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Diego velazquez (schauspieler)

Diego Velazquez (schauspieler) Dienstag, 30. Juni 2020

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diego velazquez (schauspieler)

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Diego Velazquez (schauspieler) Video

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The painting is believed by F. The young Infanta Margaret Theresa is surrounded by her entourage of maids of honour , chaperone , bodyguard, two dwarfs and a dog.

Las Meninas has long been recognised as one of the most important paintings in Western art history. The Baroque painter Luca Giordano said that it represents the "theology of painting" and in the president of the Royal Academy of Arts Sir Thomas Lawrence described the work in a letter to his successor David Wilkie as "the true philosophy of the art".

In 17th-century Spain, painters rarely enjoyed high social status. Painting was regarded as a craft, not an art such as poetry or music.

The post brought him status and material reward, but its duties made heavy demands on his time.

During the remaining eight years of his life, he painted only a few works, mostly portraits of the royal family.

Lacking an heir, Philip married Mariana of Austria in , [9] and Margaret Theresa — was their first child, and their only one at the time of the painting.

It is here that Las Meninas is set. Although constrained by rigid etiquette, the art-loving king seems to have had a close relationship with the painter.

He seems to have been given an unusual degree of freedom in the role. He supervised the decoration and interior design of the rooms holding the most valued paintings, adding mirrors, statues and tapestries.

He was also responsible for the sourcing, attribution, hanging and inventory of many of the Spanish king's paintings. The painting was referred to in the earliest inventories as La Familia "The Family".

The painting has been cut down on both the left and right sides. The left cheek of the Infanta was almost completely repainted to compensate for a substantial loss of pigment.

The painting entered the collection of the Museo del Prado on its foundation in In recent years, the picture has suffered a loss of texture and hue.

Due to exposure to pollution and crowds of visitors, the once-vivid contrasts between blue and white pigments in the costumes of the meninas have faded.

The cleaning provoked, according to the art historian Federico Zeri , "furious protests, not because the picture had been damaged in any way, but because it looked different".

A thorough technical investigation including a pigment analysis of Las Meninas was conducted around in Museo Prado. The main pigments used for this painting were lead white , azurite for the skirt of the kneeling menina , vermilion and red lake, ochres and carbon blacks.

Nieto is shown pausing, with his right knee bent and his feet on different steps. As the art critic Harriet Stone observes, it is uncertain whether he is "coming or going".

Both this backlight and the open doorway reveal space behind: in the words of the art historian Analisa Leppanen , they lure "our eyes inescapably into the depths".

The vanishing point of the perspective is in the doorway, as can be shown by extending the line of the meeting of wall and ceiling on the right.

Nieto is seen only by the king and queen, who share the viewer's point of view, and not by the figures in the foreground. In the footnotes of Joel Snyder's article, the author recognizes that Nieto is the queen's attendant and was required to be at hand to open and close doors for her.

Snyder suggests that Nieto appears in the doorway so that the king and queen might depart. Of the nine figures depicted, five are looking directly out at the royal couple or the viewer.

Their glances, along with the king and queen's reflection, affirm the royal couple's presence outside the painted space.

The point of view of the picture is approximately that of the royal couple, though this has been widely debated.

Many critics suppose that the scene is viewed by the king and queen as they pose for a double portrait, while the Infanta and her companions are present only to make the process more enjoyable.

The words spoken by the sovereign are always treated as a command and so we may owe this masterpiece to a passing wish which only Velazquez was able to turn into reality.

No single theory, however, has found universal agreement. Both stories involve Minerva, the Goddess of Wisdom and patron of the arts.

These two legends are both stories of mortals challenging gods and the dreadful consequences. One scholar points out that the legend dealing with two women, Minerva and Arachne, is on the same side of the mirror as the queen's reflection while the male legend is on the side of the king.

The painted surface is divided into quarters horizontally and sevenths vertically; this grid is used to organise the elaborate grouping of characters, and was a common device at the time.

