The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Collection <Back
The Infante Don Carlos
Velázquez, Diego Rodríguez de Silva y
Close Continuar a ficha de la obra

Velázquez, Diego Rodríguez de Silva y

Sevilla, 1599 - Madrid, 1660

Miniatura autor

The Infante Don Carlos

1626 - 1627. Oil on canvas, 209 x 125 cm.

Following his appointment as painter to the King in 1623, Velázquez`s principal task was that of portraying the monarch and his circle. In order to do so he primarily made use of two different typologies: bust-length and full-length portraits, in which the sitters are represented standing and close to the picture plane. Among the characteristics that define the latter group are a limited chromatic range generally based on blacks and greys and a sophisticated use of space. These are works almost totally devoid of any pre-determined spatial coordinates given that it is the figures themselves which generate the space through their volumes and the shadows that they project. Velázquez used these formulas in his early portraits of Philip IV and the Count-Duke of Olivares, perfecting them over the following years. Outstanding examples include the portraits of the Infante Don Carlos and Don Pedro de Berberana. Painted three or four years apart, the sitters are not accompanied by the side tables to be seen up to this point.

Don Carlos (1605-1632) was Phillip IV`s brother and was physically very similar to the King, which meant that for many years this portrait was thought to depict the later. However, it is precisely through a comparison with portraits of the monarch that the identity of the sitter becomes clear. Don Carlos had no specific role at court other than that of accompanying Philip IV when he appeared in public for events such as Corpus Christi processions, trips, the sport of lanzas y cañas (lances and canes), thanksgiving ceremonies, etc. Although the Infante accompanied the King they were not exactly together as protocol required that certain distance was maintained between them and the Infante usually walked a step ahead of his brother, indicating his hierarchical inferiority.

This was a minimal distance but an important one and is comparable to the distance between their respective portraits. While that of Phillip IV is organized through allusions to a monarch`s privileges and obligations, the image of the Infante only includes signs of status and elegance. The piece of paper which the King holds in his right hand which refers to his duties of work and his reforming intentions is here replaced by an elegant glove, while the high-crowed hat on the side table alludes to the administration of justice is substituted in the Infante`s case by a broad-brimmed one which functions both as a piece of clothing and a reference to protocol. Similarly, while in Velázquez`s austere portrait of Phillip IV in the Prado the only adornment to the King`s clothing is the emblem of the Order of the Golden Fleece, the Infante has a sumptuous gold chain across his chest, an accessory that became fashionable in the 1620s. Don Carlos was given a chain of this type by Cardinal Barberini when the Cardinal visited the Spanish court in 1626 (Harris 1970, pp. 364ss.). Velázquez`s manner of painting the Infante`s face does not have the level of abstraction seen in his images of Phillip IV, given that Don Carlos was not associated with the qualities of timelessness, impassiveness and majesty attributed to the monarch.

By this period in his career Velázquez possessed a masterly ability to exploit the potential of a palette of blacks and greys, having previously made brilliant use of earth tones in his Seville period. This was not a personal choice but one imposed by fashion at the Spanish court, in which dark tones prevailed. Rather than playing with the contrast between these clothes and accessory elements that added colour, Velázquez enveloped his sitters in a chromatically similar setting, an approach that also looks to the tradition of court portraiture. What is astonishing is the way the artist was able to transmit an image that simultaneously offers chromatic and textural variety and sumptuousness. In order to achieve this, he played with the light and the highlights, distributing a series of glints and zones of light across the canvas that together give substance and volume to the figure. This is evident here in the Infante`s glittering chain, the emblem of the Golden Fleece, the collar, the cuffs and the lines of grey braid that emphasise the suit.

Standing portraits of this type, painted with a limited chromatic range and a markedly austere approach to space, characterize this early period of Velázquez`s output as court portraitist. From the 1630s onwards and following his return from Italy he would notably expand his chromatic range and make use of a wide variety of settings. Among the exceptions are Pablo de Valladolid (Museo del Prado), in which the earlier formula attains one of its highest peaks of refinement (Text from Portús, J.: Velázquez, Kunsthistorisches Museum, Wien, 2014, pp. 298-299).

