Velazquez [antikvár]

Diego Rodríguez de Silva y Velázquez 1^99-1660 he portraits under considération date from the early period of Velázquez to that of his second journey to Italy. Con- sidered in chronological sequence and with the aid of X-ray shadowgraphs, they are of assistance in studying the development of his technique throughout these years. After Velázquez' establishment at Madrid in 1623, the Count-Duke of Olivares, favourite of Philip the Fourth, became a patron of the young artist. Several portraits completed during these years have been lost, others suffer from repainting, so that it is of interest to study the représentation of the Count-Duke in the collection of The Hispanic Society of America. Olivares is portrayed as Master of the Horse, a splendid figure at the height of his power, the King's most influential minister. The technique is characteristic of Velázquez' early period when he used a red priming, here so lightly applied that in one or two places, where the paint has flaked off, the bare canvas is visible. This red préparation can be seen clearly, emerging like a thin, red line along the silhouette of the figure, dividing the folds of the cloak and appearing in several other places. Broad brush strokes follow this line and are distinguishable in the X-ray shadow-graph from the solid area of the background. The brownish-green background is brushed in lightly over the red priming which gives a warm tonality to the whole and brings into harmony with the sombre figure of the subject the reds of curtain and table cover. The head, superb in its masterly simplicity, shows no repainting