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1656 painting by Diego Velázquez

Las Meninas
Artist	Diego Velázquez
Twelvemonth	1656
Medium	Oil on canvas
Dimensions	318 cm × 276 cm (125.two in × 108.7 in)
Location	Museo del Prado, Madrid

Las Meninas ^[a] (pronounced [laz meˈninas]; Spanish for 'The Ladies-in-waiting ') is a 1656 painting in the Museo del Prado in Madrid, by Diego Velázquez, the leading artist of the Spanish Golden Age. Its complex and enigmatic composition raises questions about reality and illusion, and creates an uncertain relationship between the viewer and the figures depicted. Because of these complexities, Las Meninas has been one of the most widely analyzed works in Western painting.

The painting is believed by F. J. Sánchez Cantón to depict the main sleeping room in the Regal Alcazar of Madrid during the reign of King Philip IV of Spain, and presents several figures, most identifiable from the Spanish court, captured, according to some commentators, in a particular moment every bit if in a snapshot.^{[b] [two]} Some look out of the sheet towards the viewer, while others interact among themselves. The five-year-old Infanta Margaret Theresa is surrounded by her entourage of maids of honour, chaperone, bodyguard, two dwarfs and a dog. Just behind them, Velázquez portrays himself working at a large canvas. Velázquez looks outwards, beyond the pictorial space to where a viewer of the painting would stand up.^[3] In the background at that place is a mirror that reflects the upper bodies of the male monarch and queen. They appear to be placed outside the picture show space in a position similar to that of the viewer, although some scholars have speculated that their epitome is a reflection from the painting Velázquez is shown working on.

Las Meninas has long been recognised as one of the nearly important paintings in Western fine art history. The Baroque painter Luca Giordano said that it represents the "theology of painting", and in 1827 the president of the Royal University of Arts Sir Thomas Lawrence described the work in a letter of the alphabet to his successor David Wilkie as "the truthful philosophy of the art".^[4] More than recently, it has been described as "Velázquez's supreme achievement, a highly self-witting, calculated demonstration of what painting could achieve, and perhaps the most searching comment always made on the possibilities of the easel painting".^[5]

Background [edit]

Courtroom of Philip Four [edit]

The Infanta Margaret Theresa (1651–1673), in mourning dress for her father in 1666, past del Mazo. The groundwork figures include her immature brother Charles Two and the dwarf Maribarbola, also in Las Meninas. She left Spain for her marriage in Vienna the same year.^{[half dozen]}

In 17th-century Spain, painters rarely enjoyed high social status. Painting was regarded as a craft, non an art such as poetry or music.^[vii] Nonetheless, Velázquez worked his way up through the ranks of the court of Philip Iv, and in February 1651 was appointed palace chamberlain (aposentador mayor del palacio). The post brought him status and material reward, but its duties made heavy demands on his time. During the remaining eight years of his life, he painted but a few works, mostly portraits of the royal family.^[8] When he painted Las Meninas, he had been with the royal household for 33 years.

Philip IV's first wife, Elizabeth of France, died in 1644, and their only son, Balthasar Charles, died two years subsequently. Defective an heir, Philip married Mariana of Austria in 1649,^[c] and Margaret Theresa (1651–1673) was their start kid, and their only one at the time of the painting. Afterwards, she had a short-lived brother Philip Prospero (1657–1661), and and so Charles (1661–1700) arrived, who succeeded to the throne as Charles 2 at the age of iii. Velázquez painted portraits of Mariana and her children,^[8] and although Philip himself resisted beingness portrayed in his erstwhile age he did allow Velázquez to include him in Las Meninas. In the early 1650s he gave Velázquez the Pieza Chief ("master room") of the late Balthasar Charles'south living quarters, by then serving equally the palace museum, to use as his studio, where Las Meninas is gear up. Philip had his own chair in the studio and would oftentimes sit down and watch Velázquez at work. Although constrained by rigid etiquette, the fine art-loving king seems to take had a close relationship with the painter. Afterward Velázquez'south death, Philip wrote "I am crushed" in the margin of a memorandum on the choice of his successor.^{[9] [10]}

During the 1640s and 1650s, Velázquez served every bit both court painter and curator of Philip IV's expanding collection of European art. He seems to have been given an unusual degree of freedom in the role. He supervised the decoration and interior pattern of the rooms holding the most valued paintings, adding mirrors, statues and tapestries. He was also responsible for the sourcing, attribution, hanging and inventory of many of the Spanish king'southward paintings. By the early 1650s, Velázquez was widely respected in Spain as a connoisseur. Much of the collection of the Prado today—including works by Titian, Raphael, and Rubens—were acquired and assembled under Velázquez'south curatorship.^[11]

Provenance and status [edit]

Detail showing Philip 4'due south girl, the Infanta Margaret Theresa. Most of her left cheek was repainted afterward being damaged in the fire of 1734.

The painting was referred to in the primeval inventories as La Familia ("The Family").^[12] A detailed description of Las Meninas, which provides the identification of several of the figures, was published by Antonio Palomino ("the Giorgio Vasari of the Castilian Golden Historic period") in 1724.^{[3] [thirteen]} Exam under infrared lite reveals pocket-sized pentimenti, that is, there are traces of earlier working that the creative person himself afterwards contradistinct. For case, at first Velázquez's ain head inclined to his right rather than his left.^[fourteen]

The painting has been cut down on both the left and correct sides.^[d] It was damaged in the burn that destroyed the Alcázar in 1734, and was restored past court painter Juan García de Miranda (1677–1749). The left cheek of the Infanta was almost completely repainted to recoup for a substantial loss of paint.^[e] After its rescue from the fire, the painting was inventoried every bit part of the regal collection in 1747–48, and the Infanta was misidentified as Maria Theresa, Margaret Theresa'southward older half-sister, an error that was repeated when the painting was inventoried at the new Madrid Purple Palace in 1772.^[17] A 1794 inventory reverted to a version of the earlier championship, The Family of Philip IV, which was repeated in the records of 1814. The painting entered the collection of the Museo del Prado on its foundation in 1819.^[east] In 1843, the Prado catalogue listed the work for the offset time equally Las Meninas.^[17]