In , the art historian Kenneth Clark made the point that the success of the composition is a result first and foremost of the accurate handling of light and shade:.

Each focal point involves us in a new set of relations; and to paint a complex group like the Meninas, the painter must carry in his head a single consistent scale of relations which he can apply throughout.

He may use all kinds of devices to help him do this—perspective is one of them—but ultimately the truth about a complete visual impression depends on one thing, truth of tone.

Drawing may be summary, colours drab, but if the relations of tone are true, the picture will hold. However, the focal point of the painting is widely debated.

Leo Steinberg argues that the orthogonals in the work are intentionally disguised so that the picture's focal center shifts. Similar to Lopez-Rey, he describes three foci.

The man in the doorway, however, is the vanishing point. More specifically, the crook of his arm is where the orthogonals of the windows and lights of the ceiling meet.

Depth and dimension are rendered by the use of linear perspective, by the overlapping of the layers of shapes, and in particular, as stated by Clark, through the use of tone.

This compositional element operates within the picture in a number of ways. First, there is the appearance of natural light within the painted room and beyond it.

The pictorial space in the midground and foreground is lit from two sources: by thin shafts of light from the open door, and by broad streams coming through the window to the right.

As the light streams in from the right it brightly glints on the braid and golden hair of the female dwarf, who is nearest the light source.

But because her face is turned from the light, and in shadow, its tonality does not make it a point of particular interest.

Similarly, the light glances obliquely on the cheek of the lady-in-waiting near her, but not on her facial features. Much of her lightly coloured dress is dimmed by shadow.

The Infanta, however, stands in full illumination, and with her face turned towards the light source, even though her gaze is not.

Her face is framed by the pale gossamer of her hair, setting her apart from everything else in the picture. The light models the volumetric geometry of her form, defining the conic nature of a small torso bound rigidly into a corset and stiffened bodice, and the panniered skirt extending around her like an oval candy-box, casting its own deep shadow which, by its sharp contrast with the bright brocade, both emphasises and locates the small figure as the main point of attention.

The maid to the left faces the light, her brightly lit profile and sleeve creating a diagonal. Her opposite number creates a broader but less defined reflection of her attention, making a diagonal space between them, in which their charge stands protected.

A further internal diagonal passes through the space occupied by the Infanta. For this reason his features, though not as sharply defined, are more visible than those of the dwarf who is much nearer the light source.

This appearance of a total face, full-on to the viewer, draws the attention, and its importance is marked, tonally, by the contrasting frame of dark hair, the light on the hand and brush, and the skilfully placed triangle of light on the artist's sleeve, pointing directly to the face.

From the figure of the artist, the viewer's eye leaps again diagonally into the pictorial space. Another man stands, echoing and opposing the form of the artist, outside rather than inside, made clearly defined and yet barely identifiable by the light and shade.

The positioning of such an area of strong tonal contrast right at the rear of the pictorial space is a daring compositional tactic. The shapes of bright light are similar to the irregular light shapes of the foreground Maid of Honour, but the sharply defined door-frame repeats the border of the mirror.

The mirror is a perfectly defined unbroken pale rectangle within a broad black rectangle. A clear geometric shape, like a lit face, draws the attention of the viewer more than a broken geometric shape such as the door, or a shadowed or oblique face such as that of the dwarf in the foreground or that of the man in the background.

The viewer cannot distinguish the features of the king and queen, but in the opalescent sheen of the mirror's surface, the glowing ovals are plainly turned directly to the viewer.

Jonathan Miller pointed out that apart from "adding suggestive gleams at the bevelled edges, the most important way the mirror betrays its identity is by disclosing imagery whose brightness is so inconsistent with the dimness of the surrounding wall that it can only have been borrowed, by reflection, from the strongly illuminated figures of the King and Queen".

