Philip's family 4. “We are not spectators, we are participants in the action”

Madrid

Diego Velazquez (1599-1660) is one of the greatest artists of all time.

The most amazing thing is how he even managed to prove this to his descendants.

He was the court artist of the Spanish king. Having painted countless portraits of him, as well as portraits of his family and courtiers.

As a rule, talent languishes in such conditions. After all, you need to write something that will appeal to a narrow circle of people.

Masterpieces are created differently. Much more often contrary to the tastes of others.

But Velasquez managed the impossible. And a clear confirmation of this is his main masterpiece “Las Meninas”.

“Las Meninas” – a portal to another world

The plot of Velazquez's Las Meninas is complex. But it can be deciphered.

A 5-year-old infanta (Spanish princess) came to the artist’s studio, accompanied by her retinue. She wanted to see how a portrait of her parents, the royal couple, was being created.

The complexity of the plot is that Velazquez depicted this scene in a very extraordinary way.

Half the characters are looking at us. But in fact they are looking at the king and queen, whom Velazquez draws. That's why he stands next to the canvas.

We understand that this is exactly the case thanks to the mirror behind the artist’s back.

A couple is reflected in the mirror. This is King Philip IV and his wife Marianne of Austria.

For me, this artist’s idea is obvious for one simple reason.

A red curtain is reflected in the upper right corner of the mirror. We see the same shade of red paint on the artist’s palette.

Despite the blurriness of the image, it is not difficult for us to determine that it is Philip IV and Marianne of Austria that are depicted. They have too much character traits. Just look at their other portraits.

Portraits of Diego Velazquez. Left: Marianne of Austria, Queen of Spain. 1655-1657 Thyssen-Bornemisza Museum, Madrid. Right: Philip IV, King of Spain. 1644 Frick Collection, New York

Velazquez did the unimaginable. He didn't show those who were being painted. And what those who are painted see. And they see it through our eyes. After all, we stand in their place.

In this way, the artist involves the viewer as much as possible in the space of the painting. And significantly expanding this space. Due to the fact that the world of the picture is masterfully connected with our world.

You can even express it in a fantastic way. Two worlds: the one behind the door and our world, are connected by what is happening in the picture. “Las Meninas” is a portal between two worlds.

Velazquez's incredible experiment

The question immediately arises: how did Velasquez manage to carry out such an experiment?

In the painting he depicted a Spanish princess. This, of course, was approved.

But also her retinue. Including dwarfs. No one before Velazquez was allowed such insolence.

The task of the court artist is to glorify the king and his subjects. Depict valor, courage and other qualities of His Majesty. Which might not have existed at all.

This was boring for a true master. Which Velazquez belonged to. And he tried to express himself as much as possible. And since Philip IV trusted him very much, the artist was allowed to do this.

Therefore, Velazquez managed to create a series of portraits of dwarfs who served as jesters at court. In these portraits these are not jesters, but ordinary people. The artist made no distinction between them and people from the upper classes.

Diego Velasquez. Don Sebastian de Morra. 1645 Prado Museum, Madrid.

No other artist would have gotten away with this. After all, dwarfs were essentially slaves, people without rights. They were often bought for money to serve in the master's house.

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Self-portrait of Velazquez, “sewn” into “Las Meninas”

Velasquez allowed himself one more insolence. He depicted himself next to the king's family.

Diego Velasquez. Meninas (fragment with a self-portrait). 1656 Prado Museum, Madrid

It is known that Velazquez was ambitious. Coming from a poor Jewish family, he could afford to paint himself next to the princess. For that time this was the greatest achievement.

Not a single court artist could afford this. Until Velazquez.

And after him he only did it. He could do it too. Here he is standing by the canvas behind the family of Charles IV. 150 years later.

Francisco Goya. . 1800 Prado Museum, Madrid.

A couple more details tell us that Velasquez is ambitious. At the time of painting the master was 57 years old. But he clearly portrayed himself as younger, 15 years old. Of course, to fit in with his surroundings.

We also see a red cross on his chest - this is the Order of Sant Iago, the highest award in Spain in the 17th century. But Velazquez received it after painting the picture.

It is believed that the order was completed by another artist on the orders of the king after Velazquez’s death. But I am more inclined to the version that the artist did it himself.

The shade of the cross harmonizes too much with the other red shades in the painting. Particularly goes with decorations on the dresses of the infanta and maids of honor.

Diego Velasquez. Meninas (central fragment). 1656 Prado Museum, Madrid

Who is the main character of the picture?

Who main character the pictures are immediately clear. Infanta Margherita.

It is this that Velasquez highlights with light. Or rather, lighter colors, giving us the illusion that the girl is the most illuminated.

Diego Velasquez. Meninas (fragment). 1656 Prado Museum, Madrid

It is clear that Velazquez paints her with special tenderness. Pink cheeks, lips. Blond, childishly thin hair.

