Word: velasquezes
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...number of game taken on such chases can be had from accounts left by two neighboring dukes, Electors Johann George I and II, who together killed no fewer than 228,478 animals, including more than 110,000 deer. Birkner had none of the great compositional powers of Cranach or Velasquez, both of whom painted accounts of the chase. But Casimir could not have wished for a more faithful descriptive artist. Birkner spared no blood or gore, and no detail escaped his eye. At the same time, he had a charming ability to enhance the pageantry and develop from the hunt...
THERE were drag queens mingling with society matrons, rock 'n' roll blasting through the halls where Rembrandt and Velasquez once reigned in hushed glory, and costumes ranging from fringed buckskin to China Machado chic. "Peace Now" buttons blossomed on satin evening gowns. Pamphlets denouncing David Rockefeller, Viet Nam and the art market were dispensed along with cocktails and tiny sandwiches. Outside, pickets protested the lack of black and women artists in the show. Manhattan's venerable Metropolitan Museum had never before been host to anything quite like it, a fact that was duly lamented by diehard traditionalists...
...Larry Adams went to the lead with Hydrologist and Angel Cordero, Jr. a half-length behind on the outside. Three lengths behind that pair raced Distray and John L. Rotz on the rail with Arts And Letters and Braulio Baeza a neck away on the outside. Dike and Jorge Velasquez trailed these by five lengths, as always. After six furlongs and with a half-mile to go Arts And Letters and Dike began stalking the leaders...
...Rubens scholar who assembled the show, perused the world's great treasure houses, ended by reat-tnbuting no fewer than 30 paintings and some 70 drawings to Jordaens. Among them is a princely portrait that had hung for 108 years in Scotland's Rossie Priory labeled "General Velasquez by Rubens." Another, portraying the infant Bacchus, Jaffé pulled from a musty storeroom in Warsaw's National Museum...
...tour de force. With devastating candor, he laid bare the indolence of the King, the shallow depravity of Queen Maria Luisa (whose intrigues on behalf of her lover Godoy had reduced the Bourbon court to its final debility), and the self-centered vacuity of their relations. In imitation of Velasquez' 1656 portrayal of the royal maids of honor, Las Meninas, Goya painted himself into the picture as a prim, critical observer at his easel on the left of the picture...