Multimedia

Technical data

Inventory number
P01188
Author
Velázquez, Diego Rodríguez de Silva y
Title
The Infante Don Carlos
Date
1626 - 1627
Technique
Oil
Support
Canvas
Dimension
High/Height: 209 cm.; Width: 125 cm.
Provenance
Royal Collection (Palacio Real Nuevo, Madrid, pinturas antiguas-segunda alcoba, 1747, nº 352; ¿Palacio Real, Madrid, cuarto del príncipe-cámara, 1814-1818, nº 352?; Real Academia de BBAA de San Fernando, Madrid, 1816).

Bibliography +

Inventario de las Pinturas del Museo Hecho a la Muerte del Rey, [s.n, Madrid, 1834, pp. 8.

Cruzada Villaamil, Gregorio, Anales de la vida y de las obras de Diego de Silva Velazquez, Libreria de Miguel Guijarro, Madrid, 1885, pp. 317.

Beruete, Aureliano de1845-1912, Velazquez / A. de Beruete ; préface de Léon Bonnat ; illustr, Librairie Renouard, Henri Laurents, ed., París, 1898, pp. 20-21.

Aman-Jean, Velazquez, Felix Alcan, Pari, 1913, pp. 23 / lám. IV.

Justi, Carl1832-1912, Diego Velazquez Und Sein Jahrhundert. Vol. I, Verlag Friedrich Cohen, Bonn, 1922, pp. 214.

Mayer, August L.1885-1944, Historia de la Pintura Española, EspasaCalpe, Madrid, 1928, pp. 380.

Noul, M., Sotomayor, F., Muguruza, P., Les chefs-d'oeuvre du Musée du Prado, Musée d'Art et d'Histoire, Ginebra, 1939.

Lozoya, Juan de Contreras y López de Ayala, Marqués de, Historia del arte hispánico, Salvat, Barcelona, 1945, pp. 96.

Trapier, Elizabeth du Gué., Velázquez /, The Trustees, Nueva York, 1948, pp. 104.

Encina, Juan de la1883-1963, Sombra y enigma de Velázquez, Espasa-Calpe Argentina, Buenos Aires, 1952, pp. 16, 96.

Justi, Carl, Velázquez y su siglo, Espasa-Calpe, Madrid, 1953, pp. 201.

Proteccion del Patrimonio Artistico Nacional, Direccion General de Bellas Artes, Madrid, 1954, pp. lám. 66.

Pijoan, José, Ter Borch y Velázquez, Goya, 1954, pp. 135-136.

Pantorba, Bernardino de (1896-1990), La vida y la obra de Velázquez : estudio biográfico y crític, [Blass]: Compañía Bibliográfica Española, Madrid, 1955, pp. 91.

Metropolitan Museum of Art, H. O. Havemeyer Collection. Catalogue of Paintings, Prints, Sculpture and Objects of Art, Privately Printed, Berlin-Munich, 1957, pp. 46.

Hernández Perera, J., Velázquez y las joyas, Archivo español de arte, 33, 1960, pp. 260 / lám. 1.

Gallego, Julián, Velázquez, pintor de retratos, Goya, 1960, pp. 60.

Camón Aznar, José1898-1979, Tercer centenario de Velázquez: estudios velazqueños : curso, Universidad, Barcelona, 1962, pp. lám. 17A.

Stevenson, Robert Allan Mowbray, Velazquez, G.Bell and Sons, Londres, 1962, pp. 111.

Lopez Rey, Jose, Velázquez: a catalogue raisonné of his oeuvre, Faber and Faber, Londres, 1963, pp. 232 / lám. 43.

Tüngel, Richard, 400 Jahre Kunst, Kultur, und Geschichte im Prado, Schweizer Verlagshaus, Zurich, 1964, pp. 176 / lám. 91.

Camón Aznar, José1898-1979, Velázquez, Espasa-Calpe, Madrid, 1964, pp. 384, 562.

Asturias, Miguel Angel, La obra pictórica completa de Velázquez, Noguer, Barcelona.Madrid, 1970.

Ars hispaniae: historia universal del arte hispánico, Plus Ultra, Madrid, 1971, pp. 170.

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Museo del Prado, Madrid, 1972.

The Golden Age of Spanish Painting, Royal Academy of Arts, Londres, 1976, pp. 65.

Millner Kahr, Madlyn, Velázquez. The art of painting., Nueva York, 1976, pp. 55.