We know that the artist sincerely loved the girl. She couldn't help but like it. Despite the close marriage of her parents (her mother was her father's niece), by some miracle the girl was born healthy and pretty. In addition, she was not burdensome for those around her.

The Infanta's maids of honor (meninas in Spanish) are also illuminated. They're cute too. The painting is named after them. But I don't think that's what Velazquez called the painting.

For a long time it was listed in catalogs under the name "Family of Phillip IV". Apparently, the name “Las Meninas” stuck later, with light hand one of the custodians of the painting.

In a more subdued light we see the dwarf, the infanta's nanny. She was treated favorably at court. After all, she looked after Margarita from birth. Who was at that time the only surviving child of the royal couple.

Perhaps the dwarf was given credit for this. That's why they awarded him the order. In the picture she touches it with her hand and, as it were, shows it to us.

Diego Velasquez. Fragment of the painting “Las Meninas” (dwarfs). 1656 Prado Museum, Madrid

And next to her is another dwarf child. He playfully placed his foot on the court dog. The fact is that only dwarfs could behave uninhibitedly at court. An ordinary courtier could not afford to do this, to offend the infanta’s dog.

Interesting fact. The portrait of Philip IV and Queen Marianne that Velázquez allegedly painted in “Las Meninas” did not exist in reality. Velazquez made it up.

But there is a separate portrait of Infanta Margarita in the same dress. Against the backdrop of that same red curtain. The question is, why? And now we are approaching the main mystery of the picture...

The main mystery of “Menin”

Why do the main people who influence Velazquez’s life play clearly secondary roles in the picture?

The king and queen are only reflected in the distant mirror. The marshal is standing in the very distance on the stairs, his features are barely distinguishable. Another courtier is completely in the shadows.

Diego Velasquez. Meninas (detail). 1656 Prado Museum, Madrid

On this score, I am very impressed by the hypothesis of the wonderful art critic Paola Volkova.

It's all about Velazquez's position at court. From the outside it may seem that it was enviable.

The king appointed the artist as chief bed servant. His workshop adjoined the king's chambers. And he not only painted portraits, but also monitored the order of things and the cleanliness of chamber pots.

This seems humiliating to us. But then - no. After all, people sincerely believed that the King was God’s messenger. And washing the potty after him is a privilege, not a humiliation.

Maybe Velasquez also wanted to believe in this, but subconsciously guessed his humiliating position.

And other courtiers did not favor him. Just because of his closeness to the king. Intrigues were woven against him.

“Las Meninas” is a hidden protest. And the desire to push into the background those who humiliate him.

But the infanta girl was close and sweet to him. Due to her age and character, she did not wish him harm. The dwarfs were also more sincere. And maids of honor. That's why they are in the foreground.

Philosophers and art critics are constantly arguing about the painting by Diego Velazquez. His “Las Meninas” left behind many secrets and mysteries. This painting is a world masterpiece and is located in the Prado Museum in Madrid.

Velázquez (Las Meninas) depicted the everyday setting instead of the main hall. The painter can call this picture a scene from the life of the royal family. But in those distant times, even an ordinary aristocrat could not be drawn in an everyday setting.

The meaning of the picture, its philosophical subtext fascinates the viewer. The artist surpassed his time with the complexity of his composition, technical skill and magical charm.

Diego Velasquez. Seville period

In 1599, Diego Velazquez was born into a poor noble family. Exact date birth unknown, christening day - June 6. His parents, immigrants from Portugal, settled in the Spanish city of Seville.

Velazquez's ability to draw appeared early. His father assigned him to the workshop of the famous artist F. Herrera. For nobles in those days, painting was considered humiliating. Condemned manual labor aristocracy. Herrera's harsh personality became a source of controversy. Soon Diego Velazquez found himself in another workshop - that of the artist Francisco Pacheco. His home was always open to art lovers. Velazquez eventually received the title of master of painting and married Pacheco's daughter.

A happy marriage, fame - everything indicates that Diego Velazquez was successful in Seville. The paintings he painted on everyday themes gave impetus to the development of the bodegones genre. Occasionally he painted portraits and carried out church orders.

Court painter

In the fall of 1623, Velazquez took the position of court painter in the city of Madrid. The main works of that time are portraits of the courtiers and royal family of Philip IV.

A meeting with the artist Rubens prompted Velazquez to travel to Italy. The king, taking into account the merits of the painter, soon appointed him marshal. During that period great attention Velazquez paid attention to children's portraits. “Las Meninas” is one of the most famous paintings of that time. Subsequently, the king awarded the painter the highest distinction - the Knightly Order of Santiago.

Velázquez's last known painting was a portrait of Louis XIV, painted in honor of his marriage to the Spanish Infanta. A few hours after painting the painting, Velazquez died.

Diego Velasquez. Paintings

The artist painted paintings of various genres - portraits, landscapes, everyday and historical sketches.

