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Diego Velázquez

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Diego Velázquez

Self portrait of Diego Velázquez, 45 x 38 cm.
Birth nameDiego Rodríguez de Silva y Velázquez
BornJune 6, 1599(1599-06-06)
Seville, Spain
DiedAugust 6, 1660 (aged 61)
Madrid, Spain
NationalitySpanish
FieldPainting
WorksLas Meninas (1656),
La Venus del espejo (Rokeby Venus) (1644-1648)
La Rendición de Breda, (The Surrender of Breda) (1634-1635)

Diego Velázquez (June 1599 - 6 August 1660) ek Spanish painter rahaa, jon ki Spain ke raja Philip IV ke khaas artist rahaa.

Uu Baroque period ke artist rahaa aur portrait artist ke khatir mashuur rahaa. Uu dher painting me itihaas aur saskriti ke dekhais rahaa aur Spanish royality aur duusra European log ke bhi paint karis rahaa jiske lae ke uu aapan materpiece, Las Meninas (1656) ke banais rahaa.

Nineteenth century ke pahila quarter se Velázquez ke artwork realist aur impressionist painters, khaas kar ke Édouard Manet ke khatir ek model rahaa. Uu time se aadhmic artist, jisme Spain ke Pablo Picasso aur Salvador Dalí bhi hae, aur Anglo-Irish painter Francis Bacon, uske painting ke taarif karin hae.

Diego Velázquez ke bahut karraa jindagi rahaa. Uske saadi bhaes jab ki uu khaali atharah saal ke rahaa. Uske lage dui larrki rahaa. Uu 61 saal ke umar me maraa dher painting kare ke baad.

Jawani ke din

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Velázquez ke janam Seville, Andalusia, Spain me bhais rahaa, au uu Juan Rodríguez de Silva aur Jerónima Velázquez ke pahila larka rahaa. Uske June 6, 1599 ke church of St Peter, Seville me, baptise karaa gais rahaa. Ii christening baby ke paidea hoe ke kuchh din baad me bhais rahaa. Velázquez ke paternal grandparents, Diego da Silva aur Maria Rodrigues, Seville me Porto, Portugal se dher din pahile aain rahaa. Duuno Juan Rodríguez de Silva aur uske aurat ke janam Seville me bhais rahaa, aur uu logan ke saadi church of St Peter me, 28 December 1597 me bhais rahaa.

Velázquez ke ii parhawa gais rahaa ki uu [bhagwaan]] se dare , aur uske office waala kaam kare ke khatir uske bhasa aur philosophy me parrhai karawa gais rahaa. Uu chhote me art ke khatir talent dekhais aur yahii kaaran se Francisco de Herrera, jon ki ek paijnter rahaa, ke nich parhai suruu karis. Velázquez uske saathe ek saal talak rahaa , jahan pe uu lamba brush se paint kare ke sikhis.

Jab uu 12 saal ke rahaa tab uu Herrera ke studio ke chhor ke Francisco Pacheco, Seville ke ek artist aur teacher, ke niche apprentice ban gais. Velázquez, Pacheco ke school me paanch saal talak rahaa, jahan pe uu proportion aur perspective sikhis aur Seville ke literary aur artistic circles me pariwartan dekhis.

Jab ki uu ek dull aur undistinguished chitrkaar rahaa, Pacheco kabhi-kabhi ek sahaj, direct realism express karis rahaa, lekin uske kaam khaas kar ke Mannerist rahaa.[1] Ek sikchhak ke ruup me, uu dher parrha rahaa aur aapan students ke protsaan diis rahaa ki uu logan intellectually develop hoe. Pacheco ke school me, Velázquez classics parrhis rahaa, uske proportion aur perspective me train karaa gais rahaa, aur ke dekhis rahaa trends in the literary and artistic circles of Seville.[2]

Vieja friendo huevos (1618). National Gallery of Scotland, Edinburgh.

23 April 1618 me, Velázquez Juana Pacheco (1 June 1602 – 10 August 1660), uske teacher ke larrki, se saadi karis rahaa. Barraa, Francisca de Silva Velázquez y Pacheco (1619–1658), painter Juan Bautista Martínez del Mazo se saadi Church of Santiago Madrid me, 21 August 1633, me karis rahaa. Chhotaa, Ignacia de Silva Velázquez y Pacheco, jiske janam 1621 me bhais rahaa, chhote me mar gais rahaa.

Velázquez ke pahila kaam me hae bodegones (kitchen scenes with prominent still-lifes). Uu pahila Spanish artist rahaa jon aisan scence ke paint karis rahaa, aur uske Old Woman Frying Eggs (1618) ii jawaan chitrkaar ke unusual skill in realistic depiction ke dekhae hae.[3] Uske kaam ke realism aur dramatic lighting saait Caravaggio ke kaam se influence bhae hoi—Veláz jiske Velaquez saait second-hand dekhe hoi, copies—and by the polychrome sculpture in Sevillian churches me se.[4] Uske dui bodegones, Kitchen Scene with Christ in the House of Martha (1618) aur Kitchen Scene with Christ at Emmaus (c. 1618), ke background me religious scenes rahaa, jiske uu rakam se paint karaa gais rahaa jon ambiguity create kare hae ki religious scene diwaal pe painting hae, ek representation of the thoughts of the kitchen maid in the foreground, nai to ek aslii incident jiske khirrki se dekha jaawe hae.[5][6] The Virgin of the Immaculate Conception (1618–19) ek formula follow kare hae jiske Pacheco kaam me laais rahaa, lekin idealized facial type and smoothly finished surfaces of his teacher ke ek local girl se replace kare he, aur dher rakam ke brushwork se.[7] Uske aur dharmik kaam me hae The Adoration of the Magi (1619) aur Saint John the Evangelist on the Island of Patmos (1618–19), duuno uske pointed aur careful realism ke dekhae hae.