As the maids of honour are reflected in each other, so too do the king and queen have their doubles within the painting, in the dimly lit forms of the chaperone and guard, the two who serve and care for their daughter.

The positioning of these figures sets up a pattern, one man, a couple, one man, a couple, and while the outer figures are nearer the viewer than the others, they all occupy the same horizontal band on the picture's surface.

Adding to the inner complexities of the picture and creating further visual interactions is the male dwarf in the foreground, whose raised hand echoes the gesture of the figure in the background, while his playful demeanour, and distraction from the central action, are in complete contrast with it.

The informality of his pose, his shadowed profile, and his dark hair all serve to make him a mirror image to the kneeling attendant of the Infanta.

However, the painter has set him forward of the light streaming through the window, and so minimised the contrast of tone on this foreground figure.

Despite certain spatial ambiguities this is the painter's most thoroughly rendered architectural space, and the only one in which a ceiling is shown.

We cannot take in all the figures of the painting in one glance. Not only do the life-size proportions of the painting preclude such an appreciation, but also the fact that the heads of the figures are turned in different directions means that our gaze is deflected.

Museum of the Orihuela Cathedral , Orihuela. Onbekend, voorheen in het Koninklijk Paleis van Madrid. Gemäldegalerie Alte Meister , Dresden.

Wallace Collection , Londen. Kunsthistorisches Museum , Wenen. Koninklijk Paleis van Madrid. De overgave van Breda.

Spinola ontvangt de sleutels van de stad. National Gallery of Art , Washington D. Hispanic Society of America , New York. Venus voor de spiegel 'Rokeby Venus'.

Galleria Doria Pamphilj , Rome. Kingston Lacy , Dorset. Art Institute of Chicago , Chicago. Museum of Fine Arts , Budapest.

Art Institute of Chicago. Detroit Institute of Arts , Detroit. Museo Soumaya , Mexico City. Cleveland Museum of Art , Cleveland. In October it was confirmed by art historian Dr.

From Wikipedia, the free encyclopedia. Redirected from Diego Velazquez. For other uses, see Velazquez.

Seville , Andalucia , Spain. Madrid , Spain. Main article: Las Meninas. Lexico UK Dictionary. Oxford University Press.

Random House Webster's Unabridged Dictionary. Boston: Houghton Mifflin Harcourt. Retrieved 18 October Collins English Dictionary.

Jewish Historical Studies. Portugal in European and World History. London: Reaktion Books. Special Issue: Art History and the Jew.

Studies in Western Art. Retrieved Archived from the original on Retrieved December 22, Grove Art Online. Catholic Encyclopedia. New York: Robert Appleton Company.

See Burlington Magazine , volume , , pp. Retrieved on May 28, The New York Times. The Art Bulletin. Retrieved September 11, Brown estimates, there are only to known canvases by the artist.

The New Yorker. Retrieved May 25, Literature and Theology , 23 1 , 33— The Guardian. CBC News.

July 3, Archived from the original on July 6, London Evening Standard. Archived from the original on 29 October Retrieved October 27, BBC News.

Retrieved September 29, CS1 maint: archived copy as title link. Brown, Dale

Die Grundschullehrerin 4. Bonn, Alle veränderten Wortformen sind grau tom. It Right! uchuu senkan yamato 2199 interesting at Night 7. Noch am Schluss des Learn more here sah man hier Werke des Velazquez aus allen Zeiten seiner Künstlerlaufbahn: den Wasserträger von Sevilla, die Schmiede des Vulcan, die grossen Reiterbilder seines Königs und dessen Vaters mit ihren Ge- mahlinnen, das simply st. pauli-landungsbrГјcken final Kronprinzen; die Uebergabe von Breda; aus seinen letzten Mark margolis auch die königlichen Frauengestalten, welche dem Hof des alternden Monarchen Anmuth verliehen. Wendy 2 — Freundschaft für immer. Grundlage für ein Referenzkorpus der neuhochdeutschen Sprache.

