Diego VelázquezDiego Velázquez 1599-16601599-1660

Painting ConsciousnessPainting Consciousness

Diego Velázquez. Self-Portrait. 1643.

Philip IV

on on VelázquezVelázquez

a)a) Court Painter in in the court of Philip IV Court Painter in in the court of Philip IV (Felipe IV). (Felipe IV).

b)b) ““The Painter of the Painter”The Painter of the Painter”a)a) ““The Painter of Truth”; truth about paintingThe Painter of Truth”; truth about painting

b)b) ““The Painter of Subjectivity”: truth about the The Painter of Subjectivity”: truth about the painterpainter

c)c) Focus of study: Relate the two points Focus of study: Relate the two points above to your reading of above to your reading of Las MeninasLas Meninas. . Why do art critics attribute those Why do art critics attribute those qualities to him and his work? qualities to him and his work?

Questions 1Questions 1[[VelázquezVelázquez and The Puzzle of Double Painting]  and The Puzzle of Double Painting]

What What is being painted? And is being painted? And whowho is painting this? is painting this?

1.1 1.1 Las Las MeninasMeninas is full of fascinating puzzles and strange twists. How "many" is full of fascinating puzzles and strange twists. How "many" can you point out? What is wrong/strange about the painting?    can you point out? What is wrong/strange about the painting?    

1.2 Look, closely and "deeply," at the logic of composition and representation: 1.2 Look, closely and "deeply," at the logic of composition and representation: its complexity and multiplicity. There is no one/single story in this painting. its complexity and multiplicity. There is no one/single story in this painting. This painting is a very confusing, multiple mirror-play. Note, first, simply, This painting is a very confusing, multiple mirror-play. Note, first, simply, that every one is that every one is looking looking at something; you are introduced to a theatre of at something; you are introduced to a theatre of gazes, of consciousness. gazes, of consciousness. 

1.3 Then try and figure out the positions of the people depicted in the 1.3 Then try and figure out the positions of the people depicted in the painting, both spatial (literal) and metaphorical (symbolic), especially the painting, both spatial (literal) and metaphorical (symbolic), especially the painter himself; see also High Renaissance Painter Raphael's signature in painter himself; see also High Renaissance Painter Raphael's signature in La La FornariaFornaria (Italian, 1520; comparable to Michelangelo,  (Italian, 1520; comparable to Michelangelo, David)David) and Ingres'  and Ingres' imaginary double portrait, imaginary double portrait, Raphael and La Raphael and La FornarinaFornarina , 1814. , 1814. 

1.4 What functions do the frames/mirrors/doors in the painting serve? And 1.4 What functions do the frames/mirrors/doors in the painting serve? And what do they mean? what do they mean? 

Questions 2Questions 2[[VelázquezVelázquez and The Baroque] and The Baroque]

2.1 What is 2.1 What is Baroque Baroque Style? What is Style? What is trompe-o'eiltrompe-o'eil? How does it build on, ? How does it build on, and also depart from, the Spirit of the Renaissance? Start by and also depart from, the Spirit of the Renaissance? Start by centring your thoughts and notes around the humanism of the centring your thoughts and notes around the humanism of the Renaissance; in Baroque arts, the difference or division between reality Renaissance; in Baroque arts, the difference or division between reality and illusion is not clear-cut. The baroque complicates the senses of identity and illusion is not clear-cut. The baroque complicates the senses of identity by conflating the two.  by conflating the two.  

2.2 Study some other intriguing images and figures from the 2.2 Study some other intriguing images and figures from the European Renaissance and Baroque Periods: How do they, European Renaissance and Baroque Periods: How do they, altogether, embody the spirit and style of the Periods? altogether, embody the spirit and style of the Periods? 

Jan van Eyck (Flemish, 1395-1441, Jan van Eyck (Flemish, 1395-1441, The Betrothal of the The Betrothal of the ArnolfiniArnolfini))Dürer (German, 1471-1528, Dürer (German, 1471-1528, Portrait of a Boy with a long beardPortrait of a Boy with a long beard))Bronzino (Italian, 1503-72, Bronzino (Italian, 1503-72, Allegory of HappinessAllegory of Happiness; ; Venus, Venus, CupideCupide and the Time and the Time))Arcimboldo (Italian, 1527-1593, Arcimboldo (Italian, 1527-1593, The CookThe Cook; ; The Vegetable GardenerThe Vegetable Gardener))de Ribera (Spanish, 1591-1652, de Ribera (Spanish, 1591-1652, Bearded WomanBearded Woman))Artemisia (Italian [finally a Artemisia (Italian [finally a woman woman artist!] 1593 - 1652/1653, artist!] 1593 - 1652/1653, Judith Beheading Judith Beheading

HolofernesHolofernes; ; Self-portrait as the Allegory of PaintingSelf-portrait as the Allegory of Painting)  ) 

Questions 3Questions 3

[The Baroque and the Politics of [The Baroque and the Politics of Trompe-o'eilTrompe-o'eil]]

3.1 Baroque style is a political statement in itself: anti-3.1 Baroque style is a political statement in itself: anti-Reformation. Why? How? Start your investigation by Reformation. Why? How? Start your investigation by reading the entry on "baroque" in Web Gallery of Art.reading the entry on "baroque" in Web Gallery of Art.

3.2 Why must we study all this? What is all this analytic fuss 3.2 Why must we study all this? What is all this analytic fuss about? It is your job to articulate and judge the worth of about? It is your job to articulate and judge the worth of studying these materials: justify your position and do so studying these materials: justify your position and do so intelligently.  intelligently.