Word: squez
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Dates: during 1950-1959
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American Romance. Wyeth is limited. Compared with such a robust realist as Velásquez, he seems hardly to believe in reality. Compared with such a profound explorer-in-imagination as Pieter Brueghel, he sits by the stove cozily sketching. In context, his art has eminence. But the context is a shallow sea, shored by the book illustrations of his father, N. C. (for Newell Convers) Wyeth, and bounded at the horizon by the craggy islands of Thomas Eakins and Winslow Homer...
...Fine Arts. It is Peter Paul Rubens' 10|½-in.-by-15-in. oil sketch for his Pallas and Arachne. The finished painting is long lost, and presumably destroyed-but still to be seen in a copy made three centuries ago by the Spanish painter Velàsquez...
...Diego Rodriguez de Silva y Velàsquez, court painter to Spain's proud Philip IV, was finishing a portrait of the King's daughter, the blonde, five-year-old Infanta Margarita. Around the demure princess bustled two noble maids of honor and two attendant dwarfs (one got, as a special favor, a pound of snow for each summer-day's work). A mastiff dozed on the floor, and in a mirror, Velàsquez occasionally caught sight of the King and Queen stopping to see how the sittings were progressing. Seized by new inspiration...
...rich in. family detail and warmth was the painting that it became a royal favorite for two generations; it now hangs in Madrid's Prado. Scholars have long since identified the room Velàsquez pictured as one in Madrid's Alcazar. They recognized the painting hanging below the ceiling in the left background as the Pallas and Arachne originally ordered by Philip IV from Rubens in 1636 for the Torre de la Parada, the royal hunting lodge near Madrid...
...Raphael's, the fact that he presented his themes in modern dress was enough to outrage viewers brought up on neoclassicism and romantic literary allusions. Manet discovered his clue to portraiture, and his fresh, vigorous palette, in the paintings of the 17th century painter Velásquez. In The Fifer, Manet even used the same greyish background Velásquez employed. Claude Monet, on the other hand, made his own discovery, that light acting and reacting over objects is all that the eye knows of them, and that color in shadows, far from being black, often strikes...