In contempo years, the picture has suffered a loss of texture and hue. Due to exposure to pollution and crowds of visitors, the once-brilliant contrasts between blueish and white pigments in the costumes of the meninas have faded.^[e] It was last cleaned in 1984 under the supervision of the American conservator John Brealey, to remove a "yellow veil" of dust that had gathered since the previous restoration in the 19th century. The cleaning provoked, according to the art historian Federico Zeri, "furious protests, non because the picture show had been damaged in whatsoever way, simply because it looked different".^{[18] [19]} However, in the stance of López-Rey, the "restoration was impeccable".^[17] Due to its size, importance, and value, the painting is non lent out for exhibition.^[f]

Painting materials [edit]

A thorough technical investigation including a pigment analysis of Las Meninas was conducted effectually 1981 in the Museo del Prado.^[22] The analysis revealed the usual pigments of the bizarre menses oft used by Velázquez in his other paintings. The master pigments used for this painting were lead white, azurite (for the brim of the kneeling menina), vermilion and scarlet lake, ochres and carbon blacks.^[23]

Description [edit]

Subject matter [edit]

Key to the people represented: run across text

Las Meninas is set in Velázquez's studio in Philip 4's Alcázar palace in Madrid.^[24] The high-ceilinged room is presented, in the words of Silvio Gaggi, every bit "a unproblematic box that could be divided into a perspective grid with a unmarried vanishing bespeak".^[25] In the centre of the foreground stands the Infanta Margaret Theresa (ane). The five-year-former infanta, who afterward married Holy Roman Emperor Leopold I, was at this betoken Philip and Mariana'south only surviving child.^[grand] She is attended past two ladies-in-waiting, or meninas: Doña Isabel de Velasco (2), who is poised to curtsy to the princess, and Doña María Agustina Sarmiento de Sotomayor [es] (3), who kneels earlier Margaret Theresa, offering her a drink from a red cup, or búcaro, that she holds on a golden tray.^[26] To the right of the Infanta are two dwarfs: the achondroplastic German language, Mari Bárbola (iv),^[26] and the Italian, Nicolás Pertusato (v), who playfully tries to rouse a sleepy mastiff with his foot. The dog is idea to be descended from ii mastiffs from Lyme Hall in Cheshire, given to Philip Iii in 1604 by James I of England.^[h] The Doña Marcela de Ulloa (6), the princess'south chaperone, stands behind them, dressed in mourning and talking to an unidentified bodyguard (or guardadamas) (7).^[26]

To the rear and at right stands Don José Nieto Velázquez (8)—the queen's chamberlain during the 1650s, and head of the royal tapestry works—who may have been a relative of the artist. Nieto is shown standing but in suspension, with his correct knee bent and his feet on different steps. As the art critic Harriet Stone observes, it is uncertain whether he is "coming or going".^[28] He is rendered in silhouette and appears to agree open a curtain on a short flight of stairs, with an unclear wall or space behind. Both this backlight and the open doorway reveal space behind: in the words of the fine art historian Analisa Leppanen, they lure "our optics inescapably into the depths".^[29] The royal couple's reflection pushes in the opposite management, frontward into the pic space. The vanishing betoken of the perspective is in the doorway, as can exist shown past extending the line of the meeting of wall and ceiling on the right. Nieto is seen merely by the king and queen, who share the viewer's bespeak of view, and not by the figures in the foreground. In the footnotes of Joel Snyder's article, the author recognizes that Nieto is the queen's attendant and was required to exist at hand to open and close doors for her. Snyder suggests that Nieto appears in the doorway so that the king and queen might depart. In the context of the painting, Snyder argues that the scene is the end of the majestic couple'south sitting for Velázquez and they are preparing to exit, explaining that is "why the menina to the correct of the Infanta begins to curtsy".^[thirty]

Velázquez himself (ix) is pictured to the left of the scene, looking outward past a large canvass supported past an easel.^[31] On his chest is the red cantankerous of the Gild of Santiago, which he did not receive until 1659, three years after the painting was completed. Co-ordinate to Palomino, Philip ordered this to be added after Velázquez's death, "and some say that his Majesty himself painted information technology".^[32] From the painter's belt hang the symbolic keys of his court offices.^[33]

A mirror on the back wall reflects the upper bodies and heads of 2 figures identified from other paintings, and by Palomino, as Male monarch Philip Four (10) and Queen Mariana (11). The almost mutual assumption is that the reflection shows the couple in the pose they are belongings for Velázquez as he paints them, while their girl watches; and that the painting therefore shows their view of the scene.^[34]

Of the ix figures depicted, five are looking directly out at the regal couple or the viewer. Their glances, along with the king and queen's reflection, affirm the purple couple's presence outside the painted infinite.^[28] Alternatively, fine art historians H. W. Janson and Joel Snyder suggest that the epitome of the king and queen is a reflection from Velázquez's canvas, the front of which is obscured from the viewer.^{[35] [36]} Other writers say the canvas Velázquez is shown working on is unusually large for one of his portraits, and note that is about the same size every bit Las Meninas. The painting contains the only known double portrait of the royal couple painted by the creative person.^[37]

The point of view of the picture is approximately that of the purple couple, though this has been widely debated. Many critics suppose that the scene is viewed by the rex and queen every bit they pose for a double portrait, while the Infanta and her companions are present only to make the process more enjoyable.^[38] Ernst Gombrich suggested that the motion picture might accept been the sitters' idea:

Mayhap the princess was brought into the regal presence to relieve the boredom of the sitting and the King or the Queen remarked to Velazquez that hither was a worthy discipline for his brush. The words spoken past the sovereign are always treated as a command and so nosotros may owe this masterpiece to a passing wish which only Velazquez was able to turn into reality.^[39]

No single theory, yet, has plant universal understanding.^[40] Leo Steinberg suggests that the King and Queen are to the left of the viewer and the reflection in the mirror is that of the sheet, a portrait of the king and queen.^[41]

Clark suggests that the piece of work comprises a scene where the ladies-in-waiting are attempting to cajole the Infanta Doña Margarita to pose with her mother and begetter. In his 1960 book "Looking at Pictures", Clark writes:

Our showtime feeling is of being at that place. We are continuing just to the right of the King and Queen, whose reflections we can see in the distant mirror, looking downwards an austere room in the Alcazar (hung with del Mazo's copies of Rubens) and watching a familiar state of affairs. The Infanta Doña Margarita doesn't want to pose...She is at present five years old, and she has had plenty. [It is] an enormous picture, so big that information technology stands on the flooring, in which she is going to appear with her parents; and somehow the Infanta must be persuaded. Her ladies-in-waiting, known by the Portuguese name of meninas ... are doing their all-time to cajole her, and have brought her dwarfs, Maribarbola and Nicolasito, to charm her. But in fact they alert her nearly equally much as they alarm us.^[42]