Ii jamaana ke ke aur chitr hae Sor Jerónima de la Fuente (1620) ke chhaapa—Velázquez's ke pahila full-length portrait[8]—aur genre painting The Waterseller of Seville (1618–1622), jiske "the peak of Velázquez's bodegones" bataawa gais hae aur jiske uske virtuoso rendering of volumes and textures as well as for its enigmatic gravitas ke khaatir admire karaa jaawe hae.[9]

Madrid me (suruu me)

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Philip IV in Brown and Silver, 1632, National Gallery London

Velázquez, Seville me aapan reputation 1620s ke suruwaat talak banae liis rahaa. Uu Madrid, April 1622 me gais rahaa, intriduction ke chithii Don Juan de Fonseca , chaplain to the King, se lae ke. Velázquez ke nawaa raja , Philip IV ke khaatir paint kare ke ijaajat nai mila, lekin Luis de Góngora ke nakal utaris rahaa, Pacheco re request pe.[10] The portrait showed Góngora crowned with a laurel wreath, which Velázquez later painted over.[11] January 1623 me uu Seville laut gais rahaa, aur huan pe August talak rahaa.[12]

December 1622 me, Rodrigo de Villandrando, rajah kefavorite court painter, mar gais rahaa.[13] Velázquez ke command dewa gais ki uu court me aawe Gaspar de Guzmán, Count-Duke of Olivares se, Philip IV ke taagatwar minister. Uske 50 ducats (175 g of gold) offer karaa gais rahaa uske expenses ke khaatir, aur uske saathe uske sasur bhi rahaa. . Fonseca ii jawan chutrkaar ke aapan ghare rakkhis rahaa aur ek chitr ke khaatir baith gais, Jab ii chitr ban gais tab uske royal palace bheja gais rahaa.[10] Iske baad uske rajah ke chhaapa banae ke khatir hire karaa gaus rahaa aur 30 August 1623, Philip IV Velázquez ke chaapa ke khaatir baithis rahaa.[10] Ii chhaapa se rajah khusi rahaa , aur Olivares Velázquez ke Madrid jaae ke batais, ii promise kar ke ki aur koi chitrkaar ab Philip ke chhaapa nai banai aur rajah ke aur sab puraana chitr ke circulation se hatae dewa jaai.[14] Agle saal, 1624 me, uske 300 ducats, rajah se milaa uske kharchaa, aapan palwaar ke Madrid laae ke khaatir, jon uske ghar uske baaki jindagi bhar rahaa.

El Triunfo de Baco or Los Borrachos 1629 (English: The Triumph of Bacchus/The Drunks), Museo del Prado, Madrid

Velázquez rajah ke kaam 20 ducats per month ke salary pe kare lagaa. Iake saathe uske lodgings aur har ek chhaapa ke khaatir paisa milaa. Uske banaawa gais, Philip ke chhaapa ke San Felipe ke steps pe dekhaawa gais rahaa aur log isse bahut khus rahin. Ii abhi herae gais hae (jaise Fonseca ke chaapa bhi harais hae).[15] Museo del Prado, me Velázquez ke dui chhaapa hae (nos. 1070 aur 1071) jisme severity of the Seville period has disappeared and the tones are more delicate. Iske modeling firm hae, jon Antonio Mor ke yaad de hae, the Dutch portrait painter of Philip II, jiske Spanish school pe dher influence rahaa. Velázquez dekhae hae Philip golilla (es) pahina hua, ek stiff linen collar projecting at right angles from the neck. golilla replaced the earlier court fashion of elaborate ruffed collars as part of Philip's dress reform laws during a period of economic crisis.[16]

  1. ↑ Carr et al. 2006, p. 28.
  2. ↑ Carr et al. 2006, p. 14.
  3. ↑ Carr et al. 2006, p. 27.
  4. ↑ Carr et al. 2006, p. 29.
  5. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named "Sánchez_Grove".
  6. ↑ Carr et al. 2006, pp. 122, 126.
  7. ↑ Carr et al. 2006, pp. 28, 29.
  8. ↑ Carr et al. 2006, p. 142.
  9. ↑ Carr et al. 2006, p. 130.
  10. 1 2 3 Carr et al. 2006, p. 245.
  11. ↑ Carr et al. 2006, p. 144.
  12. ↑ Carr et al. 2006, pp. 29, 245.
  13. ↑ Harris 1982, p. 57.
  14. ↑ Harris 1982, pp. 12, 200.
  15. ↑ Harris 1982, p. 12.
  16. ↑ Harris 1982, p. 61.
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