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Velázquez, The Surrender of Breda(Draft), 1635

Velázquez, The Surrender of Breda(Draft), 1635

Collar (neckwear)      Place of origin:      England, Great Britain (made)     Date:      ca. 1630 (made)     Artist/Maker:      unknown (production)     Materials and Techniques:      Needle lace     Museum number:      200-1900

Collar (neckwear) Place of origin: England, Great Britain (made) Date: ca. 1630 (made) Artist/Maker: unknown (production) Materials and Techniques: Needle lace Museum number: 200-1900

Diego Velázquez. El príncipe Baltasar Carlos a caballo. 1635. Museo del Prado. Madrid.

Diego Velázquez. El príncipe Baltasar Carlos a caballo. 1635. Museo del Prado. Madrid.

Diego Velázquez, c. 1634-1635

Diego Velázquez, c. 1634-1635

Diego Rodríguez de Silva y Velázquez, "Las lanzas, o La Rendición de Breda", 1635

Diego Rodríguez de Silva y Velázquez, "Las lanzas, o La Rendición de Breda", 1635

Velázquez, El bufón Calabacillas (detalle), 1635-1639

Velázquez, El bufón Calabacillas (detalle), 1635-1639

Velázquez, El bufón Calabacillas (detalle), 1635-1639

Velázquez, El bufón Calabacillas (detalle), 1635-1639

Diego Velazquez painted two portraits of this unknown sitter. The other has no lace and is more revealing. That is because a 'modesty' law had been introduced, forcing to paint a less 'revealing' pose. It has always struck me that V. seems to have had strong feelings towards her. Her gaze in both portraits has an erotic quality.

Diego Velazquez painted two portraits of this unknown sitter. The other has no lace and is more revealing. That is because a 'modesty' law had been introduced, forcing to paint a less 'revealing' pose. It has always struck me that V. seems to have had strong feelings towards her. Her gaze in both portraits has an erotic quality.

Diego Velázquez. El príncipe Baltasar Carlos a caballo. 1635. Museo del Prado. Madrid.

Diego Velázquez. El príncipe Baltasar Carlos a caballo. 1635. Museo del Prado. Madrid.

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