The back wall of the room, which is in shadow, is hung with rows of paintings, including ane of a serial of scenes from Ovid's Metamorphoses by Rubens, and copies, by Velázquez's son-in-constabulary and principal assistant del Mazo, of works by Jacob Jordaens.^[24] The paintings are shown in the verbal positions recorded in an inventory taken around this time.^[31] The wall to the right is hung with a filigree of eight smaller paintings, visible mainly every bit frames owing to their bending from the viewer.^[28] They can be identified from the inventory as more Mazo copies of paintings from the Rubens Ovid series, though only two of the subjects can be seen.^[24]

The paintings on the back wall are recognized as representing Minerva Punishing Arachne and Apollo'due south Victory Over Marsyas. Both stories involve Minerva, the goddess of wisdom and patron of the arts. These ii legends are both stories of mortals challenging gods and the dreadful consequences. One scholar points out that the fable dealing with ii women, Minerva and Arachne, is on the same side of the mirror every bit the queen's reflection while the male person fable, involving the god Apollo and the satyr Marsyas, is on the side of the male monarch.^[43]

Composition [edit]

The painted surface is divided into quarters horizontally and sevenths vertically; this grid is used to organise the elaborate group of characters, and was a common device at the time.^[44] Velázquez presents nine figures—xi if the king and queen's reflected images are included—all the same they occupy only the lower half of the sheet.^[45]

According to López-Rey, the painting has 3 focal points: the Infanta Margaret Theresa, the self-portrait and the half-length reflected images of Rex Philip Four and Queen Mariana. In 1960, Clark observed that the success of the composition is a result showtime and foremost of the accurate handling of light and shade:

Each focal indicate involves us in a new set up of relations; and to paint a complex group similar the Meninas, the painter must bear in his head a single consequent scale of relations which he tin employ throughout. He may use all kinds of devices to help him do this—perspective is ane of them—just ultimately the truth most a consummate visual impression depends on one thing, truth of tone. Drawing may be summary, colours drab, merely if the relations of tone are true, the picture will hold.^[44]

However, the focal point of the painting is widely debated. Leo Steinberg argues that the orthogonals in the piece of work are intentionally disguised so that the picture'south focal center shifts. Similar to Lopez-Rey, he describes iii foci. The man in the doorway, however, is the vanishing bespeak. More specifically, the crook of his arm is where the orthogonals of the windows and lights of the ceiling come across.^[46]

Depth and dimension are rendered by the use of linear perspective, past the overlapping of the layers of shapes, and in particular, as stated by Clark, through the use of tone. This compositional element operates within the picture in a number of ways. Offset, at that place is the appearance of natural low-cal within the painted room and beyond it. The pictorial space in the midground and foreground is lit from 2 sources: by thin shafts of light from the open door, and past wide streams coming through the window to the correct.^[31] The 20th-century French philosopher and cultural critic Michel Foucault observed that the low-cal from the window illuminates both the studio foreground and the unrepresented area in front end of it, in which the king, the queen, and the viewer are presumed to be situated.^[47] For José Ortega y Gasset, calorie-free divides the scene into iii singled-out parts, with foreground and background planes strongly illuminated, between which a darkened intermediate space includes silhouetted figures.^[48]

Velázquez uses this light not only to add volume and definition to each form simply also to define the focal points of the painting. Equally the light streams in from the correct it brightly glints on the complect and golden hair of the female person dwarf, who is nearest the calorie-free source. Simply because her face is turned from the light, and in shadow, its tonality does not make it a indicate of particular interest. Similarly, the light glances obliquely on the cheek of the lady-in-waiting most her, but not on her facial features. Much of her lightly coloured apparel is dimmed by shadow. The Infanta, withal, stands in full illumination, and with her face turned towards the light source, even though her gaze is not. Her face is framed by the pale gossamer of her hair, setting her autonomously from everything else in the picture show. The lite models the volumetric geometry of her form, defining the conic nature of a modest body bound rigidly into a corset and stiffened bodice, and the panniered skirt extending around her like an oval candy-box, casting its own deep shadow which, past its sharp contrast with the vivid brocade, both emphasises and locates the small figure every bit the primary betoken of attention.^[49]

Velázquez farther emphasises the Infanta by his positioning and lighting of her maids of honour, who are fix opposite 1 another: before and behind the Infanta. The maid on the viewer's left is given a brightly lit profile, while her sleeve create a diagonal. Her opposite figure creates a broader simply less defined reflection of her attending, making a diagonal space between them, in which their charge stands protected.^[i]

A farther internal diagonal passes through the space occupied by the Infanta. There is a similar connection betwixt the female person dwarf and the figure of Velázquez himself, both of whom look towards the viewer from similar angles, creating a visual tension. The confront of Velázquez is dimly lit by lite that is reflected, rather than straight. For this reason his features, though not as sharply defined, are more than visible than those of the dwarf who is much nearer the light source. This appearance of a total face, full-on to the viewer, draws the attention, and its importance is marked, tonally, by the contrasting frame of dark hair, the calorie-free on the hand and brush, and the skilfully placed triangle of light on the artist's sleeve, pointing directly to the face up.^[51]

The mirror is a perfectly defined unbroken pale rectangle within a broad blackness rectangle. A clear geometric shape, like a lit confront, draws the attention of the viewer more than than a broken geometric shape such equally the door, or a adumbral or oblique face up such as that of the dwarf in the foreground or that of the man in the background. The viewer cannot distinguish the features of the king and queen, but in the opalescent sheen of the mirror'due south surface, the glowing ovals are plainly turned straight to the viewer. Jonathan Miller pointed out that apart from "calculation suggestive gleams at the bevelled edges, the most of import way the mirror betrays its identity is by disclosing imagery whose brightness is so inconsistent with the dimness of the surrounding wall that it can only have been borrowed, by reflection, from the strongly illuminated figures of the King and Queen".^[52]

As the maids of honour are reflected in each other, and then too exercise the male monarch and queen have their doubles within the painting, in the dimly lit forms of the chaperone and baby-sit, the two who serve and care for their daughter. The positioning of these figures sets up a blueprint, one man, a couple, i man, a couple, and while the outer figures are nearer the viewer than the others, they all occupy the same horizontal band on the pic's surface.^[51]