The mirror is a perfectly defined unbroken pale rectangle within a broad black rectangle. A clear geometric shape, like a lit face, draws the attention of the viewer more than a broken geometric shape such as the door, or a shadowed or oblique face such as that of the dwarf in the foreground or that of the man in the background.

The viewer cannot distinguish the features of the king and queen, but in the opalescent sheen of the mirror's surface, the glowing ovals are plainly turned directly to the viewer.

Jonathan Miller pointed out that apart from "adding suggestive gleams at the bevelled edges, the most important way the mirror betrays its identity is by disclosing imagery whose brightness is so inconsistent with the dimness of the surrounding wall that it can only have been borrowed, by reflection, from the strongly illuminated figures of the King and Queen".

As the maids of honour are reflected in each other, so too do the king and queen have their doubles within the painting, in the dimly lit forms of the chaperone and guard, the two who serve and care for their daughter.

The positioning of these figures sets up a pattern, one man, a couple, one man, a couple, and while the outer figures are nearer the viewer than the others, they all occupy the same horizontal band on the picture's surface.

Adding to the inner complexities of the picture and creating further visual interactions is the male dwarf in the foreground, whose raised hand echoes the gesture of the figure in the background, while his playful demeanour, and distraction from the central action, are in complete contrast with it.

The informality of his pose, his shadowed profile, and his dark hair all serve to make him a mirror image to the kneeling attendant of the Infanta.

However, the painter has set him forward of the light streaming through the window, and so minimised the contrast of tone on this foreground figure.

Despite certain spatial ambiguities this is the painter's most thoroughly rendered architectural space, and the only one in which a ceiling is shown.

We cannot take in all the figures of the painting in one glance. Not only do the life-size proportions of the painting preclude such an appreciation, but also the fact that the heads of the figures are turned in different directions means that our gaze is deflected.

The painting communicates through images which, in order to be understood, must thus be considered in sequence, one after the other, in the context of a history that is still unfolding.

It is a history that is still unframed, even in this painting composed of frames within frames. Like Las Meninas , they often depict formal visits by important collectors or rulers, a common occurrence, and "show a room with a series of windows dominating one side wall and paintings hung between the windows as well as on the other walls".

According to Janson, not only is the gathering of figures in the foreground for Philip and Mariana's benefit, but the painter's attention is concentrated on the couple, as he appears to be working on their portrait.

As spectators, our position in relation to the painting is uncertain. It has been debated whether the ruling couple are standing beside the viewer or have replaced the viewer, who sees the scene through their eyes.

The mirror on the back wall indicates what is not there: the king and queen, and in the words of Harriet Stone, "the generations of spectators who assume the couple's place before the painting".

Why should he want that? The luminous image in the mirror appears to reflect the king and queen themselves, but it does more than just this: the mirror outdoes nature.

The mirror image is only a reflection. A reflection of what? In the presence of his divinely ordained monarchs In Las Meninas , the king and queen are supposedly "outside" the painting, yet their reflection in the back wall mirror also places them "inside" the pictorial space.

Snyder proposes it is "a mirror of majesty" or an allusion to the mirror for princes. The painting is likely to have been influenced by Jan van Eyck 's Arnolfini Portrait , of According to Lucien Dällenbach:.

The mirror [in Las Meninas ] faces the observer as in Van Eyck's painting. But here the procedure is more realistic to the degree that the "rearview" mirror in which the royal couple appears is no longer convex but flat.

Moreover, in showing the figures whom the painter observes, and also, through the mediation of the mirror, the figures who are observing him, the painter achieves a reciprocity of gazes that makes the interior oscillate with the exterior and which causes the image to "emerge from its frame" at the same time that it invites the visitors to enter the painting.

Jonathan Miller asks: "What are we to make of the blurred features of the royal couple? It is unlikely that it has anything to do with the optical imperfection of the mirror, which would, in reality, have displayed a focused image of the King and Queen".

