Diego Velázquez
| Sex or gender | male  |
|---|---|
| Country of citizenship | Spain |
| Birth name | Diego Rodríguez de Silva y Velázquez |
| Given name | Diego |
| Family name | Rodríguez |
| Second family name in Spanish name | Velázquez |
| Date of birth | 6 Hywan A̱kutat 1599 |
| Place of birth | Seville |
| Date of baptism | 6 Hywan A̱kutat 1599 |
| Date of death | 6 Hywan A̱ninai 1660 |
| Place of death | Madrid |
| Place of burial | Madrid |
| Father | Juan Rodríguez de Silva |
| Mother | Jerónima Velázquez |
| Spouse | Juana Pacheco |
| Child | Francisca de Silva Velázquez y Pacheco |
| Languages spoken, written or signed | español |
| Occupation | painter, artist, visual artist |
| Position held | court painter, Great Lodging Master of the Palace |
| Student of | Francisco Pacheco |
| Student | Tomás de Aguiar |
| Facial hair | hooked mustache |
| Sponsor | Philip IV of Spain |
| Artist files at | Frick Art Research Library, Smithsonian American Art and Portrait Gallery Library, National Gallery of Art Library |
| Movement | Baroque |
| Member of | Order of Santiago |
| Award received | Order of Santiago |
| Described at URL | https://www.uffizi.it/en/video/velazquez-at-the-uffizi |
| Depicted by | Self Portrait |
| Copyright status as a creator | copyrights on works have expired |
Diego Rodríguez de Silva y Velázquez ba yin ku yya baptisman nu ka̱tuk a̱kutat an hywan a̱kutat u̱ du̱ryya cci kop jring bu̱ cci tsswon bu̱ nswak a̱ku̱mbvuyring bu̱ a̱ku̱mbvuyring su nat ka̱tuk a̱kutat an hywan a̱nunaai u̱ du̱ryya cci kop jring bu̱ cci a̱kutat bu̱ nswak a̱kutak (baptised 6 June 1599 – 6 August 1660) A̱ yin yet a̱ntyok ssuk ka̱bvwan a̱yet a̱kwak a̱son Ba̱nyet npfwong u̱ ka̱kpri ntrwang A̱gwam Filibbut a̱nba naai ka̱yaa Supen bu̱ Potugal. Nu a̱mi ba hwa a̱ bvo nywa a̱ saai u̱ ka̱sak a̱gba̱dang a̱ngwak u̱ a̱ ra̱u konyan ni u̱ ka̱zzu ssuk bu̱ wwang ma̱mwuk.
Ayin yin yya pfwong nu na ba̱ di yin u karam Baroque Circa durya cci kop jring cci a̱kutat sunat cci kop jring cci a̱tuyring bu swak pfwon (1600–1750). Ayin nwwa wwang dussuk mammuk ti a kasak ya̱ye Tenebrist, naat a̱zason, na nwwa wwang dujem mammuk ti a̱zakpai. Mmbrang bu npfwong byi kpunktun nu na, Ayin wwang dujem mammuk ba̱gungang ntamak bu a̱nyi banyet byi zang bu banyet sang zang a kankrang Isupen ka, nkpa a̱yet a̱ ku̱nkrang pfwong byi kpungtun nu ji ba̱ yei Langes Las Meninas a durya cci kop jring cci a̱kutat bu swak npfwon bu a̱kutat (1656).
Dujem wwang mammuk Velázquez a yet kyang myam du a ccwang realist bu impressionist art movement nu a yya dujem wwang mammuk a sencury swak bu a̱kumbvuyring ni (19th century painters). Bayet dujem wwang mammuk a sencury swak nhwa(20th cenrury) nu da̱ ni di̱, Pablo Picasso, Salvador Dalí, bu Francis Bacon ayin ku sso ntong bu pfwong a Velá́zquez na yya ni, rot ba yin tat banyet assu a npfwong zzan na na yin yya ni.
A̱kpok Npfwong nu na a̱yin ssha nwwa Royal collection Isupen, bu na̱ yyi na a̱fi byi kpungtun ni ba̱ sak a Museo del Prado a Madrid, Madei n pfwong nzaan ba yin ka̱ na̱krang na ba ya durwei ban ba̱ ni, da ni di̱ karyi dutyok Habsburg ni-Austrian Habsburgs.