Calculation to the inner complexities of the picture is the male dwarf in the foreground, whose raised mitt echoes the gesture of the effigy in the background, while his playful demeanour, and lark from the central action, are in complete contrast with information technology. The informality of his pose, his shadowed profile, and his dark hair all serve to make him a mirror image to the kneeling attendant of the Infanta. However, the painter has set him forward of the light streaming through the window, and so minimised the contrast of tone on this foreground figure.^[51]

Despite certain spatial ambiguities this is the painter'southward virtually thoroughly rendered architectural space, and the only ane in which a ceiling is shown. According to López-Rey, in no other limerick did Velázquez and then dramatically pb the eye to areas beyond the viewer's sight: both the canvass he is seen painting, and the space across the frame where the king and queen stand can only be imagined.^[53] The bareness of the dark ceiling, the back of Velázquez's canvas, and the strict geometry of framed paintings contrast with the animated, brilliantly lit and sumptuously painted foreground entourage.^[51] Stone writes:

Nosotros cannot take in all the figures of the painting in one glance. Non only exercise the life-size proportions of the painting preclude such an appreciation, but also the fact that the heads of the figures are turned in different directions means that our gaze is deflected. The painting communicates through images which, in social club to be understood, must thus be considered in sequence, 1 subsequently the other, in the context of a history that is yet unfolding. It is a history that is still unframed, even in this painting composed of frames within frames.^[54]

According to Kahr, the composition could have been influenced by the traditional Dutch Gallery Pictures such as those by Frans Francken the Younger, Willem van Haecht, or David Teniers the Younger. Teniers' work was owned past Philip IV and would have been known past Velázquez. Similar Las Meninas, they oft depict formal visits by important collectors or rulers, a common occurrence, and "show a room with a series of windows dominating one side wall and paintings hung between the windows as well as on the other walls". Gallery Portraits were besides used to glorify the artist every bit well as royalty or members of the higher classes, as may accept been Velázquez'due south intention with this work.^[55]

Mirror and reflection [edit]

Detail of the mirror in van Eyck's Arnolfini Portrait. Van Eyck'southward painting shows the pictorial space from "behind", and two further figures in front of the pic infinite, like those in the reflection in the mirror in Las Meninas.

The spatial structure and positioning of the mirror's reflection are such that Philip Four and Mariana appear to be standing on the viewer's side of the pictorial infinite, facing the Infanta and her entourage. According to Janson, not only is the gathering of figures in the foreground for Philip and Mariana's benefit, but the painter's attending is concentrated on the couple, as he appears to be working on their portrait.^[35] Although they tin can but exist seen in the mirror reflection, their afar epitome occupies a central position in the canvas, in terms of social hierarchy too as limerick. As spectators, the viewer's position in relation to the painting is uncertain. It has been debated whether the ruling couple are standing beside the viewer or have replaced the viewer, who sees the scene through their optics. Lending weight to the latter idea are the gazes of 3 of the figures—Velázquez, the Infanta, and Maribarbola—who announced to be looking directly at the viewer.^[56]

The mirror on the dorsum wall indicates what is non there: the male monarch and queen, and in the words of Harriet Stone, "the generations of spectators who assume the couple'due south place before the painting".^[28] Writing in 1980, the critics Snyder and Cohn observed:

Velázquez wanted the mirror to depend upon the useable [sic] painted canvas for its image. Why should he want that? The luminous paradigm in the mirror appears to reflect the male monarch and queen themselves, but it does more just this: the mirror outdoes nature. The mirror image is only a reflection. A reflection of what? Of the real thing—of the art of Velázquez. In the presence of his divinely ordained monarchs ... Velázquez exults in his artistry and counsels Philip and Maria not to look for the revelation of their prototype in the natural reflection of a looking glass but rather in the penetrating vision of their main painter. In the presence of Velázquez, a mirror image is a poor fake of the existent.^[57]

In Las Meninas, the king and queen are supposedly "exterior" the painting, yet their reflection in the back wall mirror also places them "inside" the pictorial infinite.^[58]

Snyder proposes information technology is "a mirror of majesty" or an allusion to the mirror for princes. While information technology is a literal reflection of the king and queen, Snyder writes "it is the image of exemplary monarchs, a reflection of ideal graphic symbol".^[59] Later he focuses his attention on the princess, writing that Velázquez's portrait is "the painted equivalent of a manual for the education of the princess—a mirror of the princess".^[60]

The painting is probable to have been influenced past Jan van Eyck'southward Arnolfini Portrait, of 1434. At the time, van Eyck'due south painting hung in Philip's palace, and would have been familiar to Velázquez.^{[14] [61]} The Arnolfini Portrait also has a mirror positioned at the back of the pictorial space, reflecting two figures who would have the same angle of vision every bit does the viewer of Velázquez's painting; they are too pocket-sized to identify, simply it has been speculated that i may be intended equally the artist himself, though he is not shown in the act of painting. According to Lucien Dällenbach:

The mirror [in Las Meninas] faces the observer every bit in Van Eyck'due south painting. But here the procedure is more realistic to the degree that the "rearview" mirror in which the royal couple appears is no longer convex but flat. Whereas the reflection in the Flemish painting recomposed objects and characters within a space that is condensed and deformed by the bend of the mirror, that of Velázquez refuses to play with the laws of perspective: information technology projects onto the canvas the perfect double of the rex and queen positioned in front end of the painting.^[34]

Jonathan Miller asks: "What are we to make of the blurred features of the imperial couple? It is unlikely that it has anything to do with the optical imperfection of the mirror, which would, in reality, have displayed a focused epitome of the Rex and Queen". He notes that "in add-on to the represented mirror, he teasingly implies an unrepresented one, without which it is difficult to imagine how he could have shown himself painting the picture we now meet".^[62]

Estimation [edit]

The elusiveness of Las Meninas, co-ordinate to Dawson Carr, "suggests that art, and life, are an illusion".^[63] The relationship between illusion and reality were key concerns in Spanish culture during the 17th century, figuring largely in Don Quixote, the best-known work of Spanish Bizarre literature. In this respect, Calderón de la Barca's play Life is a Dream is commonly seen as the literary equivalent of Velázquez'due south painting:

What is a life? A frenzy. What is life?
A shadow, an illusion, and a sham.
The greatest good is modest; all life, information technology seems
Is but a dream, and even dreams are dreams.^[63]

Detail showing the blood-red cross of the Order of Santiago painted on the breast of Velázquez. Presumably this item was added at a later engagement, equally the painter was admitted to the order by the rex's decree on 28 November, 1659.^[64]