His life in Seville was replete with genre scenes from folk life. Such paintings as “The Old Cook” and “The Water Seller” are very famous; religious paintings - “Christ in the House of Martha”, “Immaculate Conception”, “Adoration of the Magi”.

The Madrid period is characterized by its ceremonial portraits (of the first minister Olivares, the king and members of his family). A portrait of Pope Innocent X was painted in Italy. At the same time, “Venus with a Mirror” was created. The Spanish Inquisition harshly condemned the image of a naked body. But Philip IV's approval of this painting allowed Velazquez to avoid the wrath of the church.

“Venus with a Mirror” was written under the impression of Venetian painting. The artist visited Italy twice during his life. The prototype for his Venus was the paintings of Rubens (“Venus in front of a mirror”) and Giorgione (“Sleeping Venus”). There is a version that Velazquez’s painting depicts the artist’s beloved woman, Flaminia, and their common son. Debt to his wife and a stable job in Spain did not allow him to stay with his chosen one. However, in the painting “The Spinner” one can notice the resemblance of the girl sitting with her back to Venus.

Velazquez "Las Meninas" Description of the picture

The canvas was painted in 1656-1657. It is still in Madrid, in the Prado Museum. The painting depicts Infanta Margarita and her meninas (maids of honor). In the background, King Philip IV and Marianne of Austria, the parents of the Infanta, are reflected in the mirror. Court ladies and gentlemen, dwarfs, a dog and the artist himself - a small scene from palace life is depicted on the canvas.

The painting “Las Meninas” by Velazquez left behind many mysteries. The king and queen are presented together. However, according to etiquette, they were always drawn separately.

The size of the canvas the artist is working on is too large for portraiture. What kind of picture did Velazquez hide in “Las Meninas”?

The images of the floor, walls, and ceiling with their rigid geometry take up too much space and seem out of place. Why did the artist pay so much attention to the gloomy shadows behind the Infanta and her entourage?

Five-year-old Margarita seems too lonely in this huge room. Her childhood is spent observing strict Spanish etiquette, where laughter and smiling are prohibited.

Critics and artists of that time were surprised at how realistic the painting was. In those days it was customary to smooth out the images somewhat, to make the background more charming. Thus, Giorgione’s “Sleeping Venus” is an idealized female image. While Velazquez is pragmatic and realistic in his portraiture.

The mystery of the painting

Diego Velazquez wrote “Las Meninas” at a time when Margarita was the only heir of the king. This was not approved by Spanish laws - only an infante could inherit the throne.

A year after the painting was painted, Philip IV had a son and heir. “Las Meninas” have become dangerous. Apparently, the figure of Velazquez himself was painted later and covered another hero of the canvas.

An X-ray of the painting in 1965 revealed the presence of another character, who subsequently had to be painted over.

According to one version, the artist was not on the canvas, but a page. He handed the infanta a symbol of power - the royal staff, thereby hinting at her inheritance of the Spanish throne.

Therefore, after the birth of a male heir, the painting had to be destroyed. The artist, by changing the characters, saved her life. Instead of a page with a staff, he depicted himself.

Self-portrait of the artist

Often in paintings, among the characters, artists depicted themselves in the background or in the corner. It's akin to a master's signature. Velazquez did the same in his canvas. “Las Meninas” is the most authentic portrait of the painter. However, the Order of Santiago on his chest has not yet been received, so why is it present in the picture? Perhaps it was painted later, when membership in the knightly order was legalized?

There is a version that the order was written after the death of Velazquez. Perhaps by order of the king. But the order is written so accurately in the manner of Velazquez that there is no doubt about its authorship.

Maybe it’s not the artist depicted in the painting? Because painting an order on the chest when it has not been received is a serious offense for a court painter. And the Knightly Order of Santiago is too serious an organization. So who is on the canvas - the artist himself or another person? Art historians argue to this day about the painting of this painting. Will they be able to discover the truth?

The fate of Margarita

The life of Infanta Margarita was short-lived. She married the Holy Roman Emperor Leopold I. This happened in 1666. She was 14 years old, Leopold was 26.

According to contemporaries, it was a happy marriage. The husband and wife had common interests in art and music. Margarita gave birth to six children during 6 years of marriage. But only one girl survived - Maria Antonia.

Margarita died when she was 21 years old. Her burial place is in Austria.

Conclusion

The painting received its name in the 19th century. Previously, when describing Velazquez’s works, it was called “ The Royal Family"or "The Family of Philip VI".

Velazquez emphasized the beauty of the infanta in his painting. Las Meninas creates a sharp contrast between Margarita's radiance and her surroundings. The deep philosophical content of the painting and its secret meaning leave many mysteries.

Pablo Picasso based on the painting wrote 58 variations in his unique style. He proposed a new interpretation of Velazquez's painting. Each character carries a double meaning - good and evil. The heroes personify the two opposites of the world - life and death.

