capitales des _Fileuses_ et des _Ménines_, monuments -suprêmes de toute une école, modèles d’art synthétique, merveilleux pour -la simplicité de la facture, la délicatesse des harmonies et l’étude des -valeurs, morceaux de peinture, qui, sous une apparence modeste et sans -nul apparat, sont des œuvres magiques et des créations sublimes, dans -lesquelles le peintre ne trahit ni effort, ni faiblesse, ni fatigue. Tel -fut le génie qui a donné tant de gloire à l’Espagne et qui, avec une -centaine d’œuvres, à peine, a exercé l’influence la plus puissante sur -presque toutes les écoles contemporaines. - - A. DE BERUETE Y MORET. - -Les numéros qui figurent aux pieds des gravures, correspondent aux ceux -du Catalogue officiel du Museo del Prado. - - - - -[Illustration] VELAZQUEZ - - -The development of Spanish art in the time of Philip II which was partly -due to the influence of foreign artists brought together by that -distinguished monarch’s personal relations and preferences, contributed -greatly to the glory of painting, which reached its zenith in the -seventeenth century. But the period of gestation as yet ill defined and -confused, which precedes the blossoming of a purely national art, is -separated from it by several years; the last of the sixteenth century -and the first of the following century were not the happiest for our -painting. The decay of the school of the portrait painters, the death of -El Greco, whose work remained almost entirely confined to Toledo, the -absence of any artistic personality in the largest towns, or of a -painter of any talent at court, hardly encouraged men to prophecy that -the golden age of art was at hand, or that it was to be so rich, so -prolonged or so various in its manifestations. - -It was in these melancholy days for Spanish painting that a young man, -born in Seville in 1699, began his artistic education. His name was -Diego Rodríguez de Silva y Velázquez. - -From eleven years of age he had been the pupil of Francisco Pacheco, the -painter whose highly trained intelligence attracted all those who -formed, in the Andalusian capital, the aristocracy of art and letters. - -The teaching of Pacheco, his artistic maxims, crystallised from the -pseudo-classicism which was then fashionable, made no impression on the -temperament and natural tendencies of the young man, who had already -devoted himself to the faithful interpretation of nature. No conventions -of the studios; no embellishment of the rude form which the living model -offers to the vision of a soul that often aspires to some higher ideal; -to follow nature as she reveals herself to his eyes, without -conventionalising or falsifying, such was the principle to which he -always remained faithful, and which he was able to observe, thanks to -the serene aloofness of his artistic temperament and the marvellous -correctness of his eye. His first attempts were numerous crayon and -colour studies executed with great seriousness. While still in his teens -he painted several of those works so remarkable for their realism, for -their masterly drawing (which with Velázquez was an innate gift), for -their sculptural relief and precision: the Old Woman Frying Eggs (of the -Cook collection) and the Seville Water-Carrier (in the possession of the -Duke of Wellington). Both these pictures, now in England, show that -vigour with which the artist treated popular subjects. Typical of his -religious works are the Immaculate Conception, St. John in