He notes that "in addition to the represented mirror, he teasingly implies an unrepresented one, without which it is difficult to imagine how he could have shown himself painting the picture we now see".

The elusiveness of Las Meninas , according to Dawson Carr, "suggests that art, and life, are an illusion".

What is a life? A frenzy. What is life? A shadow, an illusion, and a sham. The greatest good is small; all life, it seems Is just a dream, and even dreams are dreams.

He placed his only confirmed self-portrait in a room in the royal palace surrounded by an assembly of royalty, courtiers , and fine objects that represent his life at court.

This distinction was a point of controversy at the time. Furthermore, this was a way to prove himself worthy of acceptance by the royal family.

Foucault describes the painting in meticulous detail, but in a language that is "neither prescribed by, nor filtered through the various texts of art-historical investigation".

Instead he analyzes its conscious artifice, highlighting the complex network of visual relationships between painter, subject-model, and viewer:.

We are looking at a picture in which the painter is in turn looking out at us. A mere confrontation, eyes catching one another's glance, direct looks superimposing themselves upon one another as they cross.

And yet this slender line of reciprocal visibility embraces a whole complex network of uncertainties, exchanges, and feints. The painter is turning his eyes towards us only in so far as we happen to occupy the same position as his subject.

For Foucault, Las Meninas illustrates the first signs of a new episteme , or way of thinking. Now he the painter can be seen, caught in a moment of stillness, at the neutral centre of his oscillation.

His dark torso and bright face are half-way between the visible and the invisible: emerging from the canvas beyond our view, he moves into our gaze; but when, in a moment, he makes a step to the right, removing himself from our gaze, he will be standing exactly in front of the canvas he is painting; he will enter that region where his painting, neglected for an instant, will, for him, become visible once more, free of shadow and free of reticence.

As though the painter could not at the same time be seen on the picture where he is represented and also see that upon which he is representing something.

In the conclusion of The Order of Things Foucault explained why he undertook such a forensic analysis of Las Meninas :. Before the end of the eighteenth century, man did not exist—any more than the potency of life, the fecundity of labour, or the historical density of language.

He is a quite recent creature, which the demiurge of knowledge fabricated with its own hands less than two hundred years ago: but he has grown old so quickly that it has been only too easy to imagine that he had been waiting for thousands of years in the darkness for that moment of illumination in which he would finally be known.

Foucault's analysis of Las Meninas , although on one level a contribution to art history, is more about epistemology , specifically the 'cognitive status of the modern human sciences'.

In the Rokeby Venus —his only surviving nude—the face of the subject is visible, blurred beyond any realism, in a mirror. The angle of the mirror is such that although "often described as looking at herself, [she] is more disconcertingly looking at us".

This is also a feature of Los Borrachos of , where contemporary peasants consort with the god Bacchus and his companions, who have the conventional undress of mythology.

In this, as in some of his early bodegones , the figures look directly at the viewer as if seeking a reaction.

In Las Hilanderas , probably painted the year after Las Meninas , two different scenes from Ovid are shown: one in contemporary dress in the foreground, and the other partly in antique dress, played before a tapestry on the back wall of a room behind the first.

According to the critic Sira Dambe, "aspects of representation and power are addressed in this painting in ways closely connected with their treatment in Las Meninas ".

The long-handled brushes he used enabled him to stand back and judge the total effect. Since the popularity of Italian art was then at its height among British connoisseurs, they concentrated on paintings that showed obvious Italian influence, largely ignoring others such as Las Meninas.

An almost immediate influence can be seen in the two portraits by Mazo of subjects depicted in Las Meninas , which in some ways reverse the motif of that painting.

In the background are figures in two further receding doorways, one of which was the new King Charles Margaret Theresa's brother , and another the dwarf Maribarbola.

As in Las Meninas , the royal family in Goya's work is apparently visiting the artist's studio. In both paintings the artist is shown working on a canvas, of which only the rear is visible.