Jon Manchip White notes that the painting tin be seen every bit a résumé of the whole of Velázquez'southward life and career, equally well as a summary of his fine art to that point. He placed his only confirmed self-portrait in a room in the royal palace surrounded past an assembly of royalty, courtiers, and fine objects that represent his life at court.^[26] The art historian Svetlana Alpers suggests that, by portraying the artist at work in the company of royalty and nobility, Velázquez was claiming high status for both the artist and his art,^[65] and in particular to propose that painting is a liberal rather than a mechanical art. This stardom was a point of controversy at the time. It would have been significant to Velázquez, since the rules of the Order of Santiago excluded those whose occupations were mechanical.^[v] Kahr asserts that this was the best way for Velázquez to bear witness that he was "neither a craftsman or a tradesman, merely an official of the court". Furthermore, this was a way to prove himself worthy of acceptance by the majestic family.^[66]

Michel Foucault devoted the opening affiliate of The Order of Things (1966) to an assay of Las Meninas. Foucault describes the painting in meticulous detail, but in a linguistic communication that is "neither prescribed by, nor filtered through the various texts of fine art-historical investigation".^[67] Foucault viewed the painting without regard to the subject matter, nor to the artist's biography, technical ability, sources and influences, social context, or relationship with his patrons. Instead he analyzes its conscious bamboozlement, highlighting the circuitous network of visual relationships between painter, subject-model, and viewer:

Nosotros are looking at a motion-picture show in which the painter is in turn looking out at us. A mere confrontation, eyes catching one another's glance, directly looks superimposing themselves upon ane some other as they cross. And yet this slender line of reciprocal visibility embraces a whole complex network of uncertainties, exchanges, and feints. The painter is turning his optics towards us only in so far as we happen to occupy the same position equally his subject.^{[68] [69]}

For Foucault, Las Meninas illustrates the beginning signs of a new episteme, or way of thinking. It represents a midpoint between what he sees as the ii "great discontinuities" in European idea, the classical and the modern: "Maybe there exists, in this painting by Velázquez, the representation as it were of Classical representation, and the definition of the space information technology opens upward to us ... representation, freed finally from the relation that was impeding it, tin can offering itself equally representation in its pure course."^{[68] [70]}

At present he (the painter) tin exist seen, caught in a moment of stillness, at the neutral centre of his oscillation. His dark body and bright face are half-fashion between the visible and the invisible: emerging from the canvas across our view, he moves into our gaze; but when, in a moment, he makes a step to the right, removing himself from our gaze, he will be standing exactly in front end of the canvas he is painting; he volition enter that region where his painting, neglected for an instant, volition, for him, get visible once more, free of shadow and costless of reticence. Equally though the painter could not at the same time be seen on the motion picture where he is represented and also encounter that upon which he is representing something."^[71]

Las Meninas equally culmination of themes in Velázquez [edit]

Many aspects of Las Meninas chronicle to earlier works by Velázquez in which he plays with conventions of representation. In the Rokeby Venus—his but surviving nude—the face up of the field of study is visible, blurred beyond any realism, in a mirror. The angle of the mirror is such that although "often described as looking at herself, [she] is more disconcertingly looking at us".^[72] In the early Christ in the Firm of Martha and Mary of 1618,^[j] Christ and his companions are seen only through a serving hatch to a room behind, according to the National Gallery (London), who are articulate that this is the intention, although before restoration many fine art historians regarded this scene as either a painting hanging on the wall in the master scene, or a reflection in a mirror, and the argue has continued.^{[k] [l]} The dress worn in the two scenes also differs: the main scene is in contemporary dress, while the scene with Christ uses conventional iconographic biblical dress.^[fifty]

In Las Hilanderas, believed to have been painted the year after Las Meninas, ii different scenes from Ovid are shown: one in gimmicky dress in the foreground, and the other partly in antique apparel, played before a tapestry on the dorsum wall of a room behind the first. Co-ordinate to the critic Sira Dambe, "aspects of representation and power are addressed in this painting in ways closely connected with their handling in Las Meninas".^[7] In a series of portraits of the late 1630s and 1640s—all now in the Prado—Velázquez painted clowns and other members of the royal household posing as gods, heroes, and philosophers; the intention is certainly partly comic, at least for those in the know, just in a highly ambiguous style.^[76]

Velázquez's portraits of the purple family themselves had until then been straightforward, if oftentimes unflatteringly directly and highly complex in expression. On the other hand, his royal portraits, designed to exist seen across vast palace rooms, feature more strongly than his other works the bravura handling for which he is famous: "Velázquez'due south handling of paint is exceptionally free, and as one approaches Las Meninas there is a point at which the figures suddenly deliquesce into smears and blobs of paint. The long-handled brushes he used enabled him to stand up back and judge the total effect."^[33]

Influence [edit]

In 1692, the Neapolitan painter Luca Giordano became one of the few allowed to view paintings held in Philip IV'south individual apartments, and was greatly impressed by Las Meninas. Giordano described the work as the "theology of painting",^[45] and was inspired to paint A Homage to Velázquez (National Gallery, London).^[78] By the early 18th century his oeuvre was gaining international recognition, and later in the century British collectors ventured to Kingdom of spain in search of acquisitions. Since the popularity of Italian art was and so at its height among British connoisseurs, they concentrated on paintings that showed obvious Italian influence, largely ignoring others such as Las Meninas.^[79]

An almost immediate influence can be seen in the ii portraits by Juan Bautista Martínez del Mazo of subjects depicted in Las Meninas, which in some means reverse the motif of that painting. X years later, in 1666, Mazo painted Infanta Margaret Theresa, who was then xv and just nearly to get out Madrid to marry the Holy Roman Emperor. In the background are figures in two further receding doorways, one of which was the new King Charles (Margaret Theresa's brother), and another the dwarf Maribarbola. A Mazo portrait of the widowed Queen Mariana once again shows, through a doorway in the Alcázar, the young rex with dwarfs, mayhap including Maribarbola, and attendants who offer him a potable.^{[80] [81]} Mazo'south painting of The Family of the Artist too shows a composition similar to that of Las Meninas.^[82]

Francisco Goya etched a impress of Las Meninas in 1778,^[83] and used Velázquez'south painting every bit the model for his Charles IV of Espana and His Family. As in Las Meninas, the regal family unit in Goya'south work is plain visiting the artist'south studio. In both paintings the creative person is shown working on a canvas, of which only the rear is visible. Goya, notwithstanding, replaces the atmospheric and warm perspective of Las Meninas with what Pierre Gassier calls a sense of "imminent suffocation". Goya'due south royal family is presented on a "stage facing the public, while in the shadow of the wings the painter, with a grim smile, points and says: 'Look at them and gauge for yourself!' "^[77]

