Word: velazquez
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Dates: during 1980-1989
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...years in America have been the golden age of the museum retrospective, bringing a series of great and (for this generation of museums and their public) definitive exhibitions, done at the highest pitch of scholarship and curatorial skill: late and early Cezanne, Picasso, Manet, Van Gogh, Monet, Degas, Watteau, Velazquez, Poussin, up to MOMA's current show of Picasso's and Braque's Cubist years and, perhaps, Seurat to come...
News Editors for This Issue: Ross G. Forman '90 Susan B. Glasser '90 Night Editors: Colin F. Boyle '90 Matthew M. Hoffman '91 Liza M. Velazquez '92 Feature Editors: Colin F. Boyle '90 Ross G. Forman '90 Sports Editors: Jennifer M. Frey '90 Julio R. Varela '90 Photo Editors: Liane M. Clamen '91 Gavin R. Villareal '90 Business Editor: Michael S. Harwayne '91 Copy Editor: Darcy L. Tromanhauser...
...Velazquez's portraits of Philip IV are the most remarkable biography of a monarch in all art, spanning his life from the confidence of youth to the melancholy and distance of his afflicted age. The face thickens, the eyes sag, the Bourbon lip takes on a heavy repressed pathos; you can almost see it quiver. Only the mustache, whose upswept prongs will be imitated by Salvador Dali's, seems alert, like antennae. "It is now nine years since any ((portrait)) has been made," Philip IV noted in 1653, in the last decade of his and his painter's lives...
...Velazquez's life was even, and little is known about its details. It looks quite seamless compared with the struggles of Spain's other archetypal painter, Goya -- a steadily mounting curve of recognition and respect, unmarred by scandal or alienation (although he did father one bastard in Rome). Born in Seville in 1599, the son of a minor Hidalgo family, half- Portuguese, possibly with a trace of Jewish ancestry, Velazquez would always be preoccupied with his social position. (He went to great lengths to qualify as a knight of the Order of Santiago, whose members would not accept him until...
...Velazquez's maturity is a sublime, intensive lesson in pictorial coding, and this, as much as anything else, has been the source of its fascination to other painters. In rendering appearances, every artist has a code of some sort -- a way in which the licks and smears of colored mud on cloth manage, seemingly without intervention from the viewer, to recompose themselves as hard shiny metal, warm flesh, wind-ruffled grass or the sweaty sheen of a horse's flank, all in the blink of an eye. But no artist seems as explicit about this legerdemain as Velazquez...