The subject of the painting: Diego once painted a portrait of the Spanish King Philip IV with the Queen in the Cuarto Bajo del Principe gallery
royal palace, the restless little infanta, impatiently waiting for her parents, burst into the room, surrounded
retinue, and began to observe his work.

Diego Velazquez Meninas (Maids of Honor), 1656 Prado Museum, Madrid

In the picture from left to right without taking into account perspective:

Diego Velazquez - artist
Doña Maria Sarmiento - maid of honor
Philip IV and his wife Marianne - King and Queen of Spain (in the mirror)
Margaret Teresa of Spain - Infanta
Jose Nieto Velazquez - Marshal (in the aisle in the background)
Doña Isabella de Velasco - maid of honor
Doña Marcela de Ulloa - nun
Dog
Guardadamas - a courtier obliged to accompany the infanta everywhere
Maria Barbola and Nicholas Pertusato - dwarf jesters

Until 1965, this painting was considered an image happy life royal family.

But in 1965 x-rays under the figure of the artist another figure was discovered, and no one knew why this
the person ended up there and why they changed him.
The undeniable interpretation belongs to Manuela Mena, curator of the Prado Museum, who studied the painting inside and out. Her
recorded and published by Jonathan Littell.

So, initially, where Velazquez is now, there was a page in an Italian suit who held out an object to the infanta,
similar to a wand, or rather a marshal's baton. Even in a good photograph, the infanta is visible right above the right sleeve
the girl's disguised fingers reaching out to take the rod.
But could a woman touch the commander-in-chief's staff? This was completely unacceptable!

However, this was precisely the original purpose of the painting: to help the unacceptable become acceptable.
In 1656, when the painting was painted, King Philip had no heirs. His son died, there was a dangerous war with
France. And then the king decided to make Margarita heir to the throne. It was very difficult and politically risky
choice. The king went to Velasex and gave him a task - he needed a picture that would show everyone that they were obliged
accept the king's decision, and that this is in the order of things.

Velazquez thought for a long time and created this painting. Everything that is written on it is written for one purpose: to make it clear that this
the girl everyone thought was a hooligan and crazy will be the next queen of Spain, and there's nothing wrong with that
scary, nothing at all.
In the picture, the mirror radiates royal power, and the whole room is bathed in the rays of its reflection. The king's daughter in a pose,
designed to demonstrate self-control, accepts symbols of power in front of the audience, looking on quietly,
calm, happy. Even the dog is so unconcerned about this turning point that he fell asleep, and the dwarf playfully
nudges her with his foot, trying to wake her up and make her look.

A year after the painting was painted, the king had a son. Velazquez's canvas immediately not only became outdated, but became
dangerous! Velazquez could not come to terms with the fact that he should be destroyed. He asked the king for permission to change
canvas. The painting sat facing the wall in his studio until he came up with a solution. And this solution can be
See details in the Prado Museum. The page with the symbol of power has disappeared, in his place stands an artist with a red cross of the Order
Santiago", received only three years later, after painting the first version of the canvas, the brush hovered over the palette.
He is about to begin writing this wonderful fiction called "Portrait of the Family of Phillip IV", later called
"Las Meninas", or rather, is about to begin to include itself in the picture, which was supposed to transform the outdated dynastic
portrait in a brilliant fun game.

Infanta Margherita

Analysis of paintings from the 15th – 19th centuries. Diego Rodriguez de Silva y Velazquez, "Las Meninas"

Plan
Maintaining

2. General painting of Diego Velazquez.
3. Determination of the main features of the work “Las Meninas”. The plot of the picture, genre affiliation. Construction of the picture space. Features of the composition. Features of the light structure of the picture. Features of the color structure of the painting. The final characteristics of the artistic and figurative structure, semantic and content originality of this work art.
Conclusion

Introduction
Paintings by famous artists allow us to immerse ourselves in the past, to understand how life was built, how people lived and looked many centuries ago. Moreover, we see the world through the eyes of a person of that time, which helps us immerse ourselves in the realities of ancient times. In many ways, we know history thanks to paintings, because every element of a painting tells us a lot. We peer into faces, study interior details, costumes and try to understand what these people were thinking. But not only the plot of the picture helps us understand the essence of a long-gone era.

What the picture is drawn on, what the artist used, the choice of colors, perspective, play of light and shadow speaks volumes, often more than the plot. After all, the character of the picture and the character of the era reflect the character of the painter, his mood, his attitude to life. This means that an attentive viewer will feel and understand the essence of the time when the picture was painted. And then the result of your observations can be compared with your own ideas about that time. And the picture that we get can amaze the imagination. After all, often our ideas about the world have nothing to do with reality.

And now I want to go to 17th century Spain. To the land of red Spanish wine, brutal bullfights, passionate flamenco. And our guide will be the great Diego Rodriguez de Silva y Velazquez. Velazquez. Court artist of the Spanish court.

It is impossible to talk about the artist’s work in isolation from the era, from the way of life of that time, forgetting about the politics and economy of the country, from everything that influenced people’s worldview.