The 19th-century British art collector William John Bankes travelled to Spain during the Peninsular War (1808–1814) and acquired a copy of Las Meninas painted by Mazo,^[84] which he believed to be an original preparatory oil sketch past Velázquez—although Velázquez did non usually paint studies. Bankes described his purchase every bit "the glory of my collection", noting that he had been "a long while in treaty for it and was obliged to pay a high cost".^[85]

A new appreciation for Velázquez'due south less Italianate paintings developed after 1819, when Ferdinand Seven opened the royal collection to the public.^[84] In 1879 John Vocalist Sargent painted a small-scale-scale copy of Las Meninas, while his 1882 painting The Daughters of Edward Darley Boit is a homage to Velázquez's panel. The Irish artist Sir John Lavery chose Velázquez'due south masterpiece as the basis for his portrait The Royal Family at Buckingham Palace, 1913. George V visited Lavery'south studio during the execution of the painting, and, maybe remembering the legend that Philip IV had daubed the cantankerous of the Knights of Santiago on the figure of Velázquez, asked Lavery if he could contribute to the portrait with his own paw. According to Lavery, "Thinking that imperial blueish might be an advisable colour, I mixed it on the palette, and taking a brush he [George V] applied it to the Garter ribbon."^[84]

Between Baronial and December 1957, Pablo Picasso painted a series of 58 interpretations of Las Meninas, and figures from it, which currently fill the Las Meninas room of the Museu Picasso in Barcelona, Spain. Picasso did not vary the characters within the series, but largely retained the naturalness of the scene; according to the museum, his works constitute an "exhaustive study of form, rhythm, colour and move".^[86] A print of 1973 by Richard Hamilton called Picasso's Meninas draws on both Velázquez and Picasso.^[87] Photographer Joel-Peter Witkin was deputed by the Spanish Ministry of Culture to create a work titled Las Meninas, New Mexico (1987) which references Velázquez'due south painting also as other works past Spanish artists.^[88]

In 2004, the video creative person Eve Sussman filmed 89 Seconds at Alcázar, a loftier-definition video tableau inspired past Las Meninas. The work is a recreation of the moments leading upwardly to and directly following the approximately 89 seconds when the royal family unit and their courtiers would have come together in the exact configuration of Velázquez's painting. Sussman had assembled a team of 35, including an architect, a set designer, a choreographer, a costume designer, actors, and a moving-picture show crew.^[89]

A 2008 exhibition at the Museu Picasso chosen "Forgetting Velázquez: Las Meninas" included art responding to Velázquez'south painting by Fermín Aguayo, Avigdor Arikha, Claudio Bravo, Juan Carreño de Miranda, Michael Craig-Martin, Salvador Dalí, Juan Downey, Goya, Hamilton, Mazo, Vik Muniz, Jorge Oteiza, Picasso, Antonio Saura, Franz von Stuck, Sussman, Manolo Valdés, and Witkin, amidst others.^{[90] [91]} In 2009 the Museo del Prado published online photographs of Las Meninas in at a resolution of 14,000 megapixels.^{[92] [93]}

Notes [edit]

1. ^ The name is sometimes given in print every bit Las Meniñas, but there is no word "meniña" in Castilian. The discussion ways "daughter from a noble family unit brought up to serve at courtroom" (Oxford Concise Castilian Dictionary) and comes from menina , the Portuguese word for "daughter". This misspelling may be due to defoliation with niña , the Spanish give-and-take for "girl".
2. ^ In 1855, William Stirling wrote in Velázquez and his works: "Velázquez seems to have predictable the discovery of Daguerre and, taking a real room and real people grouped together by chance, to have fixed them, equally information technology were, by magic, for all fourth dimension, on canvas".^[1]
3. ^ Mariana of Austria had originally been betrothed to Balthasar Charles.
4. ^ There is no documentation as to the dates or reasons for the trimming. López-Rey states that the truncation is more than notable on the right.^[15]
5. ^ ^{a b c} Records of 1735 bear witness that the original frame was lost during the painting's rescue from the fire. The appraisement of 1747–48 makes reference to the painting having been "lately restored".^[16]
6. ^ The work was evacuated to Geneva by the Republican Government, together with much of the Prado's collection, during the last months of the Spanish Civil War, where it hung in an exhibition of Spanish paintings in 1939, side by side to Pablo Picasso's Guernica.^{[xx] [21]}
7. ^ Maria Theresa was past and then queen of France as married woman of Louis Xiv of France. Philip Prospero, Prince of Asturias, was built-in the following year, simply died at four, shortly before his brother Charles Ii was born. One daughter from this marriage, and five from Philip's first marriage, had died in infancy.
8. ^ "And a couple of Lyme-hounds of singular qualities which the Male monarch and Queen in very kind manner accepted."^[27]
9. ^ "The composition is anchored by the two strong diagonals that intersect at about the spot where the Infanta stands ..."^[50]
10. ^ According to López-Rey, "[The Arnolfini Portrait] has petty in common with Velázquez' limerick, the closest and most meaningful antecedent to which is to be found within his own oeuvre in Christ in the House of Martha and Mary, painted almost forty years earlier, in Seville, before he could accept seen the Arnolfini portrait in Madrid".^[73]
11. ^ The restoration was in 1964, and removed before "clumsy repainting".^[74]
12. ^ ^{a b} Jonathan Miller, for example, in 1998, continued to regard the inset picture as a reflection in a mirror.^[75]

References [edit]