Patmos, -Christ in the House of Martha, all three, like the preceding ones, in -England; St. Peter, in a private collection at Madrid; the Adoration of -the Magi in the Prado; and Christ with the Pilgrims of Emmaus, which has -been recently acquired by an American collector. - -The art revealed by these pictures and the others which Velázquez -painted at Seville in his years of apprenticeship, are in direct -contradiction with the principles professed by Pacheco. Yet, far from -seeking to dissuade his pupil from following the tendencies he -manifested, he encouraged him to realise a style of painting frankly -naturalistic; and, won by the moral qualities of Velázquez, made him his -son-in-law before the young painter had completed his nineteenth year. A -little later, Pacheco, after having made in 1622 an unsuccessful -attempt, succeeded in 1623 in introducing Velázquez to the court of -Philip IV. The painter remained his whole life in the service of his -sovereign. - -The portrait of Fonseca, the first which the young Sevillian painted at -the Court, put his talent to the proof in a manner so brilliant that -when this portrait had been shown to the King, to his brothers the -Infantes and to the courtiers, Velázquez obtained a salaried position at -Court and was at once commissioned to paint the portrait of the -sovereign. - -Fonseca’s portrait is lost, but there are in existence several portraits -of the King, the Infante D. Carlos, the Count-Duke Olivares, painted in -the first years spent by Velázquez in Madrid. These are masterly works -and so personal that they are sufficient to explain the jealousy which -the young intruder aroused in the mediocre group of painters around -Philip IV. Nevertheless the position of Velázquez grew stronger from day -to day, and particularly after his triumph in 1625 with an equestrian -portrait of the King which has disappeared, and his victory in the -competition for a picture showing the expulsion of the Moors. Here he -was matched against three of the King’s other painters, Vincente -Carducho, Eugenio Caxes and Angel Nardi. Velázquez obtained the prize by -the unanimous decision of a jury composed of artists. This painting was -also lost in the burning of the Alcazar at Madrid in 1734. There remains -another, The Topers, finished two years later, the high water mark of -Velázquez’s production during these years. This picture shows all the -qualities of the works executed at Seville in the first years of -apprenticeship, but in a higher degree. Nowhere has the picaresque -spirit which played so brilliant a part in Spanish literature at that -time, found a more original expression than on this extraordinary -canvas. The artist here reveals himself with a vigour that has not been -surpassed for characterization of types and energy of expression. If -Velázquez had died the day after finishing The Topers, this work alone -would have been enough to ensure his supremacy and to give him the title -of founder of a school in a milieu still lacking in definite orientation -and in personality. - -These brilliant beginnings of Velázquez at Court dimly foreshadowed the -glory which awaited him. His first travels in Italy which took place the -year that he finished the painting of The Topers, in 1629, marks a -perfecting of his natural qualities, which develop by the study of the -great Italian masters and by the constant determination to realize an -interpretation more precise and more faithful to