Main part
1. general characteristics Spanish painting of the 17th century.
The 17th century is rightfully considered the golden age of Spanish painting. It was this time that gave birth to many wonderful names: El Greco, Pedro Antonio Vidal, Rodrigo de Villandrando, Jusepe Ribera, Jeronimo Jacinto de Espinosa, Nicholas de Villacis, Juan de Toledo and dozens of others. The painting of the Spanish Golden Age, the Baroque era, became the period of the highest flowering of Spanish fine art. Researcher of Spanish art Tatyana Kaptereva notes the following characteristic features of painting of this period:
- the predominance of acute observation of nature over artistic imagination
- concentration of attention on a person, to the exclusion of other layers of perception of reality (this led to weak development of the landscape and a peculiar, extra-plot development of the everyday genre).
Many artists and painting schools allow us to clearly trace the general trends of Spanish painting of this historical period. One can especially highlight the Madrid school of Spanish painting, of which Velázquez was a representative. And without flattery or servility we can call him the king of the “Golden Age of Spanish Painting.”

2. General characteristics of the painting of Diego Velazquez.
Diego Rodríguez de Silva y Velázquez (Spanish: Diego Rodríguez de Silva y Velázquez) is a Spanish artist, the greatest representative of the golden age of Spanish painting. He was born at the turn of the century, in 1599, in Seville. Diego discovered his talent as a painter quite early, and at 10 he was assigned to study in the studio of the famous Seville artist Francisco Herrera the Elder. But soon their paths diverged and he apprenticed with the artist Francisco Pacheco for six years, starting in December. Pacheco, man wider culture and multilaterally educated, the author of a treatise on the art of painting, a faithful follower of Raphael and Michelangelo, and who himself made excellent portraits in pencil, was his own man in the intellectual circle of Seville and among the clergy, since he held the position of censor and expert on church painting at the Holy Inquisition in Seville. The Academia Sevillana school of painting reflected an academic, official view of the presentation of religious subjects and images. It was in this school that young Velázquez received his first technical training and aesthetic skills, where he also became friends with the future sculptor and painter Alonso Cano and the famous Spanish painter Francisco de Zurbaran. And a few years later he became related to his teacher, marrying his daughter. This was an excellent help for the young talented artist and gave a start to his career.

The author’s first paintings showed that the world had found a brilliant master of the brush. The play of light on foreground figures, emphasizing surfaces and textures in the painting “Breakfast”, the painting “The Water Carrier”, famous for its visual effects. Also, Velascas’s paintings are distinguished by emphasized realism in the depiction of objects and accurate rendering of natural features, enhanced by the contrasting lighting of foreground figures and the density of writing. All works are made using a dark, often conventional background, devoid of depth, which leaves a feeling of airlessness, in a laconic and expressive manner. With all this, it should be noted that there is no doubt about the vitality and authenticity of the images and scenes depicted. But already at the age of 20, Velazquez realized that the standard writing style and plot for that time were far from his aspirations. The first sign was the painting “Christ in the House of Mary and Martha.” And the painting “Water Seller from Seville” is filled with subtle eroticism, subtle, but bold for that time. And thanks to the talent and patronage of Pacheco and Count Gaspar de Guzman Olivares, Velazquez became a court painter at the court of the Spanish King Philip IV. Long years he painted portraits of courtiers, high officials, church dignitaries and even the Pope. He was the first to elevate portraiture to the genre of representative art, presenting favorably those depicted on the canvas. But despite the fact that Velazquez served as a court painter for almost 40 years, he found his way in art, showed the world the beauty of nature and at the same time became the first Spanish artist to depict a nude female figure in the painting “Venus with a Mirror.” And at the same time, there is not the slightest vulgarity or rudeness in the picture, there is no vulgarity. This is truly art, great and unsurpassed.

3. Determination of the main features of the work “Las Meninas”. The plot of the picture, genre affiliation. Construction of the picture space. Features of the composition. Features of the light structure of the picture. Features of the color structure of the painting. The final characteristics of the artistic and figurative structure, semantic and content originality of a given work of art.

