Velázquez, Diego Rodríguez de Silva y – Las meninas, o La familia de Felipe IV
Part 3 Prado Museum
Part 3 Prado Museum – Velázquez, Diego Rodríguez de Silva y -- Las meninas, o La familia de Felipe IV
1656, 318 cm x 276 cm, Lienzo, Óleo.
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COMMENTS: 10 Ответы
In my opinion, this is the true masterpiece of the Prado Museum. Paradoxically, I find myself liking it more and more over time. Pablo Picasso created no less than 40 interpretations of this masterpiece. Salvador Dalí was also captivated by it. Oh, how I wish I could have the original in my possession
. But unfortunately, thats impossible 
Although I could make a copy. But then theres the size... 🤔 Its over 2 meters long. In short, Velázquez forever! 
Heres a version in ultra-high resolution, 254 MB! I cant seem to download it
. https://commons.m.wikimedia.org/wiki/File:Las_Meninas,_by_Diego_Vel%C3%A1zquez,_from_Prado_in_Google_Earth.jpg
Quote from Wikipedia: Velázquezs greatest achievement is a self-aware and meticulously crafted demonstration of the limits of painting; perhaps the most profound statement ever made about its possibilities. I fully agree. 👍
👉GENIUS IN AFRICA GENIUS 👈
My work GHOST OF CARAVAGGIO will be released soon. Stay tuned.
Soon, there will be a piece titled SOMEWHERE IN PARIS and the much-hyped painting CONFRONTATION – Version 2. Stay tuned.
Two pieces, each measuring 130x80cm.
Another INSTALLATION featuring a portrait of Leonardo da Vinci will be unveiled.
Someone stole a hand-painted copy of Titians Bacchus and Ariadne (200x200 cm) from my country house. I wanted to post a photo, but I cant
.
Heres a lifehack: I just gathered various branches: birch, plum, currant, and lilac. Im going to char them into charcoal for drawing. Currently, Im using chalk on black plywood coated with varnish. I erase it with a water-soaked sponge – a technique used by academician Yegorov. Its a good method, but Im more accustomed to working on a white background. So, Ill now paint the surface with white paint and then draw with charcoal. Ill also use a sponge to erase it. The plywood is 60x80 cm. This size is perfect for sketching large details and the overall composition – it saves paper. You can also use the Poussin technique, but thats more suitable for larger pieces.
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Before him, a group of figures are arranged – young girls dressed in elaborate garments, a dwarf seated on the floor, and several attendants standing further back within the space. The lighting emphasizes their faces and costumes, creating a sense of theatricality. A dog rests near the foreground, adding a touch of domesticity to the otherwise formal setting.
The spatial arrangement is particularly noteworthy. Several framed paintings adorn the walls behind the group, contributing to the depth of the room. A mirror on the far wall reflects figures that are not directly visible within the depicted space – a king and queen, seemingly observing the scene from a location beyond the viewers perspective. This reflection introduces an element of ambiguity; it is unclear whether they are present in the room or merely being painted by the man with the brushes.
The painting’s subtexts revolve around themes of representation, power, and perception. The inclusion of the royal couple within the mirrored surface challenges conventional portraiture, blurring the lines between subject and observer, artist and patron. It suggests a self-reflexive commentary on the act of creating art itself – a meditation on how reality is constructed and presented. The presence of the dwarf adds another layer of complexity, potentially commenting on social hierarchies and the role of marginalized individuals within the courtly environment. The overall effect is one of deliberate ambiguity and layered meaning, inviting prolonged contemplation about the nature of representation and the dynamics of power within a royal setting.