nature. - -It was then in Italy and in classical surroundings that he painted -Vulcan’s Forge, a mythological work, which if it does not show a very -close acquaintance with the consecrated canons, reveals all the mastery -of the artist in the execution of the nude. Then also it was that -Velázquez painted the two landscapes of the Villa Medici at Rome, where -he showed in simple studies how he understood and treated landscape, as -the forerunner of the modern schools of open-air painting. - -Between the year 1631, the date of his return from Italy, and the year -1649 the date of his second journey to Rome, begins the period during -which the artist’s production is most marvellous, not for copiousness -which never characterised Velázquez, but for the variety and refinement -of his works. - -The painting of The Lances unequalled for nobility, where the painter’s -genius reproduces all the chivalrous spirit of the race; the equestrian -portraits of the King, Queen and princes; the other canvases where the -same personages are seen dressed for the chase, and which have as -background the mountainous country of the Pardo with its ancient oaks -planted in a soil as picturesque as it is poor--these landscapes, the -horizon of which is bounded by the range of the Sierra de Guadarrama, -and by the snowy summits of Castile glittering in the sun; and other -portraits also like that of the Count-Duke Olivares; that of the King -in military uniform painted at Fraga in 1644 and discovered in 1912; -those of the court jesters; that of a Spanish woman, typical of its -class, which is one of the treasures of the Wallace collection; Christ -on the Cross; the scenes of the chase; all works which give an idea of -the power which the painter’s personality acquired. During these -eighteen years of maturity developed what the critics call the second -manner of Velázquez, larger than that of his youth, even more finely -coloured and enriched with those harmonies in grey and silver with which -nothing else can compare. - -But the painter still retained sufficient vitality to create a higher -art, almost enigmatical, which is shown in the works of his last decade, -an art so sublime that it has only recently been understood, and which -finds perhaps its best disciples among the moderns. - -After having painted at Rome in 1650 the portrait of the Doria Pope, -preceded by the bust of Juan Pareja now at Longford Castle, and the -study for the portrait of the Pope which is preserved in St. Petersburg -at the Hermitage, Velázquez became one of the highest functionaries of -the Spanish Court. Up to his death in the month of August 1660 he -superintended the decoration of the Royal Palace. His official duties, -which were quite foreign to the exercise of his art contributed greatly -to limit the output of the painter. However he found means to take from -his numerous and exacting occupations the time to create works such as -the last portraits of the Kings and the Princes which we admire so much -at Madrid; the second series of dwarfs, richer still and more -marvellous than those that he had painted in his maturity and among -which we must place the two characteristic figures of Aesop and Menippus -which have nothing of the Greek and are in the last epoch of the -painter’s life, what the painting of the Drunkards had been in the -earlier; the two religious paintings of the Crowning of the Virgin and -the Holy Hermits; the six mythological canvases, three of