The king and queen are not visible. They are supposed to be outside the picture, in front of it. This is indicated by their vague reflection in the mirror in the back of the room. But in the foreground of the picture everything that appears to the eyes of those posing is captured. An artist with a brush and palette peers at his models, looking out from behind his easel. Next to him, in the middle of the room, stands the tiny Infanta Margherita, who was brought in to entertain the royal couple during the tedious sessions. Bent over her attentively are two state ladies, in Spanish meninas, who gave the name to the whole picture. The one who gives the infanta the vessel was called Dona Maria Sarmiento, the other was Isabella de Velasco. Behind Isabella, from the twilight, comes a woman in monastic attire, Dona Marcela de Ulloa, and the guardadamas - a court rank obliged to accompany the infanta everywhere. The favorite pastimes of the Spanish court have not been forgotten: the tiny dwarf Nicolasito Pertusato kicks the calmly dozing huge dog. The ugly dwarf Maria Barbola stands sedately nearby. The action takes place in the spacious chamber of the royal palace, reserved for the artist as a workshop. Quite in the distance the figure of the Marshal Don José Nieto can be seen. Throwing back the heavy curtain, he looks through the door, and a stream of sunlight pours into the dim hall. This work by Velazquez has long been included in the pantheon of world masterpieces and has become so familiar to our eyes that we hardly notice any violations of all the rules in it. group portraits. Meanwhile, this canvas is notable for the fact that it captures everything that was not usually shown: it depicts the behind-the-scenes side of court life. Velazquez usually painted his portraits against a dark, neutral background. In the equestrian portraits of Philip and Anna, the landscape served as the background, but the spreading trees against the background of these portraits look just like conventional backstage, scenery. In the portrait of "Las Meninas" the background is not conventional scenery, but what is behind the scenes, something that was not noticed; at the same time, the background became the main subject of the artist’s attention, captured the entire canvas and, as it were, displaced the main characters beyond its boundaries.

Lifting the curtain over the reverse side of the royal court, Velazquez strictly observes the rules of courtliness, everything looks decorous and even solemn. It was not for nothing that the king did not find anything reprehensible in the painting, and it took its place among the other picturesque treasures of the palace. Meanwhile, it is built on a complex casuistry of the elements of “exaltation” and “reduction”, and only their extreme confusion saved the master from the troubles that the shuffling of figures in “The Night Watch” had recently caused Rembrandt.
When describing the place of the royal couple in the picture, one has to resort to contradictory definitions. On the one hand, it is not Philip and Anna that are shown, but only what is behind them; on the other hand, they are exalted by the fact that the whole picture and even the artist himself serve as objects of their perception; their perception is affirmed as subjective, since both the artist who painted the real picture and the viewer looking at it can take the point of view of the royal couple as mere mortals. The invisibility of the royal couple may mean that they are incommensurate with the small world of the painting; on the other hand, she loses this incommensurability, turning into a dull reflection in the mirror.
The same complex casuistry of “exaltation” and “degradation” underlies the image of the little infanta. In "Las Meninas" she holds the second most important place. It has been suggested that she is the main actor. Velazquez worked a lot on the image of infantas, pale, sickly girls, pulled into hose, in unchildish, prim poses. Portraits of growing children were sent to the king's relatives; the former imperial collections of the Vienna Museum contain several copies. Only the consonance of colorful spots, delicate as a fresh field bouquet, enlivened this scheme, legitimized by tradition. Velazquez did not dare to break it in “Las Meninas”. The infanta doll is the most frozen figure in the whole picture. At the same time, her impassivity serves as a sign of her highest dignity. However, thanks to the finely balanced composition, the little infanta is placed in a somewhat unusual position. It would seem that all conventions and customs are observed here too. The Infanta serves as the center of attention for all the characters and occupies a central position in the picture. Her head falls strictly in the middle of the huge canvas, at a promising vanishing point, and all this makes her figure stand out from her motley retinue. However, this provision requires reservations and amendments. The canvas placed forward cuts off a narrow strip of the painting on the left. Actually, the picture should be considered a span occupied by figures, and within its boundaries the central place belongs not to the Infanta, but to the figure of the marshal stopped at the door. He appears in such a sharp silhouette against the light background of the door that the viewer’s eye, bypassing the foreground figures, involuntarily tends to him. This does not mean, of course, that the predominant role of the infanta is completely destroyed, but it makes her predominance half fictitious. An unprejudiced viewer does not immediately notice its central position. No wonder the picture was named after the minor characters - Menin.

At the same time, in “Las Meninas” another technique is used that deprives the image of the infanta of its regal aura. The whole picture is built on paired oppositions. This is reflected in the two bowed meninas, the correspondence of the mirror and the door and the two mythological paintings on the back wall. Among these correspondences, the strange similarity between the little infanta and the dwarf Barbola strikes the eye. The same meaningless look, the same funny sedateness, almost the same outfit. The ugly Barbola is like a parody of the pretty, almost unearthly image of the blond, blue-eyed infanta. It is very possible that direct parody was not the artist’s intention. In portraits of that era, pugs and bulldogs, with their ugliness, only set off the human goodness of their owners. At the same time, the inclusion of dwarfs in a group portrait not only immortalizes them on an equal basis with the highest persons, but also brings these persons down from their pedestal.
The painting “Las Meninas” is so remarkable, it so rises above the average level of group portraits of the 17th century that it gives perhaps a more complete picture of Velázquez’s worldview than many of his other works. Man in Velazquez's painting is more closely associated with environment, is more susceptible to the action of external forces, reveals a greater richness of relationships with the outside world. We can say that not only the king, but also man in general is not the main character in “Las Meninas”, as he was in classical art. It all depends on the point of view. There is the point of view of Philip and Anna, there is the point of view of the artist, there is the point of view of the viewer. The whole forms a system of worlds interpenetrating each other, or, in the words of the philosophy of the 17th-18th centuries, monads. Each has its own validity. From each point of view the meaning of the whole changes.