1. ^ López-Rey (1999), Vol. I, p. 211
2. ^ Kubler, George (1966). "Three Remarks on the Meninas". The Fine art Bulletin. 48 (two): 212–214. doi:10.2307/3048367. JSTOR 3048367.
3. ^ ^{a b} Kahr (1975), p. 225
4. ^ Gower, Ronald Sutherland (1900). Sir Thomas Lawrence. London, Paris & New York: Goupil & co. p. 83.
5. ^ ^{a b} Honour & Fleming (1982), p. 447
6. ^ Prado (1996), p. 216
7. ^ ^{a b} Dambe, Sira (December 2006). "Enslaved sovereign: aesthetics of power in Foucault, Velázquez and Ovid". Journal of Literary Studies. 22 (3–iv): 229–256. doi:10.1080/02564710608530402. S2CID 143516350. Archived from the original on 24 March 2021. Retrieved 17 March 2021.
8. ^ ^{a b} Carr (2006), p. 46
9. ^ Canaday, John (1972) [1969]. "Bizarre Painters". The Lives of the Painters. New York: Norton Library. ISBN978-0-393-00665-0.
10. ^ Kahr (1975), quoting Pacheco.
11. ^ Alpers (2005), p. 183
12. ^ Levey, Michael (1971). Painting at Court. London: Weidenfeld & Nicolson. p. 147. ISBN978-0-8147-4950-0.
13. ^ Palomino (1715/24), p. 342
14. ^ ^{a b c} López-Rey (1999), Vol. I, p. 214
15. ^ López-Rey (1999), Vol. II, p. 306
16. ^ López-Rey (1999), Vol. II, pp. 306, 310
17. ^ ^{a b c} López-Rey (1999), Vol. II, pp. 310–11
18. ^ Editorial (Jan 1985). "The cleaning of 'Las Meninas'". The Burlington Magazine. Burlington Magazine Publications Ltd. 127 (982): 2–3, 41. JSTOR 881920.
19. ^ Zeri, Federico (1990). Behind the Image, the art of reading paintings. London: Heinemann. p. 153. ISBN978-0-434-89688-two.
20. ^ Held & Potts (1988), p. 36
21. ^ Russell, John (3 September 1989). "Masterpieces caught between two wars". The New York Times. Archived from the original on 9 June 2008. Retrieved fifteen December 2007.
22. ^ McKim-Smith, G.; Andersen-Bergdoll, Grand.; Newman, R. (1988). Examining Velazquez. New Haven: Yale Academy Press. ISBN978-0-300-03615-two.
23. ^ "Diego Velázquez, Las Meninas". ColourLex. Archived from the original on 31 July 2015. Retrieved 19 March 2021.
24. ^ ^{a b c} Alpers (2005), p. 185
25. ^ Gaggi (1989), p. 1
26. ^ ^{a b c d} White (1969), p. 143
27. ^ Bakery, Richard (1684). A Chronicle of the Kings of England. London: H. Sawbridge, B. Tooke and T. Sawbridge. p. 408. Archived from the original on 24 March 2021. Retrieved 19 March 2021.
28. ^ ^{a b c d} Stone (1996), p. 35
29. ^ Leppanen, Analisa (2000). "Into the house of mirrors: the carnivalesque in Las Meninas". Aurora. i. folio numbers unknown
30. ^ Snyder (1985), p. 571
31. ^ ^{a b c} Carr (2006), p. 47
32. ^ Palomino (1715/24). Quoted in: Kahr (1975), p. 225
33. ^ ^{a b} Honour & Fleming (1982), p. 449
34. ^ ^{a b} Dällenbach, Lucien (1977). Le récit spéculaire: Essai sur la mise en abyme. Paris: Seuil. p. 21. ISBN978-2-02-004556-8. Quoted in English in Stone (1996), p. 29
35. ^ ^{a b} Janson, H. W. (1977). History of Fine art: A Survey of the Major Visual Arts from the Dawn of History to the Present Twenty-four hours (second ed.). New Jersey: Prentice-Hall. p. 433. ISBN978-0-thirteen-389296-3.
36. ^ Snyder (1985), p. 547
37. ^ Gaggi (1989), p. three
38. ^ White (1969), p. 144
39. ^ Affiliate 19 of Gombrich, Ernst (1950). The Story of Art. London & New York: Phaidon Printing.
40. ^ López-Rey (1999), Vol. I, pp. 214–xvi
41. ^ Steinberg (1981), p. 52
42. ^ Clark (1960), p. 33
43. ^ Kahr (1975), p. 244
44. ^ ^{a b} Clark (1960), pp. 32–twoscore
45. ^ ^{a b} White (1969), pp. 140–41
46. ^ Steinberg (1981), p. 51
47. ^ Foucault (1966), p. 21
48. ^ Ortega y Gasset, José (1953). Velázquez. New York: Random House. p. XLVII.
49. ^ López-Rey (1999), p. 217
50. ^ López-Rey (1999), p. 217
51. ^ ^{a b c d} López-Rey (1999), pp. 216–217
52. ^ Miller (1998), pp. 78–79
53. ^ López-Rey (1999), p. 217
54. ^ Rock (1996), p. 37
55. ^ Kahr (1975), p. 240
56. ^ Gaggi (1989), p. 2
57. ^ Snyder & Cohn (1980), p. 485
58. ^ Lowrie, Joyce (1999). "Barbey D'Aurevilly's Une Folio D'Histoire: A poetics of incest". Romanic Review. 90 (2): 379–395.
59. ^ Snyder (1985), p. 559
60. ^ Snyder (1985), p. 564
61. ^ Campbell, Lorne (1998). The Fifteenth Century Netherlandish Paintings. London: National Gallery Catalogues (new serial). p. 180. ISBN978-1-85709-171-seven.
62. ^ Miller (1998), pp. 78, 12
63. ^ ^{a b} Carr (2006), p. fifty
64. ^ López-Rey (1999), Vol. Ii, p. 308
65. ^ Alpers (2005), p. 150
66. ^ Kahr (1975), p. 241
67. ^ Gresle (2007), p. 212
68. ^ ^{a b} Gresle (2007), p. 213
69. ^ Foucault (1966), pp. four–five
70. ^ Foucault (1966), p. 18
71. ^ Foucault (1966), pp. 3–4
72. ^ Miller (1998), p. 162
73. ^ López-Rey, Vol. I, p. 214
74. ^ MacLaren (1970), p. 122
75. ^ Miller (1998), p. 162
76. ^ Prado (1996), pp. 428–31
77. ^ ^{a b} Gassier (1995), pp. 69–73
78. ^ Brady (2006), p. 94
79. ^ Brady (2006), p. 97
80. ^ MacLaren (1970), pp. 52–53.
81. ^ National Gallery Archived 24 October 2007 at the Wayback Machine The painting has been cut downwardly.
82. ^ Beaujean, Dieter (2001). Velasquez. London: Konemann. p. 90. ISBN978-3-8290-5865-0.
83. ^ Gassier (1995), p. 24
84. ^ ^{a b c} Brady (2006), pp. 100–101
85. ^ Harris, E (1990). Velázquez y Gran Bretana. Seville: Symposium Internacional Velázquez. p. 127.
86. ^ ^{a b} "Picasso". Museu Picasso. Archived from the original on 14 July 2009. Retrieved 19 November 2007.
87. ^ "Picasso's meninas 1973". London: Tate Gallery. Archived from the original on 24 November 2010. Retrieved 26 December 2007.
88. ^ Parry, Eugenia; Witkin, Joel (2001). Joel-Peter Witkin. London: Phaidon. p. 66. ISBN978-0-7148-4056-7. Archived from the original on 24 March 2021. Retrieved 14 November 2015.
89. ^ Sawkins, Annemarie. "Eve Sussman'south 89 Seconds at Alcázar". Marquette University. Archived from the original on 19 Dec 2007. Retrieved 7 December 2007.
90. ^ "Forgetting Velázquez. Las Meninas". Museu Picasso of Barcelona. 2008. Archived from the original on 15 Feb 2009. Retrieved 22 October 2009.
91. ^ Utley, Gertje; Gual, Malén (2008). Olvidando a Velázquez: Las Meninas. Barcelona: Museu Picasso. ISBN978-84-9850-089-9.
92. ^ "The xiv masterpieces of the Prado museum in mega high resolution on Google Earth". Museo de Prado. Archived from the original on 1 Feb 2021. Retrieved 14 February 2021.
93. ^ Tremlett, Giles (13 January 2009). "Google brings masterpieces from Prado direct to armchair art lovers". The Guardian. Archived from the original on 21 December 2019. Retrieved 14 February 2021.

