Velázquez and Italy: Inquisition, Acquisition, Assimilation, and Amalgamation (original) (raw)
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Focusing on the figure of Diego Velázquez, this article examines the significance of the notion of ingenio in early modern Spanish writings about painting. First, it considers its relevance to discussions about natural talent, including the links with treatises like Examen de ingenios. Second, it shows how the adoption of ingenio as a motif in two biographies of the young Velázquez contributed to the crafting of a contrived narrative on the artist, privileging his giftedness and independence. Third, it considers other articulations of this rhetoric of ingenio in relation to Velázquez’s art, particularly regarding matters of practice and skill.
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Though Diego Velazquez's masterpiece Las Meninas is one of the most celebrated paintings in the modern world, its full meaning is still considered somewhat of a mystery. In view of this, the authors of this essay, two experienced law enforcement profilers, employ criminal profiling analysis and techniques to examine the actual evidence in plain sight within the painting as a whole. Much commentary has been written about the skills of the artist, and various eras and styles of art or the proportions in the painting; yet, this is not simply a painting about the artist and his manifold subjects portrayed in a specific era; the evidence within the painting points us in a rather new and unique direction, providing us with a-plausible rival hypothesis‖ about the artistic purpose in the painting. In essence, Velazquez is creating and paying deep homage to the new royal court and power of artistic creation; in turn, he is honoring the almost divine-like powers of new royalty, the artist as Creator-King. As such, we as spectators are also participants and the critical subjects and audience, in this new ROYAL COURT OF ART, as portrayed in this extraordinary painting by the Artist King, Diego Velazquez.
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Institute of Old Masters Research - www.iomr.art, 2019
The author, taking advantage of the magnificent opportunity afforded by the exhibition “Velázquez, Vermeer, Rembrandt. Miradas afines” organized by El Prado, confronts the Golden Age of Spanish painting with that of Holland, seeking the special and innovative features in Velázquez, Frans Hals, Vermeer and Rembrandt.