In "Las Meninas" the decay became even more acute. The royal couple is replaced by its reflection in the mirror, so its real basis can fall away and be taken out of the picture frame.

But the mirror in Lass Meninas has another meaning. It falls strictly in the middle of the picture, next to the open door through which a bright Sunbeam. Two light spots on a dim wall: an open door leads into the distance, beyond the twilight hall, the mirror catches a reflection from the world in front of the canvas. The picture turns out to be a place where two spheres intersect. Perhaps the mirror motif was inspired by Velazquez from the Netherlanders, who were highly valued in Spain. It is not for nothing that van Eyck, back in the 15th century, captured his reflection in a round mirror on the wall in a portrait of the Arnolfini couple. But Van Eyck's mirror does not expand space. Reflecting the figure of the artist, it only introduces him to the peaceful comfort of a burgher’s house, as is hinted at by the inscription: “I was here.”

So, in relation to space, Velazquez’s painting forms the intersection of two spheres. In terms of action, it connects several plot nodes. In the foreground, the artist paints a portrait, the infanta is serving the meninas, and the dwarf is frolicking. In the distance, the marshal, climbing the stairs, throws back the curtain and looks indifferently into the open door. Among the Dutch, and especially Pieter de Hooch, such figures of “outsiders” are often encountered. But in quiet burgher interiors, where a person becomes a staff, all action freezes, and this motive loses its sharpness. On the contrary, in “Las Meninas” the collision of two plans contains something of the multifaceted nature of the new European novel. The appearance of the marshal is so unexpected, he looks so naturally through the open door, as if calling us to leave the darkened chambers of the palace, that we, like the reader of a novel, carried away by the second plot line and forgetting about the main character, are ready not to notice the infanta and her retinue.

In classical art, the frame closes the picture, just as the prologue and epilogue close the poem. In Velazquez, on the contrary, the frame serves as just a random span, on the sides of which and in front of which there is reality. Depicting how portraits are painted (in particular, the Evangelist Luke - the Madonna), the old masters prove their veracity by comparing the original and the image. Limiting himself only to the process of painting a picture, Velazquez, in essence, shows neither the original nor the image. Looking at how Velazquez paints the portrait of Philip in the picture, we can guess that the Velazquez who paints Philip was painted by the real Velazquez. We seem to ascend to an ever higher degree of reality, but never reach the absolute. The painting “Las Meninas” can be called a portrait about a portrait, a painting about a painting: the span of the door, the mirror, the paintings on the wall and the painting itself - all these are stages of incorporating the image into frames, stages of pictorial embodiment.

The picture takes us into measurable space, into the realm of the golden ratio. The regular rectangles of paintings and windows are reminiscent of the carpets of Leonardo's Last Supper. Only Velazquez's composition is not based on symmetry, but rather on the balance of figures and architectural forms.

You need to look closely at their relationships. We see that the mirror and the door in the back of the room are located strictly in the middle, as if on the sides of the main axis of the composition, directly above the figure of the infanta. We further notice that the paintings above them deviate slightly to the left from this axis, so that they appear directly above the mirror with the reflection of the royal couple. Moreover, both of these pictures are built according to the golden ratio and are so harmonious that this second tectonic system lies on top of the first and includes geometric shapes in the relationship of figures.

But if vertical axes compositions are somewhat shifted and therefore dynamic, then the horizontal divisions differ more calm character. First of all, the entire painting, like one of Velazquez’s two landscapes “Villa Medici,” is divided into two equal parts, with the border between them being a narrow strip of wall between the paintings of the top row and the door. The lower half of the picture is occupied by figures.

The top one is free, more airy and light. This solution alone is as clear and simple as it could only be in Poussin (new proof that Velázquez’s significance lies not in colorism alone). But besides this, it turns out that each half of the picture is divided into two parts; the boundary of this division at the top is the ceiling line, at the bottom - the floor line, and both divisions quite accurately obey the law of the golden ratio. True, this pattern can only be established through measurements, which every viewer is not required to make. But it can be argued that anyone who perceives the picture with an unbiased eye unconsciously feels the harmony of its proportions. If you close the narrow strip at the top of the picture and turn it into a square, you can see how important these relationships are. The arrangement of the figures will remain unchanged, but the picture will lose its lightness and airiness.

We do not know exactly how consciously Velazquez applied all these forms. We do not know the sketches for the painting. It is not incredible that random visual impressions, reflected in quick sketches, also played a role in her creative history. However, in the form in which these impressions are combined, they form a harmonious and complete image, in which all parts are mutually conditioned, and the whole is distinguished by its versatility and depth.