Katsutswrang swat kasa nu
[shang | shang du̱tyin ti]
Ba byin Velázquez a kankrang Seville, Supen, abvo yet kawon katsutsrang Juan Rodríguez de Silva, a notary, bu Jerónima Velázquez. Ba ku yya Baptisma an Chut St. Peter a Seville katuk Sunday, 6 June 1599.[1] Ku ryi snye bs yin ku byin a tyak Nnom ko sati a ku yya Baptisma nu. Atyi akwob a nbwak atyi nu ka, Diego da Silva bu María Rodríguez, ayin yet wap were Portuguese ns awwon kankrsng bs ka anat asu swrang Seville za swak ji kan ssyak ni. Karam ka Chut Roma ji ban ku nwrak Velázquez yet knighthood ni durya 1658, na nyat karyi ka nan wruk ni rot na ga sshya yet Knight; Madei, Ba tyi akwob nu ba ayin wui yet nawon kasuwa a mi. Banyet dujem a kpa ayaan ahwa du ba yet Yahudawa ami conversos.[2][3][4] Rafael Cómez aryi anye Velázquez a mmon byin bu Morisco .[5]
Raised in modest circumstances, he showed an early gift for art, and was apprenticed to Francisco Pacheco, an artist and teacher in Seville. An early 18th–century biographer, Antonio Palomino, said that Velázquez studied for a short time under Francisco de Herrera before beginning his apprenticeship under Pacheco, but this is undocumented. A contract signed on 17 September 1611, formalized a six-year apprenticeship with Pacheco, backdated to 10 December 1610,[6] and it has been suggested that Herrera may have substituted for a traveling Pacheco between December 1610 and September 1611.[7]
Although considered a dull and undistinguished painter, Pacheco sometimes expressed a simple, direct realism, though his work remained essentially Mannerist.[8] As a teacher, he was highly learned and encouraged his students' intellectual development. In Pacheco's school, Velázquez studied the classics, was trained in proportion and perspective, and witnessed the trends in the literary and artistic circles of Seville.[9]
On 23 April 1618, Velázquez married Juana Pacheco (1 June 1602Ka̱zzuan:Snd10 August 1660), the daughter of his teacher. They had two daughters. The elder, Francisca de Silva Velázquez y Pacheco (1619–1658), married painter Juan Bautista Martínez del Mazo at the Church of Santiago in Madrid on 21 August 1633. The younger, Ignacia de Silva Velázquez y Pacheco, born in 1621, died in infancy.[10]
Velázquez's earliest works are bodegones (kitchen scenes with prominent still-life). He was one of the first Spanish artists to paint such scenes, and his Old Woman Frying Eggs (1618) demonstrates the young artist's unusual skill in realistic depiction.[11] The realism and dramatic lighting of this work may have been influenced by Caravaggio's work—which Velázquez could have seen second-hand, in copies—and by the polychrome sculpture in Sevillian churches.[12] Two of his bodegones, Kitchen Scene with Christ in the House of Martha (1618) and Kitchen Scene with Christ at Emmaus (Ka̱zzuan:Circa), feature religious scenes in the background, painted in a way that creates ambiguity as to whether the religious scene is a painting on the wall, a representation of the thoughts of the kitchen maid in the foreground, or an actual incident seen through a window.[13][14] The Virgin of the Immaculate Conception (1618–19) follows a formula used by Pacheco, but replaces the idealized facial type and smoothly finished surfaces of his teacher with the face of a local girl and varied brushwork.[15] His other religious works include The Adoration of the Magi (1619) and Saint John the Evangelist on the Island of Patmos (1618–19), both of which begin to express his more pointed and careful realism.
Also from this period are the portrait of Sor Jerónima de la Fuente (1620)—Velázquez's first full-length portrait[16]—and the genre The Water Seller of Seville (1618–1622). The Water Seller of Seville has been termed “the peak of Velázquez's bodegones” and is admired for its virtuoso rendering of volumes and textures as well as for its enigmatic gravitas.[17]
- ↑ Carr et al. 2006, p. 26.
- ↑ Ka̱zzuan:Cite journal
- ↑ Newitt, Malyn (2009). Portugal in European and World History. London: Reaktion Books. p. 98. Ka̱zzuan:ISBN.
- ↑ Ka̱zzuan:Cite web
- ↑ Ka̱zzuan:Cite journal
- ↑ Carr et al. 2006, p. 53.
- ↑ Harris 1982, p. 9.
- ↑ Carr et al. 2006, p. 28.
- ↑ Carr et al. 2006, p. 14.
- ↑ Ka̱zzuan:Cite web
- ↑ Carr et al. 2006, p. 27.
- ↑ Carr et al. 2006, p. 29.
- ↑ Ywap du̱yrek: Invalid
<ref>tag; no text was provided for refs namedSánchez_Grove - ↑ Carr et al. 2006, pp. 122, 126.
- ↑ Carr et al. 2006, pp. 28, 29.
- ↑ Carr et al. 2006, p. 142.
- ↑ Carr et al. 2006, p. 130.