Sources [edit]

• Alpers, Svetlana (2005). The Vexations of fine art: Velázquez and others. New Haven: Yale University Press. ISBN978-0-300-10825-5.
• Brady, Xavier (2006). Velázquez and Britain. New Oasis: Yale University Press. ISBN978-1-85709-303-2.
• Carr, Dawson W. (2006). "Painting and reality: the fine art and life of Velázquez". In Carr, Dawson W.; Bray, Xavier (eds.). Velázquez. London: National Gallery. ISBN978-ane-85709-303-2.
• Clark, Kenneth (1960). Looking at Pictures. New York: Holt Rinehart and Winston. ISBN978-0-7195-0232-three.
• Foucalt, Michel (1996). The Order of Things: An Archaeology of the Human Sciences. Paris: Gallimard. ISBN978-0-679-75335-iii.
• Gaggi, Silvio (1989). Mod/Postmodern: A Study in Twentieth-century Arts and Ideas. Philadelphia: Academy of Pennsylvania Press. ISBN978-0-8122-1384-3.
• Gassier, Pierre (1995). Goya: Biographical and Critical Study. New York: Skira. ISBN978-0-7581-3747-0. Archived from the original on 27 February 2008.
• Held, Jutta; Potts, Alex (1988). "How Do the Political Effects of Pictures Come up most? The Case of Picasso'southward Guernica". Oxford Art Journal. Oxford Academy Press. xi (ane): 33–39. doi:x.1093/oxartj/11.1.33. JSTOR 1360321.
• Accolade, Hugh; Fleming, John (1982). A World History of Art. London: Macmillan. ISBN978-one-85669-451-three.
• Kahr, Madlyn Millner (June 1975). "Velazquez and Las Meninas". The Art Message. College Art Association. 57 (2): 225–246. doi:10.2307/3049372. JSTOR 3049372.
• López-Rey, José (1999). Velázquez: Catalogue Raisonné. Cologne: Taschen. ISBN978-3-8228-8277-ane.
• MacLaren, Neil (1970). The Spanish Schoolhouse, National Gallery Catalogues. Revised by Allan Braham. London: National Gallery. ISBN978-0-947645-46-5.
• Miller, Jonathan (1998). On reflection. London: National Gallery Publications Limited. ISBN978-0-300-07713-one.
• Museo del Prado (1996). Museo del Prado, Catálogo de las pinturas [Prado Museum, Catalog of paintings] (in Spanish). Madrid: Ministerio de Educación y Cultura, Madrid. ISBN978-84-7483-410-nine.
• Palomino, Antonio (1715–1724). El museo pictorico y escala optica [The pictorial museum and optical scale] (in Castilian). Vol. 2. Madrid. Retrieved 1 September 2017.
• Snyder, Joel; Cohen, Ted (Winter 1980). "Reflexions on Las Meninas: paradox lost". Critical Inquiry. The Academy of Chicago Press. vii (2): 429–447. doi:10.1086/448107. JSTOR 1343136. S2CID 161395640.
• Snyder, Joel (June 1985). "Las Meninas and the Mirror of Prices". Critical Inquiry. The University of Chicago Press. 11 (iv): 539–572. doi:10.1086/448307. JSTOR 1343417. S2CID 162111194.
• Steinberg, Leo (Winter 1981). "Valazquez' Las Meninas". October. The MIT Press. nineteen: 45–54. doi:10.2307/778659. JSTOR 778659.
• Stone, Harriet (1996). The Classical Model: Literature and Knowledge in Seventeenth-century France. Ithaca: Cornell Academy Press. ISBN978-0-8014-3212-v.
• White, Jon Manchip (1969). Diego Velázquez: Painter and Courtier. London: Hamish Hamilton Ltd. ISBN978-0-241-01624-4.
• Gresle, Yvette (6 July 2007). "Foucault's 'Las Meninas' and art-historical methods". Journal of Literary Studies. Taylor & Francis. 22 (3–4): 211–228. doi:10.1080/02564710608530401. S2CID 145488454.

Further reading [edit]

• Brooke, Xanthe. "A masterpiece in waiting: the response to 'Las Meninas' in nineteenth century Britain", in Stratton-Pruitt, Suzanne, ed. Velázquez's 'Las Meninas'. Cambridge: Cambridge Academy Press, 2003. ISBN 978-0-521-80488-2.
• Liess, Reinhard. Im Spiegel der Meninas. Velásquez über sich und Rubens. Goettingen: 5&Runipress, 2003, ISBN 978-iii-89971-101-1
• Searle, John R. "Las Meninas and the paradoxes of pictorial representation". Disquisitional Inquiry 6 (Jump 1980).

External links [edit]

• La Kabala y Las Meninas Archived 3 August 2022 at the Wayback Car (in Spanish)
• Las Meninas at the Electronic Visualization Lab at the University of Illinois at Chicago Archived 5 December 2008 at the Wayback Motorcar
• Educational audio tour of Las Meninas
• Velázquez , exhibition catalog from The Metropolitan Museum of Art, which contains fabric on Las Meninas (see index)

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Source: https://en.wikipedia.org/wiki/Las_Meninas

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