which perished -in the burning of the Alcazar in 1734, but some of which happily remain -in our national Museum, the Gods Mars and Mercury with Argus, and, in -the National Gallery in London, the Venus with the Looking-glass, the -attribution of which has been wrongly doubted; and finally the fine -canvases of the Spinners and the Meninas the supreme monuments of a -whole school, models of synthetic art, marvellous for the simplicity of -their technique, the delicacy of their harmonies, and the study of -values, paintings which, in spite of their modest appearance and lack of -elaboration, are works of magic and sublime creations in which the -painter betrays neither effort, weakness or fatigue. - -Such was the genius who has conferred so much glory on Spain and who, -with barely a hundred canvases, has exercised the most powerful -influence over nearly all modern schools of painting. - - A. DE BERUETE Y MORET. - -The numbers at the foot of the illustrations, correspond to those in the -official catalogue of the Prado Museum. - -[Illustration: LA ADORACIÓN DE LOS REYE - -L’ADORATION DES MAGES - -THE ADORATION OF THE MAGIS - -[1166]] - -[Illustration: RETRATO DE HOMBRE - -PORTRAIT D’HOMME - -PORTRAIT OF A MAN - -[1209]] - -[Illustration: RETRATO DE FELIPE IV. - -PORTRAIT DE PHILIPPE IV - -PORTRAIT OF PHILIP IV - -[1182]] - -[Illustration: RETRATO DE D.ª JUANA PACHECO, MUJER DEL PAINTER - -PORTRAIT DE D.ª JUANA PACHECO, FEMME DU PEINTRE - -PORTRAIT OF JOANNA PACHECO, WIFE OF THE PAINTER - -[1197]] - -[Illustration: RETRATO DEL INFANTE D. CARLOS - -PORTRAIT DE L’INFANT DON CARLOS - -PORTRAIT OF THE INFANTE CHARLES - -[1188]] - -[Illustration: REUNIÓN DE BEBEDORES (LOS BORRACHOS) - -RÉUNION DE BUVEURS (LES IVROGNES) - -THE WINE BIBBERS - -[1170]] - -[Illustration: RETRATO DE FELIPE IV - -PORTRAIT DE PHILIPPE IV - -PORTRAIT OF PHILIP IV - -[1183]] - -[Illustration: RETRATO DE LA INFANTA DE ESPAÑA D.ª MARIA, REINA DE -HUNGRÍA - -PORTRAIT DE L’INFANTE D’ESPAGNE D.ª MARIA, REINE DE HONGRIE - -PORTRAIT OF THE INFANTA MARIA OF SPAIN, QUEEN OF HUNGARY - -[1187]] - -[Illustration: LA FRAGUA DE VULCANO - -LA FORGE DE VULCAIN - -THE FORGE OF VULCAN - -[1171]] - -[Illustration: VISTA TOMADA EN EL JARDÍN DE LA «VILLA MÉDICI», EN ROMA - -VUE PRISE DANS LE JARDIN DE LA «VILLA MÉDICI», À ROME - -VIEW TAKEN IN THE GARDEN OF THE «VILLA MÉDICI», AT ROME - -[1210]] - -[Illustration: VISTA TOMADA EN EL JARDÍN DE LA «VILLA MÉDICI», EN ROMA - -VUE PRISE DANS LE JARDIN DE LA «VILLA MÉDICI», À ROME - -VIEW TAKEN IN THE GARDEN OF THE «VILLA MÉDICI», AT ROME - -[1211]] - -[Illustration: RETRATO DE UN BUFÓN DEL REY FELIPE IV, LLAMADO «PABLILLOS -DE VALLADOLID» - -PORTRAIT D’UN BOUFFON DU ROI PHILIPPE IV «PABLILLOS DE VALLADOLID» - -PORTRAIT OF ONE OF THE BUFFOONS OF PHILIP IV, NAMED «PABLILLOS DE -VALLADOLID» - -[1198]] - -[Illustration: RETRATO DE D. DIEGO DE CORRAL Y ARELLANO - -PORTRAIT DE D. DIEGO DE CORRAL Y ARELLANO - -PORTRAIT OF DIEGO DE CORRAL Y ARELLANO - -[1195]] - -[Illustration: RETRATO DE D.ª ANTONIA IPEÑARRIETA Y GALDÓS - -PORTRAIT DE D.