Philip IV, Diego Velázquez. Oil on canvas, 69 x 56 cm, ca. 1654. Madrid, Museo Nacional del Prado

MADRID.- The Museo del Prado presents the exhibition Velázquez and the family of Philip IV (8 October – 9 February 2014) sponsored by Fundación AXA which will offer for the first time an analysis of the artist’s activities as a portraitist during the last eleven years of his career in the service of the Spanish monarchy, and of the continuation of his endeavours in the work of his successors, his son-in-law Juan Bautista Martínez del Mazo and Juan Carreño, during the 1660s and 1670s. 

Twenty nine works will present the most important group of portraits executed at the Spanish court during this period, during which Velázquez painted Las Meninas, one of his greatest masterpieces. In addition, the copy of it by Martínez del Mazo, now in Kingston Lacy (The National Trust, UK), will be exhibited for the first time in Spain, among other works. 

The exhibition will also aim to encourage reflection on one of the most distinctive periods of Velázquez’s career and of the reign of Philip IV, who can perhaps be considered the most knowledgeable of all monarchs with regard to painting. 

In chronological terms, the exhibition opens in 1650 during Velázquez’s second period in Rome, at which date he had already spent more than a year outside Spain. In Rome, the artist painted around a dozen portraits of individuals associated with the papal court, of which four of the surviving six are included in the exhibition. 

They constitute a separate chapter within the artist’s oeuvre and one in which he markedly extended his expressive registers in order to brilliantly convey the personalities and concerns of these sitters. 

The exhibition opens with the Portrait of Innocent X from Apsley House, London. A version of the celebrated portrait in the Doria Pamphilj Gallery, Velázquez brought it back with him to Madrid. It will now be exhibited in Spain for the first time. 

Pope Innocent X, Diego Velázquez. Oil on canvas, 82 x 71 cm, 1650. London, The Wellington Museum-Apsley House.

Also on display in this gallery are the portraits of Cardinal Camillo Massimo (The Bankes Collection, National Trust, UK), Cardinal Camillo Astalli Pamphilj (Hispanic Society of America, New York), and Ferdinando Brandani (Museo del Prado), chief clerk to the papal secretariat, the latter a new identification of a work previously known as “the Pope’s Barber”. 

Camillo Massimo, Diego Velázquez. Oil on canvas, 75.9 x 61 cm, 1650. Kingston Lacy, The Bankes Collection (The National Trust).

Camillo Astalli, Diego Velázquez. Oil on canvas, 61 x 48 cm, 1650 - 1651. New York, on loan from the Hispanic Society of America, New York, NY.

Ferdinando Brandani, Diego Velázquez. Oil on canvas, 50 x 47 cm, 1650. Madrid, Museo Nacional del Prado.

While Velázquez was in Rome, Mariana of Austria had married Philip IV and the city welcomed the arrival of the new Queen in late 1649. The second section in the exhibition focuses on the artist’s return to the capital in 1651 after much insisting on the King’s part. It presents comparisons between some of the Roman portraits and those Velázquez executed for the court after his return. Philip IV (Museo del Prado), The Infanta María Teresa (Metropolitan Museum of Art, New York) and Queen Mariana of Austria (Museo del Prado) reveal how the painter once again deployed the hieratic distance evident in his earlier royal portraits as opposed to the expressivity of the Roman period. 

Philip IV, Diego Velázquez. Oil on canvas, 69 x 56 cm, ca. 1654. Madrid, Museo Nacional del Prado.

Philip IV, Diego Velázquez , Oil on canvas, 64.1 x 53.7 cm, ca. 1656. London, The National Gallery. Bought, 1865.

Mariana of Austria, Diego Velázquez. Oil on canvas, 46.7 x 43.5 cm, ca. 1653 - 1656. Dallas, Meadows Museum, SMU, Dallas.Algur H. Meadows Collection.

Queen Mariana of Austria, Diego Velázquez. Oil on canvas, 231 x 131 cm, 1652. Madrid, Museo Nacional del Prado.

The Infanta María Teresa, Diego Velázquez. Oil on canvas, 34 x 40 cm, 1653. New York, Lent by The Metropolitan Museum of Art, The Jules Bache Collection, 1949.

The Infanta María Teresa, Diego Velázquez. Oil on canvas, 127 x 98.5 cm, 1653. Vienna, Kunsthistorisches Museum Wien, Gemäldegalerie.