Iribas de Miguel, Jesus, Dos Horas con Velazquez en el Museo del Prado, [s.n], Madrid, 1978, pp. 36.

Lopez Rey, J., Velazquez. The Artist As a Maker, Bibliotheque des Arts, Lausanne-Paris, 1979, pp. 268.

Pérez Sánchez, Alfonso E., Velazquez, Capitol, Bolonia, 1980, pp. 18.

El arte en la época de Calderón, Ministerio de Cultura, Madrid, 1981, pp. 101.

Brown, Jonathan1939-, Un palacio para un rey: el Buen Retiro y la corte de Felipe, Alianza EditorialRevista Occidente, Madrid, 1981, pp. 53 / lám. 21.

Sérullaz, Maurice, Velazquez, Harry N.Abrams, Nueva York, 1981, pp. 18.

Harris, Enriqueta, Velazquez, Phaidon, Oxford, 1982, pp. 64 / lám 54.

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Museo del Prado, Madrid, 1985.

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 736.

Brown, Jonathan, Velázquez: pintor y cortesano, Alianza Editorial, Madrid, 1986, pp. 52 / lám. 58, 60.

Beruete, Aureliano de1845-1912, Velázquez, CEPSA, Madrid, 1987, pp. 25 / lám. 15.

Sérullaz, Maurice, Velazquez, Harry N. Abrams.Inc, Nueva York, 1987, pp. 16 / lám. 16.

Lafuente Ferrari, Enrique1898-1985, Velazquez, Albert Skira, Ginebra, 1988, pp. 47.

Brown, Jonathan1939-, La Edad de Oro de la pintura en España, Nerea, Madrid, 1990, pp. 151 / lám. 131.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas, Museo del Prado, Espasa Calpe, Madrid, 1990.

Vosters, Simon A., Rubens y España: estudio artístico-literario sobre la estética del Barroco, Cátedra, Madrid, 1990, pp. 332.

Velázquez, Ministerio de Cultura, Madrid, 1990, pp. 129.

Buendía, José Rogelio1928-, Velazquez, Anaya, Madrid, 1991, pp. 27, 51 / lám. 2.

Harris, Enriqueta, Velazquez, Ephialte, Vitoria, 1991, pp. 64 / lám. 54.

Garrido Pérez, Carmen, Velázquez: técnica y evolución, Museo del Prado, Madrid, 1992, pp. 127-135.

La Pintura Española, Electa, Milan, 1995, pp. 338 / lám. 405.

López Rey, José, Velázquez. Le Peintre des Peintres, Benedikt Taschen, Köln, 1996, pp. 88.

López-Rey, José, Velázquez: el pintor de los pintores : la obra completa, TaschenWildenstein Institute, Colonia, 1998, pp. 54.

Alcolea Gil, Santiago, Velazquez. La Esencia del Tiempo. Edicion Conmemorativa del, Circulo de Lectores, Barcelona, 1999, pp. 124.

Marías, Fernando1949-, Velazquez. Pintor y Criado del Rey, Nerea, Madrid, 1999, pp. 57 / lám. 34.

Museo Nacional del Prado, Velázquez: guía, Museo del PradoAldeasa, Madrid, 1999, pp. 62.

Tinterow, Gary, Manet/Velázquez: the french taste for Spanish painting, The Metropolitan Museum of ArtLondresYale Universi, New York, 2003.

Weniger, Matthias, Greco, Velazquez, Goya : Spanische Malereiaus Deutschen Sam..., Prestel, 2005, pp. 156.

Warnke, M., Velázquez : forma y reforma, Centro de Estudios Europa Hispáni, Madrid, 2007, pp. 58.

Reyero,C., Los Velázquez del Prado en América. Crónica de una exposición de copias en 1925., Boletín del Museo del Prado., 44, 2008, pp. 73-86.

Díaz Padrón, Matías, Reflexiones y precisiones del retrato de Van Dyck en la patria de Velázquez, Anales de Historia del arte, extra, 2008, pp. 189-212.

Velazquez :obra completa, Electa, 2008, pp. 95.

Moser, Wolf, Diego de Silva Velázquez. Das werk und der maler, I, Saint-Georges, Lyon, 2011, pp. 173.

Cruz Valdovinos, José Manuel, Velázquez : vida y obra de un pintor cortesano, Caja Inmaculada, 2011, pp. 75-76.