Conclusion
It so happened that a randomly seen scene from ordinary palace life became the bible of painting. A picture that does not immediately catch your eye, but which will never be forgotten. Light, airy, delightfully simple and at the same time incredibly complex, exactly corresponding to the canons of painting. A painting that can be considered the crowning achievement of the king of the Golden Age of Spanish painting.

Bibliography

In the center of the picture is the Infanta Margarita Teresa.

In the center of the picture is Infanta Margarita Teresa, who 10 years after writing “Las Meninas” will be proclaimed empress, wife of Leopold 1, Holy Roman Emperor, King of the Czech Republic and Hungary. Her reign lasted from 1666 to 1673, and Margaret died at the age of only 21. Although she was depicted in many portraits, "Las Meninas" is the most famous painting.

Doña Maria Agustina de Sarmiento Sotomayor.

Traditionally, portraits depict a person “isolated” from the rest of the world. In this case, the maids who constantly surrounded the young princess are also depicted. "Las Meninas" is everyday life at the Spanish court.

King Philip IV of Spain and his wife Marianne of Austria.

Above the princess's head it is easy to notice a painting in a dark wooden frame depicting two people. These are Margatita's father and mother, King Philip IV of Spain and his wife Marianne of Austria.

Velazquez was the king's court painter.

Despite the fact that Velazquez was the king's court artist, it was a very bold step to paint himself in Las Meninas. On the left, the artist himself is depicted with a brush in his hand.

Unknown at the door.

In the center of the painting are the king, queen, princess, and artist. To the left of the princess (giving her a vessel with a drink) is the princess's maid of honor, Doña Maria Agustina de Sarmiento Sotomayor, and to the right (in a curtsy) is Doña Isabel de Velasco. Above her right shoulder can be seen the princess's mentor, Doña Marcela de Ulloa, and the unknown guardadamas who was obliged to accompany the infanta everywhere (his name was lost to history, but some modern scholars believe it could have been Diego Ruiz de Azcona). On the right are the permanent members of Margarita's retinue - the dwarf Maria Barbola, the dwarf Nicholas Pertusato and the princess's favorite mastiff (his name is also unknown).

Within 10 years, Infanta Margarita Teresa will become empress, wife of Leopold 1st Holy Roman Emperor, King of the Czech Republic and Hungary.

Some scientists believe that the images of the king and queen, who seem to appear in the background, are actually displayed in the mirror, and the infanta’s parents watched the process of painting. Another theory claims that the royal couple are not in Velazquez’s field of vision, so he could not purposefully paint them, but in fact the princess and the artist are looking into a large mirror, the reflection in which allowed Margarita to be captured in one of the everyday moments.

7. "Las Meninas" - the view of the royal couple

The Infanta's favorite mastiff.

It is not known whether this really happened, but Velazquez depicted the picture as it would have looked from the perspective of the king and queen.

Philip IV.

Philip IV hung Las Meninas in his personal account, where I saw this picture every day.

Knight of the Order of Sant Iago.

The king paid tribute to the talented artist after his death. In 1660, almost a year after his death, Velazquez was awarded the title of Knight of the Order of Sant Iago. In the picture, the symbolism of this order is depicted on his chest, but the history of its appearance is unusual (initially this symbol was not there). This symbol appeared posthumously by order of the king. Some historians even claim that Leopold 1 painted the symbol of the order with his own hand.

Dwarf Maria Barbola, dwarf Nicholas Pertusato.

"Las Meninas" are simply huge - their size is approximately 3.20 x 2.74 meters.

11. "Las Meninas" were given to the museum by the king

The mentor of the princess, Doña Marcela de Ulloa, and the unknown guardadamas.

The Prado Museum in Madrid opened in 1819 to "show the world the importance and glory of the art of the Spanish people." "Las Meninas" are one of the most famous works in the museum collection.

Dona Isabel de Velasco.

For the first time in the Prado Museum, the painting is mentioned under the name "Las Meninas" in the 1843 catalog. In 1666, during an inventory, the painting was called "Portrait of the Empress with her ladies-in-waiting and dwarfs." Then, after a fire in 1734, it was called "The King's Family".

13. "Las Meninas" made Velazquez famous 150 years after his death

Meninas, imitation of Pablo Picasso.

The investment in the Prado paid off and made Spanish art popular in Europe in the 19th century. It was thanks to "Las Meninas" that Velazquez became famous outside the Spanish royal court, among the general public. Velázquez subsequently became an inspiration for a new generation of artists, including the French realist painter Gustave Courbet, Édouard Manet, and the American founder of tonalism, James Abbott Whistler.

Las Meninas by James Abbott Whistler.

At Kingston Lacy Mansion in Dorset there is a smaller version of the painting which has almost the same aura of mystery as the famous painting. It is unknown who wrote this line and when it was done. Some scholars argue that the painting in Dorset is by Velazquez himself. Others argue that the painting was most likely later copied by an unknown artist.