ª ANTONIA IPEÑARRIETA Y GALDÓS - -PORTRAIT OF ANTONIA IPEÑARRIETA Y GALDÓS - -[1196]] - -[Illustration: NUESTRO SEÑOR CRUCIFICADO - -LE CHRIST EN CROIX - -OUR LORD CRUCIFIED - -[1167]] - -[Illustration: RETRATO DE D. ANTONIO ALONSO PIMENTEL - -PORTRAIT DE D. ANTONIO ALONSO PIMENTEL - -PORTRAIT OF ANTHONY ALONSO PIMENTEL - -[1193]] - -[Illustration: LA RENDICIÓN DE BREDA (LAS LANZAS) - -LA REDDITION DE BREDA (LES LANCES) - -CAPITULATION OF BREDA (THE LANCES) - -[1172]] - -[Illustration: LA RENDICIÓN DE BREDA (LAS LANZAS) (FRAGMENTO) - -LA REDDITION DE BREDA (LES LANCES) (FRAGMENT) - -CAPITULATION OF BREDA (THE LANCES) (FRAGMENT) - -[1172]] - -[Illustration: RETRATO DEL CÉLEBRE ESCULTOR MARTÍNEZ MONTÁÑEZ - -PORTRAIT DU SCULPTEUR CÉLÈBRE MARTÍNEZ MONTÁÑEZ - -PORTRAIT OF THE EMINENT SCULPTOR MARTÍNEZ MONTÁÑEZ - -[1194]] - -[Illustration: RETRATO DE LA REINA D.ª MARGARITA DE AUSTRIA - -PORTRAIT DE LA REINE MARGUERITE D’AUTRICHE - -PORTRAIT OF QUEEN MARGARET OF AUSTRIA - -[1177]] - -[Illustration: RETRATO DEL REY D. FELIPE III - -PORTRAIT DU ROI PHILIPPE III - -PORTRAIT OF PHILIP III - -[1176]] - -[Illustration: RETRATO DE LA REINA D.ª ISABEL DE BORBÓN - -PORTRAIT DE LA REINE ISABELLE DE BOURBON - -PORTRAIT OF QUEEN ISABEL OF BOURBON - -[1179]] - -[Illustration: RETRATO DEL REY D. FELIPE IV - -PORTRAIT DU ROI PHILIPPE IV - -PORTRAIT OF PHILIP IV - -[1178]] - -[Illustration: RETRATO DEL PRÍNCIPE DON BALTASAR CARLOS - -PORTRAIT DU PRINCE BALTHAZAR CARLOS - -PORTRAIT OF PRINCE BALTHAZAR CHARLES - -[1180]] - -[Illustration: RETRATO DEL CONDE-DUQUE DE OLIVARES - -PORTRAIT DU COMTE-DUC D’OLIVARES - -PORTRAIT OF THE COUNT-DUKE OLIVARES - -[1181]] - -[Illustration: RETRATO DEL REY D. FELIPE IV. EN TRAJE DE CAZA - -PORTRAIT DU ROI PHILIPPE IV EN COSTUME DE CHASSE - -PORTRAIT OF PHILIP IV IN HUNTING COSTUME - -[1184]] - -[Illustration: RETRATO DEL INFANTE D. FERNANDO DE AUSTRIA - -PORTRAIT DE L’INFANT FERDINAND D’AUTRICHE - -PORTRAIT OF THE INFANTE FERDINAND OF AUSTRIA - -1186] - -[Illustration: RETRATO DEL PRÍNCIPE DON BALTASAR CARLOS - -PORTRAIT DU PRINCE BALTHAZAR CARLOS - -PORTRAIT OF PRINCE BALTHAZAR CARLOS - -[1189]] - -[Illustration: RETRATO DE UN ENANO DEL REY FELIPE IV, LLAMADO «EL PRIMO» - -PORTRAIT D’UN NAIN DU ROI PHILIPPE IV, DIT «EL PRIMO» - -PORTRAIT OF A DWARF OF KING PHILIP IV, SURNAMED «EL PRIMO» - -[1201]] - -[Illustration: RETRATO DE UN ENANO DEL REY FELIPE IV - -PORTRAIT D’UN NAIN DU ROI PHILIPPE IV - -PORTRAIT OF A DWARF OF PHILIP IV - -[1202]] - -[Illustration: RETRATO DE UN ENANO DEL REY FELIPE IV - -PORTRAIT D’UN NAIN DU ROI PHILIPPE IV - -PORTRAIT OF A DWARF OF PHILIP IV - -[1203]] - -[Illustration: EL NIÑO DE VALLECAS - -L’ENFANT DE VALLECAS - -THE CHILD OF VALLECAS - -[1204]] - -[Illustration: EL BOBO DE CORIA - -L’IDIOT DE CORIA - -THE FOOL OF CORIA - -[1205]] - -[Illustration: RETRATO DE UN TRUHÁN DEL REY FELIPE IV - -PORTRAIT D’UN BOUFFON DU ROI PHILIPPE IV - -PORTRAIT OF ONE OF PHILIP IV’S JESTERS - -[1200]] - -[Illustration: RETRATO DE PERNÍA, BUFÓN DEL REY FELIPE IV - -PORTRAIT DE PERNÍA, BOUFFON DU ROI PHILIPPE IV - -PORTRAIT OF PERNÍA, BUFFOON OF PHILIP IV - -[1199]] - -[Illustration: RETRATO DE D.ª MARÍA DE AUSTRIA - -PORTRAIT DE D.ª MARÍA D’AUTRICHE - -PORTRAIT OF MARY OF AUSTRIA - -[1191]] - -[Illustration: RETRATO DE D.ª MARÍA DE AUSTRIA - -PORTRAIT DE D.ª MARÍA D’AUTRICHE - -PORTRAIT OF MARY OF AUSTRIA - -[1190]] - -[Illustration: RETRATO DE LA INFANTA D.