Goya, however, replaces the atmospheric and warm perspective of Las Meninas with what Pierre Gassier calls a sense of "imminent suffocation".

Goya's royal family is presented on a "stage facing the public, while in the shadow of the wings the painter, with a grim smile, points and says: 'Look at them and judge for yourself!

Bankes described his purchase as "the glory of my collection", noting that he had been "a long while in treaty for it and was obliged to pay a high price".

Picasso did not vary the characters within the series, but largely retained the naturalness of the scene; according to the museum, his works constitute an "exhaustive study of form, rhythm, colour and movement".

Sussman had assembled a team of 35, including an architect, a set designer, a choreographer, a costume designer, actors, actresses, and a film crew.

This provides a new reading to the composition. His work also highlights, with its fragmentation, the artificiality of reproduction as a way of seeing works of art today.

Bankes' smaller version of the painting is now in the country house of Kingston Lacy in Dorset. Its composition is almost identical to the original.

Although its colours are lighter, the light is less strong. Pencil lines outlining the Infanta's face, eyes, and hair are also visible.

From Wikipedia, the free encyclopedia. For other uses, see Las Meninas disambiguation. The word means "girl from a noble family brought up to serve at court" Oxford Concise Spanish Dictionary and comes from menina , the Portuguese word for "girl".

One daughter from this marriage, and five from Philip's first marriage, had died in infancy. The Art Bulletin.

Sir Thomas Lawrence. Retrieved 4 June Journal of Literary Studies , December Baroque Painters. First published in , in The Lives of the Painters.

New York: Norton Library, See also: Kahr , quoting Pacheco. Painting at Court. El museo pictorico y escala optica.

Madrid, II, p. The appraisal of —48 makes reference to the painting having been "lately restored". II, pp. The Burlington Magazine , Retrieved 22 December London: Heinemann, , p.

Quoted in: Kahr , p. I, pp. Romanic Review , Vol. Paris: Seuil, p. Cornell University Press; p. Journal of Literary Studies , retrieved 1 December Michel Foucault's Archaeology of Scientific Reason.

Cambridge University Press, MacLaren , p. Miller , p. Goya: Biographical and Critical Study. New York: Skira, p.

Museu Picasso. Retrieved 19 November Archived copy at the Portuguese Web Archive 14 July Tate Gallery , London, Retrieved 26 December Marquette University.

Retrieved 7 December Retrieved 3 October Consultado el Gestolen op 8 juli Dit is een fragment van een groter portret dat waarschijnlijk werd beschadigd bij de brand van het Alcazar.

Waarschijnlijk een fragment van een groter werk dat in twee fasen is geschilderd; in de tweede fase is de kleding gewijzigd en een rode sjerp toegevoegd.

Hoofd en hand zijn overschilderd rond De triomf van Bacchus 'Los borrachos'. Metropolitan Museum of Art , New York.

Escorial , San Lorenzo de El Escorial. Alte Pinakothek , München. Museum of the Orihuela Cathedral , Orihuela.

Onbekend, voorheen in het Koninklijk Paleis van Madrid. Gemäldegalerie Alte Meister , Dresden. Wallace Collection , Londen. Kunsthistorisches Museum , Wenen.

Koninklijk Paleis van Madrid. De overgave van Breda. Spinola ontvangt de sleutels van de stad. National Gallery of Art , Washington D.

Hispanic Society of America , New York. Venus voor de spiegel 'Rokeby Venus'. Galleria Doria Pamphilj , Rome.

Kingston Lacy , Dorset. Art Institute of Chicago , Chicago. Museum of Fine Arts , Budapest. Art Institute of Chicago.

Detroit Institute of Arts , Detroit. Museo Soumaya , Mexico City. Cleveland Museum of Art , Cleveland.

Capitoline Museums , Rome. Palacio Real de Madrid , Madrid.

Diego Velazquez (schauspieler) - Schauspieler/in

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