Portús, Javier, Velázquez 'El infante don Carlos'. En: Guía de la colección. Velázquez, Museo Nacional del Prado, Madrid, 2012, pp. 30.

Portús, J., Velázquez in Gray: Decorum and Representation. En: Portús, J., Diego Velázquez. The early court portraits, Meadows Museum-SMU-MNP, Dallas, 2012, pp. 17-35 [31, il. 10].

Barrón García, A. A. Aramburu-Zabala Higuera, M.A, Domingo Carrión, pintor de retratos y posible colaborador de Diego Velázquez, Boletín del Museo del Prado., XXXI, 2013, pp. 64-81 [77].

Garrido, C., Velázquez y el inquisidor, Ars magazine, 17, 2013, pp. 56-69 [67].

López-Rey, José The Wildenstein Institute, 'Diego Velázquez.The Infante Don Carlos' En: Velázquez. The complete works, Taschen, Colonia, 2014, pp. 344 n.34.

Hoffman-Samland, Jens, 'Francisco de Goya. Carlos de Austria' En:, Dibujos españoles en la Kunsthalle de Hamburgo, Museo Nacional del Prado Meadows Museum, Southern Methodist Univ. Hamburger Kunsthalle, Madrid, 2014, pp. 207.

Puerta de la, Ruth, 'Las leyes suntuarias y la restricción del lujo en el vestir' En: Vestir a la española en las cortes europeas (siglos XVI y XVII), I, CEEH, Madrid, 2014, pp. 209-231 [218 f.5].

Portús, J., 'Velazquez. Der infant Don Carlos' En:, Velázquez, Hirmer, Wien, 2014, pp. 154-156 n.12.

Kientz, G.K, 'D.Rodríguez de Silva Velázquez. Portrait de l'Infant Baltasar Carlos' En:, Velázquez, Réunion des musées nationaux-Grand Palais: Louvre..., Paris, 2015, pp. 202 f.41.

Held, Julius S., 17th and 18th century art :baroque painting, sculpture, arch, Prentice-HallH. N. Abrams, Nueva York, pp. 181 / lám. 186.

Lefort, Paul, Velazquez, Librairie de L'Art, Paris, pp. 28, 61.

Other inventories +

Inv. Felipe V, Palacio Nuevo, 1747. Núm. 352.
PINTURAS EXISTENTES ANTIGUAS [...] Segunda Alcoba [...] {10452} 352 / Vn retrato del señor Felipe quarto de dos varas y tercia de caida y vara y media de ancho original de Belazquez en mil quinientos reales

Inv. Fernando VII, Palacio Nuevo, 1814-1818. Núm. ¿352?.
Cuarto del Principe N. S. / Cámara [...] {21539-21540} 66-352 / Dos varas y tercia de alto una y media de ancho retrato de la reina de Francia doña Maria Teresa = Felipe IV mozo = Velázquez

Catálogo Museo del Prado, 1854-1858. Núm. 109.

Inv. Real Museo, 1857. Núm. 109.
Velázquez. / 109. Retrato del infante don Carlos, hijo segundo de Felipe 3º, que nació en 1607 y murió en 1632. / En pie, de cuerpo entero, vestido de negro con capa corta, y una gruesa cadena de oro terciada al pecho. En la mano izquierda el sombrero, y en la derecha un guante cojido por un estremo.</br>Alto 7 pies, 6 pulg; ancho 4 pies, 6 pulg.

Catálogo Museo del Prado, 1872-1907. Núm. 1073.

Catálogo Museo del Prado, 1910. Núm. 1188.

Catálogo Museo del Prado, 1942-1996. Núm. 1188.

Exhibitions +

Velázquez. Viena
Viena
27.10.2014 - 15.02.2015

Desde El Greco hasta Goya - Budapest
Budapest
26.01.2006 - 14.05.2006

Manet-Velázquez: The French Taste for Spanish Painting
Nueva York NY
25.02.2003 - 25.05.2003

Velázquez
Madrid
23.01.1990 - 31.03.1990

Location +

Room 012 (On Display)

Expuesto
Update date: 21-09-2016 | Registry created on 28-04-2015

Other works by Velázquez, Diego Rodríguez de Silva y

Print on demand

Print artworks available in our catalogue in high quality and your preferred size and finish.

Image archive

Request artworks available in our catalogue in digital format.

Up