ª MARÍA TERESA DE AUSTRIA - -PORTRAIT DE L’INFANTE MARIE THÉRÈSE D’AUTRICHE - -PORTRAIT OF THE INFANTA MARIA THERESA OF AUSTRIA - -[1192]] - -[Illustration: RETRATO DEL REY D. FELIPE IV - -PORTRAIT DU ROI PHILIPPE IV - -PORTRAIT OF PHILIP IV - -[1185]] - -[Illustration: EL DIOS MARTE - -LE DIEU MARS - -MARS - -[1208]] - -[Illustration: MERCURIO Y ARGOS - -MERCURE ET ARGUS - -MERCURY AND ARGUS - -[1175]] - -[Illustration: LA CORONACIÓN DE LA VIRGEN - -LE COURONNEMENT DE LA VIERGE - -THE CORONATION OF THE BLESSED VIRGIN - -[1168]] - -[Illustration: ESOPO - -ESOPE - -AESOP - -[1206]] - -[Illustration: MENIPO - -MÉNIPPE - -MENIPPUS - -[1207]] - -[Illustration: LA FÁBRICA DE TAPICES DE SANTA ISABEL DE MADRID (LAS -HILANDERAS) - -LA FABRIQUE DE TAPISSERIES DE SANTA ISABEL, À MADRID (LES FILEUSES) - -THE TAPESTRY WORKS OF SAINT ISABEL AT MADRID. (THE SPINNERS) - -[1173]] - -[Illustration: LAS MENINAS (LA FAMILIA) - -LES MÉNINES (LA FAMILLE) - -THE LITTLE GIRLS (THE FAMILY) - -[1174]] - -[Illustration: LAS MENINAS (LA FAMILIA) (FRAGMENTO) - -LES MÉNINES (LA FAMILLE) (DÉTAIL) - -THE LITTLE GIRLS (THE FAMILY) (FRAGMENT)] - -[Illustration: SAN ANTONIO ABAD VISITANDO A SAN PABLO - -SAINT ANTOINE ABBÉ VISITANT SAINT PAUL ERMITE - -THE ABBOT SAINT ANTHONY, VISITING SAINT PAUL - -[1169]] - - * * * * * - - EL ARTE EN ESPAÑA - - EDICIONES DE VULGARIZACIÓN - - -Propagar el conocimiento de los tesoros artísticos de nuestra patria, es -lo que nos mueve a publicar esta Biblioteca de vulgarización del Arte -nacional, que tiende, por lo económico de su precio, a que llegue a -todas las manos. Es tanto lo que aún poseemos, y tan importante, que es -de conveniencia que se sepa, por los que no lo tengan averiguado, que -nuestro país es todo él un museo, rico, variado, generoso para cuantos a -su estudio se dediquen. Para demostrarlo, y para que esta demostración -llegue fácilmente a todas partes, emprendemos la publicación de una -serie de tomitos en los cuales se recojerá, con abundancia de -reproducciones y acompañado de breve texto, lo más saliente de antiguas -construcciones seculares; de los pintores y escultores que gozan de -nombradía universal y de cuanto en los museos españoles dice el abolengo -de industrias artísticas nacionales. - - - Obras publicadas: - - 1.--LA CATEDRAL DE BURGOS. - 2.--GUADALAJARA-ALCALA DE HENARES. - 3.--LA CASA DEL GRECO. - 4.--REAL PALACIO DE MADRID. - 5.--ALHAMBRA. - 6.--VELAZQUEZ EN EL MUSEO DEL PRADO. - 7.--SEVILLA. - 8.--ESCORIAL. - 9.--MONASTERIO DE GUADALUPE. - 10.--EL GRECO. - 11.--ARANJUEZ. - 12.--MONASTERIO DE POBLET. - 13.--CIUDAD RODRIGO. - 14.--GOYA EN EL MUSEO DEL PRADO. - 15.--LA CATEDRAL DE LEON. - - - En prensa: - - PALENCIA : LA CATEDRAL DE SIGÜENZA - - - Establecimiento editorial Thomas, Mallorca, 291, Barcelona - - * * * * * - - - MVSEVM - - REVISTA MENSUAL - DE ARTE ESPAÑOL - ANTIGUO Y MODERNO Y DE - LA VIDA ARTÍSTICA CONTEMPORANEA - -[Illustration] - -=MVSEVM= es la única revista puramente artística en lengua española, que -se publica en Europa y América; es la mejor publicación de arte que ve -la luz en los países de origen latino, según lo atestigua la prensa -competente de Europa; publica informaciones e investigaciones sobre -pintura, escultura, arquitectura, arqueología, cerámica, vidriería, -numismática, orfebrería, xilografía, tapices, bordados, decoración de -interiores, etc., etc. A quien quiera lo solicite manda números de -muestra. - - -PRECIOS DE SUSCRIPCIÓN - - España, un año. 20 pesetas. - Extranjero. 25 francos. - Número suelto. 2 pesetas. - Número suelto en el extranjero 2 fr. 50. - - -Administración: c. Mallorca, 291.--Barcelona--(España). - - * * * * * - - _Reproducido, - grabado y estampado en los talleres - Thomas, de Barcelona_ - -[Illustration] - -*** END OF THE PROJECT GUTENBERG EBOOK VELÁZQUEZ EN EL MUSEO DEL PRADO *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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