Velázquez en el museo del Prado
Date: 2021-04-09T00:00:00+00:00
Keywords: Velázquez; Diego; 1599-1660

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Title: Velázquez en el museo del Prado

Illustrator: Diego Velázquez

Author: A. de Beruete y Moret

Release date: April 9, 2021 [eBook #65034]
Most recently updated: October 18, 2024

Language: Spanish

Other information and formats: www.gutenberg.org/ebooks/65034

Credits: 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 ***

Contents.:
VELAZQUEZ (EN ESPAÑOL)
VELAZQUEZ (EN FRANÇAIS)
VELAZQUEZ (IN ENGLISH)

ILLUSTRATIONS
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(etext transcriber's note)

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

HIJOS DE J. THOMAS
c. Mallorca, 291—BARCELONA

RESERVADOS LOS DERECHOS DE
PROPIEDAD ARTÍSTICA Y LITERARIA

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.

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.

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.

1

La Adoración de Los Reye

L’adoration Des Mages

The Adoration of the Magis

[1166]

2

Retrato de hombre

Portrait d’homme

Portrait of a Man

[1209]

3

Retrato de Felipe IV.

Portrait de Philippe IV

Portrait of Philip IV

[1182]

4

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]

5

Retrato del Infante D. Carlos

Portrait de l’Infant Don Carlos

Portrait of the Infante Charles

[1188]

6

Reunión de bebedores (Los Borrachos)

Réunion de buveurs (Les Ivrognes)

The Wine Bibbers

[1170]

7

Retrato de Felipe IV

Portrait de Philippe IV

Portrait of Philip IV

[1183]

8

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]

9

La Fragua de Vulcano

La Forge de Vulcain

The Forge of Vulcan

[1171]

10

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]

11

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]

12

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]

13

Retrato de D. Diego de Corral y Arellano

Portrait de D. Diego de Corral y Arellano

Portrait of Diego de Corral y Arellano

[1195]

14

Retrato de D.ª Antonia Ipeñarrieta y Galdós

Portrait de D.ª Antonia Ipeñarrieta y Galdós

Portrait of Antonia Ipeñarrieta y Galdós

[1196]

15

Nuestro Señor crucificado

Le Christ en croix

Our Lord Crucified

[1167]

16

Retrato de D. Antonio Alonso Pimentel

Portrait de D. Antonio Alonso Pimentel

Portrait of Anthony Alonso Pimentel

[1193]

17

La rendición de Breda (Las Lanzas)

La reddition de Breda (Les Lances)

Capitulation of Breda (The Lances)

[1172]

18

La rendición de Breda (Las Lanzas) (Fragmento)

La reddition de Breda (Les Lances) (Fragment)

Capitulation of Breda (The Lances) (Fragment)

[1172]

19

Retrato del célebre escultor Martínez Montáñez

Portrait du sculpteur célèbre Martínez Montáñez

Portrait of the eminent Sculptor Martínez Montáñez

[1194]

20

Retrato de la Reina D.ª Margarita de Austria

Portrait de la reine Marguerite D’autriche

Portrait of Queen Margaret of Austria

[1177]

21

Retrato del Rey D. Felipe III

Portrait du roi Philippe III

Portrait of Philip III

[1176]

22

Retrato de la Reina D.ª Isabel de Borbón

Portrait de la Reine Isabelle de Bourbon

Portrait of Queen Isabel of Bourbon

[1179]

23

Retrato del Rey D. Felipe IV

Portrait du Roi Philippe IV

Portrait of Philip IV

[1178]

24

Retrato del Príncipe don Baltasar Carlos

Portrait du prince Balthazar Carlos

Portrait of Prince Balthazar Charles

[1180]

25

Retrato del Conde-Duque de Olivares

Portrait du comte-duc d’Olivares

Portrait of the Count-Duke Olivares

[1181]

26

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]

27

Retrato del Infante D. Fernando de Austria

Portrait de l’infant Ferdinand d’Autriche

Portrait of the Infante Ferdinand of Austria

[1186]

28

Retrato del Príncipe don Baltasar Carlos

Portrait du prince Balthazar Carlos

Portrait of Prince Balthazar Carlos

[1189]

29

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]

30

Retrato de un enano del Rey Felipe IV

Portrait d’un nain du Roi Philippe IV

Portrait of a Dwarf of Philip IV

[1202]

31

Retrato de un enano del Rey Felipe IV

Portrait d’un nain du Roi Philippe IV

Portrait of a dwarf of Philip IV

[1203]

32

El niño de Vallecas

L’enfant de Vallecas

The Child of Vallecas

[1204]

33

El bobo de Coria

L’idiot de Coria

The Fool of Coria

[1205]

34

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]

35

Retrato de Pernía, bufón del Rey Felipe IV

Portrait de Pernía, bouffon du Roi Philippe IV

Portrait of Pernía, Buffoon of Philip IV

[1199]

36

Retrato de D.ª María de Austria

Portrait de D.ª María d’Autriche

Portrait of Mary of Austria

[1191]

37

Retrato de D.ª María de Austria

Portrait de D.ª María d’Autriche

Portrait of Mary of Austria

[1190]

38

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]

39

Retrato del Rey D. Felipe IV

Portrait du Roi Philippe IV

Portrait of Philip IV

[1185]

40

El dios Marte

Le dieu Mars

Mars

[1208]

41

Mercurio y Argos

Mercure et Argus

Mercury and Argus

[1175]

42

La Coronación de la Virgen

Le Couronnement de la Vierge

The Coronation of the Blessed Virgin

[1168]

43

Esopo

Esope

Aesop

[1206]

44

Menipo

Ménippe

Menippus

[1207]

45

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]

46

Las Meninas (La Familia)

Les Ménines (La Famille)

The Little girls (The Family)

[1174]

47

Las Meninas (La Familia) (Fragmento)

Les Ménines (La Famille) (Détail)

The Little Girls (The Family) (Fragment)]

48

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, Barcelonas

M V S E V M

REVISTA MENSUAL
DE ARTE ESPAÑOL
ANTIGUO Y MODERNO Y DE
LA VIDA ARTÍSTICA CONTEMPORANEA

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

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