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A Sybil
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
A Sybil
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

The first known reference to this work dates from 1746, when an inventory of paintings at the La Granja Palace was drawn up. There, it is attributed to Velázquez and identified as a likeness of [+]

Diego del Corral y Arellano
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
Diego del Corral y Arellano
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

Of the people with whom Velázquez must have had contact on a daily basis at the palace, many would have been high functionaries or skilled servants of the court. His own social aspirations incl [+]

The Buffoon Juan de Austria
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
The Buffoon Juan de Austria
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

The sitter`s elaborate dress, the baton of command he holds in his right hand and the sword on which his left hand rest all indicate that he is a military figure. The military context in further sugge [+]

The Crucified Christ
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
The Crucified Christ
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

Stylistically, this work appears to have been made in the early 1630s -soon after the artist returned from Italy- and most authors date it from around 1632. The Apollonian perfection of the anatomy an [+]

Head of a Deer
Oil on canvas. 1626 - 1636
Velázquez, Diego Rodríguez de Silva y
Head of a Deer
Oil on canvas. 1626 - 1636
Velázquez, Diego Rodríguez de Silva y

While there is no documentation indicating this work was made for the Torre de la Parada, its subject suggests a relation to paintings intended for that hunting lodge. Unlike other painters, Vel&aacut [+]

Antonia de Ipeñarrieta y Galdós and her Son, Luis
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
Antonia de Ipeñarrieta y Galdós and her Son, Luis
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

Of the people with whom Velázquez must have had contact on a daily basis at the palace, many would have been high functionaries or skilled servants of the court. His own social aspirations incl [+]

Philip IV in Hunting Dress
Oil on canvas. 1632 - 1634
Velázquez, Diego Rodríguez de Silva y
Philip IV in Hunting Dress
Oil on canvas. 1632 - 1634
Velázquez, Diego Rodríguez de Silva y

Between 1635 and 1637, important additions were made to the Torre de la Parada, the king´s hunting pavilion situated in the woodlands surrounding the royal palace of El Pardo, on the outskirts of Madr [+]

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