Velazquez The Complete Works

For so many champions of art history, the ultimate sounding board was--and remains--Diego Rodríguez de Silva y Velázquez. First available as an XXL volume, this accessible edition presents his complete works in beautiful reproductions, including enlarged details and photography of recently restored paintings.

"Explores the early works of seventeenth-century Spanish painter Diego Velâazquez. Focuses on works from 1617 to 1623, examining the painter's critical engagement with the artistic, religious, and social practices of his native Seville"--Provided by publisher.

Shows and describes all of Velazquez's major works.

In 1845, a Reading bookseller named John Snare came across the dirt-blackened portrait of a prince at a country house auction. Suspecting that it might be a long-lost Velazquez, he bought the picture and set out to discover its strange history. When Laura Cumming stumbled on a startling trial involving John Snare, it sent her on a search of her own. At first she was pursuing the picture, and the life and work of the elusive painter, but then she found herself following the bookseller's fortunes too - from London to Edinburgh to nineteenth-century New York, from fame to ruin and exile. An innovative fusion of detection and biography, this book shows how and why great works of art can affect us, even to the point of mania. And on the trail of John Snare, Cumming makes a surprising discovery of her own. But most movingly, The Vanishing Man is an eloquent and passionate homage to the Spanish master Velazquez, bringing us closer to the creation and appreciation of his works than ever before

"This volume--the new standard Vermeer monograph--reproduces all 34 paintings, augmenting each with close-ups that lay bare the loving care Vermeer lavished upon each painstaking work." from publisher's website

The complete Velazquez in one volume. All the paintings are reproduced with detailed explanations. The text contains biographical data, including references to contemporary sources and re-evaluated historical documents. A register of his work with scholarly analysis is also included.

The startling conclusion of The Late Paintings of Vel?uez is that Diego Vel?uez painted two of his most famous works, The Spinners and Las Meninas, as theoretically informed manifestos of painterly brushwork. As a pair, Giles Knox argues, the two paintings form a learned retort to the prevailing critical disdain for the painterly. Knox presents a Vel?uez who was much more aware of the art theory of his era than previously acknowledged, leading him to reinterpret Las Meninas and The Spinners as representing together a polemically charged celebration of the "handedness" of painting. Knox removes Vel?uez from his Iberian isolation and seeks to recover his highly self-conscious attempt to carve out a place for himself within the history of European painting as a whole. The Late Paintings of Vel?uez presents an artist who, like Annibale Carracci, Poussin, Rembrandt, and Vermeer was not only aware of contemporary theoretical writings on art, but also able to translate that knowledge and understanding into a distinctive and personal theory of painting. In Las Meninas and The Spinners, Vel?uez propounded this theory with paint, not words. Knox's rethinking of the dynamic relationship between text and image presents a case, not of writing influencing painting, or vice versa, but of the two realms being inextricably bound together. Painterly brushwork presented a challenge to writers on art not just because it was connected too intimately with the base actions of the hand; it was also devilishly hard to describe. By reading Vel?uez's painterly performance as text, Knox deciphers how Vel?uez was able to craft theoretical arguments more compelling and more vivid than any written counterparts.

Here approximately two hundred works by French and Spanish artists chart the development of this cultural influence and map a fascinating shift in the paradigm of painting, from Idealism to Realism, from Italy to Spain, from Renaissance to Baroque. Above all, these images demonstrate how direct contact with Spanish painting fired the imagination of nineteenth-century French artists and brought about the triumph of Realism in the 1860s, and with it a foundation for modern art."--BOOK JACKET.

In 1656, Diego Velázquez, leading figure in the Spanish Golden Age of painting, created one of the most enigmatic works in the history of art: Las Meninas (The Ladies-in-Waiting). This graphic novel, written and drawn by two of Spain’s most sophisticated comics creators, examines its legacy as one of the first paintings to explore the relationship among the viewer, reality, and unreality. (It guest stars Cano, Salvador Dalí, Zurbarán, and many others.) Olivares’s art moves from clear line to expressionistic; from pen nib to brush stokes; from one color palette to another, as The Ladies-in-Waiting uses fiction to explore the ties among artists and patrons, the past and the present, institutions and audiences, creators and creativity. Their combined efforts have garnered not only international comics prizes, but the equivalent of the National Book Award in Spain, where the book has been a commercial and critical sensation.