The Portraits of Velázquez

Velazquez was a master portrait artist, and was the official court painter of King Philip IV of Spain. He painted royalty, clergy, himself, and the everyday people. His definitive work is the portrait of Pope Innocent X, but his true masterpiece is the portrait he did in preparation for the Pope Innocent X portrait: that of Juan de Paraja, his slave. The interesting thing about this painting is that in this portrait of Juan de Paraja, he gives the same amount of care and attention to detail as in his paintings of royalty. The life and animation that Velazquez brings to all his subjects shows his honesty as an artist. This dedication to his craft, regardless of race or social class of his subject, remains intact as we look at the subjects of some of his most notable portraits. This exhibit seeks to prove this theory by viewing some of Velazquez’s greatest portraits from across his career, to show the dignity in which he paints all his subjects.  The respect he shows people is indicative in his style. We look at the evolution of his style with his trip to Rome, and painting the Peraja portrait as a pivotal moment. Velazquez is able to breathe life into his paintings with his technique. The combination of the exactitude of skin and bone, with the expressive looseness of hand that creates depth and volume of the subject. Velazquez does not discriminate every person from slave to saint is given the same dignity in their portrait.

Juan de Pareja, 1650

 Oil on canvas, 81.3 X 69.9 cm., MET 1971.86.

The Infamous portrait of Juan de Pareja, was painted as a practice portrait before painting Pope Innocent X. When shown at the exhibition in Rome it is quoted as having been said that “All the other paintings were art but this was truth.” This painting still exemplifies this today and there is a very real emotional connection that Velazquez has captured with the looseness of hand and the animation that he is able to make eternal.

Self-Portrait, 1640

Oil on canvas, 45.8 X 38 cm. Valencia, Museo de Bellas Artes de San Pio V.

In this self-portrait, Velazquez is very stylized add light with his brush strokes only bringing in light paint and highlighting where needed. He portrays himself with much lightness of brush which is indicative of his more stylistic exaggerated portraits. He paints himself as he paints his other subjects, precise yet with a loose artistic style that is so characteristic of his masterly hand.

Philip IV, 1626 – 1628

Oil on canvas, 57 X 44 cm. Madrid, Museo del Prado, Inv. 1183.

This is one of the earliest portraits of King Philip IV that Velazquez did. We see more of the free artistic style that Velazquez is beginning to develop in this portrait in the torso and armor of the portrait. The loose strokes highlighted by the dapples of color bring just the right amount of depth and light to be realistic. However, the face of is detailed and precise, perfected to show the power of the king. 

Pope innocent X, 1650

Oil on canvas, 141 X 119 cm., Palazzo Doria Pamphilj, FC 289.

On his journey to Rome he gained the privilege of painting the Pope Innocent X, one of the most famous of Velazquez works. In this portrait Velazquez brings the preciseness that comes with his talent and the style that comes with his artistry and marries them into one. The Pope is seated, yet he is stern, powerful and commanding. The looseness of the brush strokes yet the realism with which the lace, satin and skin are depicted are extraordinary works of technique and masterful artistic style.

The Nun Jerónima de la Fuente, 1620

Oil on canvas, 160 X 110 cm, Madrid, Museo Del Prado, Inv. 2873

One of Velazquez first portraits, he paints the Nun Jerónima de la Fuente, before her mission to the Philippines to form a Convent. His work is precise and accurate, giving attention to every wrinkle and vein. Her expression is stern and resolute; she stands stalwart as she wields her cross as a sword and the Bible as a shield. While her portrayal is not exactly friendly she is animated. By using this quality Velazquez exhibits even early on in his portraiture, the nun feels real to the viewer.

Infanta Maria Teresa, 1651 – 1654

Oil on Canvas, 34.3 X 40 cm. MET 49.7.43

This portrait of King Philip IV’s daughter, Maria Teresa, was painted to be sent out to her various suitors upon her eligibility to marry. As one of Velazquez later royal portraits we see that he continues to abandon the more precise style in favor of the more expressive fluid style of his later paintings. That looseness of hand that was from early on becoming a signature of his portraiture style.  

Peasant Girl, 1645 – 1650

Oil on canvas, 65 X51 cm., MET L.2016.47

This painting of the peasant girl is done in en route to Rome. The painting shows how even on the way to see the masters his style is already changing and being effected by his travels, or rather traveling, in that he must paint quickly. This is shown in the almost exaggerated looseness of the brush strokes. The softness of the edges gives a more tender quality to this portrait as opposed to Velazquez royal portraits, or even his earlier work. Light and free is the way in which he portrays this young girl.