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Felipe iv (please answer questions mentioned below after reading the article
and analyzing the painting.)
1653-1657, oil on canvas, 69 x 56 cm [P1185].
On July 8, 1653, Philip IV wrote, responding to a letter in which the Countess of
Paredes de Nava thanked him for the portraits of his wife and two daughters, the
infantas Maria Teresa and Margarita: “It was not my portrait because it has been
nine years that none has been made, and I’m not inclined to go through the phlegm
of Velázquez, as well as for not seeing me getting old ». The king was then fortyeight years old, and nine had elapsed since Velázquez had made him the
famous Fraga Portrait.to celebrate the victory over the French in Lleida (Frick
Collection, New York). At that time Felipe had suffered terrible personal losses: in
1644 that of his wife, Isabel de Borbón, and two years later that of Prince Baltasar
Carlos, his only son and heir. Something of happiness had returned to know,
nevertheless, when marrying with his niece Mariana in 1649 and to see be born to a
daughter, the infanta Margarita. But the lack of male heir was a perennial
concern. To the personal misfortunes were added those of the Spanish Monarchy,
whose government God had placed in their hands. At the fall of Olivares in 1643,
Felipe announced his intention not to have more private in the future and to govern
alone. Although in fact it would come to depend to a large extent on the services of
Luis de Haro, From then until his death in 1665 he applied himself zealously to
matters of State. In 1653 the Catalans had already returned to obedience after
twelve years of rebellion, but the uprising of Portugal continued, and also the war
with France. Castilla was exhausted, and the correspondence of Felipe with Sister
María de Ágreda, to whom he went in search of spiritual consolation, shows that the
king felt personally responsible for the misery of his subjects and the ills of the
nation and tended to blame them for your sins. Velázquez returned from his second
visit to Italy in 1651, and it is probable that he painted this portrait between 1653
and 1655, the year in which the head served as a model for an engraver’s plate of
the Pedro de Villafranca court. At the National Gallery in London another version,
also of great quality, is preserved. that seems to show the monarch with two or
three more years. In both paintings he is seen as a man of advanced age, although
perhaps he had not yet completed half a century when the Prado was made. The
tired face and the dark suit, whose blackness is relieved in the portrait of London
with the gold of the Toisón, the buttons and the brocade of the sleeves, compose an
impression of melancholy for the modern spectator, who is inclined to see the image
here of a defeated and disillusioned monarch. But it is an official portrait, painted in
accordance with the canons of the Spanish court portrait, which served as a pattern
for numerous copies. Even in an official portrait Velázquez’s genius was able to
capture aspects of the king’s personality that would be more apparent to later
generations than to his own contemporaries. In both paintings he is seen as a man of
advanced age, although perhaps he had not yet completed half a century when the
Prado was made. The tired face and the dark suit, whose blackness is relieved in the
portrait of London with the gold of the Toisón, the buttons and the brocade of the
sleeves, compose an impression of melancholy for the modern spectator, who is
inclined to see the image here of a defeated and disillusioned monarch. But it is an
official portrait, painted in accordance with the canons of the Spanish court portrait,
which served as a pattern for numerous copies. Even in an official portrait
Velázquez’s genius was able to capture aspects of the king’s personality that would
be more apparent to later generations than to his own contemporaries. In both
paintings he is seen as a man of advanced age, although perhaps he had not yet
completed half a century when the Prado was made. The tired face and the dark suit,
whose blackness is relieved in the portrait of London with the gold of the Toisón,
the buttons and the brocade of the sleeves, compose an impression of melancholy
for the modern spectator, who is inclined to see the image here of a defeated and
disillusioned monarch. But it is an official portrait, painted in accordance with the
canons of the Spanish court portrait, which served as a pattern for numerous
copies. Even in an official portrait Velázquez’s genius was able to capture aspects of
the king’s personality that would be more apparent to later generations than to his
own contemporaries. although perhaps it had not yet completed half a century when
the Prado was made. The tired face and the dark suit, whose blackness is relieved in
the portrait of London with the gold of the Toisón, the buttons and the brocade of
the sleeves, compose an impression of melancholy for the modern spectator, who is
inclined to see the image here of a defeated and disillusioned monarch. But it is an
official portrait, painted in accordance with the canons of the Spanish court portrait,
which served as a pattern for numerous copies. Even in an official portrait
Velázquez’s genius was able to capture aspects of the king’s personality that would
be more apparent to later generations than to his own contemporaries. although
perhaps it had not yet completed half a century when the Prado was made. The tired
face and the dark suit, whose blackness is relieved in the portrait of London with the
gold of the Toisón, the buttons and the brocade of the sleeves, compose an
impression of melancholy for the modern spectator, who is inclined to see the image
here of a defeated and disillusioned monarch. But it is an official portrait, painted in
accordance with the canons of the Spanish court portrait, which served as a pattern
for numerous copies. Even in an official portrait Velázquez’s genius was able to
capture aspects of the king’s personality that would be more apparent to later
generations than to his own contemporaries. the buttons and the brocade of the
sleeves, compose an impression of melancholy for the modern spectator, who is
inclined to see here the image of a vanquished and disillusioned monarch. But it is
an official portrait, painted in accordance with the canons of the Spanish court
portrait, which served as a pattern for numerous copies. Even in an official portrait
Velázquez’s genius was able to capture aspects of the king’s personality that would
be more apparent to later generations than to his own contemporaries. the buttons
and the brocade of the sleeves, compose an impression of melancholy for the
modern spectator, who is inclined to see here the image of a vanquished and
disillusioned monarch. But it is an official portrait, painted in accordance with the
canons of the Spanish court portrait, which served as a pattern for numerous
copies. Even in an official portrait Velázquez’s genius was able to capture aspects of
the king’s personality that would be more apparent to later generations than to his
own contemporaries.
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How does the work you chose highlight elements of Baroque style?
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