Part 3 Prado Museum – Velázquez, Diego Rodríguez de Silva y (y otros) -- Felipe III, a caballo
1628-35, 300x212 cm, Lienzo, Óleo.
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COMMENTS: 9 Ответы
(and others) in the authors name means that there are co-authors or...?
Svetlana, as someone who appreciates painting, shouldnt you know the full name of the great Spanish painter yourself, instead of asking such obviously stupid questions? You should be ashamed.
You have many different ideas that differ from generally accepted definitions, and some of them are so elaborate that even a hundred wise men wouldnt be able to unravel them.
Svetlana wrote correctly - this is our own invention - the last name comes first. And the Hermitage accepted our idea for attribution, they didnt have anything like that on their website before.
Since Im creating my own gallery based on various sources, I copy everything. I found a comment that I copied to this painting: Part 3 Prado Museum: Velázquez, Diego Rodríguez de Silva y (and others) -- Equestrian portrait of Philip III. I asked what (and others) means. In response, I received an incredibly rude and offensive answer.
If we ignore the irrelevant parts of the answer, it seems that Koschey knows many more words from the artists name, and he should have provided the full name here; that would be interesting. In such a case, instead of (and others), it would have been better to write (etc.) or (and so on).
Regarding the suggestions. Only in this gallery (Prado) are the dimensions listed in the comments first, and then what was measured – canvas, wood, etc., which is very inconvenient. In other words, it seems that the traditional rules are not followed. In complex Spanish names in literature and comments, to avoid misinterpretations and for amateur users (are your galleries intended for guest amateurs as well, or am I mistaken, and are the galleries only for internal use and professionals?), words are usually connected with hyphens, for example, López-y-Portaña, Vicente; Joaquín Sorolla-i-Bastida. Other galleries follow this rule, but not here (Prado). For example: Raphael and Giulio Romano – two artists or one?
Svetlana, please dont be offended. Your question was perceived by Koschey as sarcasm, and I assure you, he didnt intend to offend anyone. There is a specific format for the website, and Koschey follows it accordingly. The description always starts with the year, followed by the dimensions. The exact measurements are not particularly important information; 99% of the content on the site consists of descriptions painted on canvas. We try to translate names as closely as possible to the original. By the way, I looked at what our colleagues do, and they dont use hyphens very often.
[Links to external websites]
Svetlana, I apologize if I have offended you in any way. If you have any questions about proper attribution to authors, the order and type of information provided about the paintings, descriptions, errors, or anything else, please send me a private message – I will help you and we can correct it together. Alternatively, you can use the edit information button to suggest improvements to the text. The comments section for paintings is not the place to discuss personal issues or demand that everything on the website be done in a way that suits your preferences or is necessary for your work.
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The background is less defined, consisting of a muted sky and indistinct landscape elements that recede into distance. This lack of specificity serves to isolate the central figure and emphasize his prominence. The lighting is dramatic, highlighting the textures of the armor and the horse’s coat while casting portions of the composition in shadow.
Several subtexts emerge from this portrayal. The equestrian motif itself carries historical weight, traditionally symbolizing power, nobility, and military prowess. The elaborate attire and weaponry underscore the individuals status as a ruler or high-ranking official. The deliberate positioning on horseback elevates him both literally and figuratively, reinforcing his position of authority.
The subdued background contributes to an atmosphere of solemnity and grandeur. It suggests that this is not merely a portrait but a representation of power and dominion. The artist’s skill lies in the rendering of textures – the sheen of metal, the softness of fabric, the vitality of flesh – all contributing to a sense of realism while simultaneously conveying symbolic meaning. Theres an intentional ambiguity regarding the setting; it isnt a specific location but rather a stage for demonstrating power and legitimacy.