This return to the court constitutes the core of the exhibition, comprising the royal portraits that Velázquez produced from his arrival in Madrid until his death in 1660. Together they form a separate chapter in his career due to their technical and iconographic uniqueness and exceptionally high quality. 

At this period the world of women and children makes its appearance in the artist’s work and is the subject of the third room, which includes The Infanta María Teresa, Prince Felipe Próspero and The Infanta Margarita in blue and gold, all loaned from the Kunsthistorisches Museum in Vienna. During this period Velázquez’s colour became denser and more rich and varied, while the compositions included spatial references arising from the settings. Particularly outstanding within this group is Las Meninas, which will not be hung in the exhibition (remaining in its habitual location in the Museum) but which is a key element in this group given that it represents a remarkable defence of the genre of portrait painting. Its complexity makes its comparable to the most erudite type of “history painting” and it can be seen as the finest example of the level of sophistication achieved by the Spanish court at a high point of cultural creativity. In addition, Las Meninas also represents a profound exercise of social and professional affirmation on Velázquez’s part through the inclusion of his self-portrait. 

The Infanta Margarita, Diego Velázquez. Oil on canvas, 128.5 x 100 cm, ca. 1654. Vienna, Kunsthistorisches Museum Wien, Gemäldegalerie.

The Infanta Margarita, Diego Velázquez. Oil on canvas, 105 x 88 cm, 1656. Vienna, Kunsthistorisches Museum Wien, Gemäldegalerie.

Felipe Próspero, Diego Velázquez. Oil on canvas, 128.5 x 99.5 cm, ca. 1659. Vienna, Kunsthistorisches Museum Wien, Gemäldegalerie.

The Infanta Margarita in a Blue Dress, Diego Velázquez. Oil on canvas, 126 x 106 cm, ca. 1659. Vienna, Kunsthistorisches Museum Wien, Gemäldegalerie.

The Infanta Margarita in a Green Dress, Juan Bautista Martínez del Mazo. Oil on canvas, 121 x 107 cm, ca. 1659. Budapest, Szépművészeti Múzeum.

 Las meninas, Diego Velázquez. Oil on canvas, 318 x 276 cm , 1656. Madrid, Museo Nacional del Prado.

The demand for images following the new Queen’s arrival and the birth of infantes and princes meant that Velázquez was obliged to produce more portraits, to which he responded by setting up an active studio that is represented in this exhibition by various studio versions of originals by the artist, created under his supervision. They include The Infanta Margarita and Queen Mariana of Austria (both Musée du Louvre, Paris). 

The Infanta Margarita, Velázquez Workshop. Oil on canvas, 70 x 58 cm, ca. 1654, Paris, Collection de Louis XIV. Musée du Louvre. Département des Peintures. 

The exhibition concludes with examples of court portraiture by Velázquez’s successors Martínez del Mazo and Carreño. Both artists looked to their predecessor’s solutions in order to move royal iconography towards a more complex, Baroque style and to create a particularly Spanish typology for the court portrait that differs from other European schools in its inclusion of particular rooms in the royal palaces as the settings for these works.

Las meninas, Juan Bautista Martínez del Mazo. Oil on canvas, 142.2 x 121.9 cm , ca. 1660. Dorset-Kingston Lacy, The Bankes Collection (The National Trust).

The Infanta Margarita in a Pink Dress, Juan Bautista Martínez del Mazo. Oil on canvas, 212 x 147 cm, ca. 1663, Madrid, Museo Nacional del Prado.

 The Painter’s Family, Juan Bautista Martínez del Mazo. Oil on canvas, 149.5 x 174.5 cm, 1664 - 1665. Vienna, Kunsthistorisches Museum Wien, Gemäldegalerie.

Mariana of Austria, Juan Bautista Martínez del Mazo. Oil on canvas, 196.8 x 146 cm, 1666. London, The National Gallery. Presented by Rosalind, the Countess of Carlisle, 1913.

Mariana of Austria, Juan Bautista Martínez del Mazo. Oil on canvas, 211 x 125 cm, ca. 1671. Madrid, Museo Nacional del Prado.

Margarita of Austria, Juan Bautista Martínez del Mazo. Oil on canvas, 205 x 144 cm, 1665 - 1666. Madrid, Museo Nacional del Prado.

Charles II as Grand Master of the Order of the Golden Fleece, Juan Carreño de Miranda. Oil on canvas, 216 x 140 cm, 1677. Rohrau, Graf Harrach'sche Familiensammlung, Schloss Rohrau.