The History and Mystery of Diego Velázquez's ‘Las Meninas’
For over 350 years, "Las Meninas" has fascinated art lovers worldwide. This complex oil painting by Diego Velázquez offers a nuanced portrayal of life at the court of King Philip IV of Spain. Moreover, this 1656 masterpiece continues to influence contemporary artists, making it perhaps one of the most important paintings in the history of Western art.
“Las meninas” de Diego Velázquez, 1656. (via Wikiart)
This work represents a turning point in art history due to Velázquez's break from the rigid formal portraits typically associated with royalty. The large canvas depicts Infanta Margarita Teresa, the king's daughter, surrounded by her ladies-in-waiting—the meninas, who give the painting its name—while Velázquez appears behind an easel, painting her portrait.
"Las Meninas," currently part of the Prado Museum's collection, is the most famous painting in Velázquez's vast oeuvre. But what is it about this masterpiece that has intrigued audiences for centuries? What makes it so innovative, and what was Velázquez trying to convey? Let's take a look at what makes "Las Meninas" an iconic work and its legacy through the centuries.
Who was Diego Velázquez?
“Portrait of Innocent X” c. 1650. (Public domain via Wikipedia)
The man behind the painting, Diego Velázquez, was a key figure of the Spanish Golden Age, a period of flourishing arts and literature. This cultural explosion occurred alongside the rise of the Spanish Habsburg dynasty. The ascendancy of this royal house and the expansion of the Spanish Empire were very positive for an artist like Velázquez, whose career took off after becoming the court painter for King Philip IV.
Born in Seville, Velázquez's early works were actually kitchen-inspired still lifes. His career spans the same period as the great Baroque artists of Italy and France; however, Velázquez developed his own distinctive style.
Velázquez's career took off when he moved to Madrid. Upon the death of King Philip’s court painter, Velázquez took the position and gained fame for his portraits. Besides capturing the physical appearance of his subjects, his use of loose brushstrokes to create texture and movement in clothing was revolutionary. Thus, Velázquez's work greatly influenced later painters, such as the Impressionists, who built on the foundations established by Velázquez's work.
Las Meninas “Philip IV in Brown and Silver” c. 1631-1632. (Image: Public domain via Wikipedia)
Velázquez had worked for over 30 years at King Philip IV's court when he painted "Las Meninas." Over the decades, the painter became indispensable and remained close to the king after the death of his first wife and only son. When the painting was created, King Philip was married to his second wife, Mariana of Austria, and Margarita Teresa (the girl at the center of the painting) was their first and only daughter.
The painting, commissioned by King Philip, was hung in the private office of his summer palace. It remained in the royal palace until 1819 when it entered the Prado Museum's collection. Much of what we know about this painting is thanks to Spanish writer Antonio Palomino, who dedicated an entire section of his book on Spanish artists to "Las Meninas." Besides determining the year the painting was created, Palomino also identified most of the people in the canvas. It is also thanks to Palomino that we know the scene is set in a room of the Royal Alcazar of Madrid, a fortress turned palace that was the official residence of the Habsburgs.
In "Tesoro de la Lengua Castellana," Sebastián de Covarrubias notes that the term “meninas” has Portuguese origins. Meanwhile, the Prado Museum notes that the painting was not always known as "Las Meninas," as the 1666 Alcazar inventory lists it under the title "Portrait of the Lady Empress with her Ladies and a Dwarf."
Main Figures in Las Meninas
With so many characters on a single canvas, it's vital to understand who is who and their roles within the Habsburg court.
INFANTA MARGARITA TERESA The young infanta would have been about 5 years old when the painting was made. Although Philip had 12 children between his two wives, Margarita Teresa was one of the only two who survived to adulthood. She later became the Empress Consort of the Holy Roman Empire after marrying Leopold I. In the image, she is attended by two of her ladies, dressed in the splendor expected of a Habsburg descendant. Interestingly, her gaze is not directed at any of her ladies-in-waiting; instead, the girl looks directly at whoever is behind Velázquez's easel.
MARÍA AGUSTINA SARMIENTO AND ISABEL DE VELASCO On either side of Margarita Teresa are her ladies-in-waiting. They are the meninas. Isabel stands to the left of the infanta, ready to curtsy. In contrast, María Agustina kneels before her, offering a drink on a tray.
MARIA BÁRBOLA AND NICOLASITO PERTUSATO Two dwarfs—Bárbola, from Germany, and Pertusato, from Italy—appear on the right side of the canvas. Pertusato's foot is on the back of a dog, as if trying to wake it. The dog is a Spanish mastiff, a breed raised to become guard dogs and protectors of sheep herds. Dwarfs played a significant role in Philip's court, and their prominence is reflected in the numerous portraits of court dwarfs painted by Velázquez.
MARCELA DE ULLOA Just behind Isabel de Velasco is Margarita Teresa's chaperone, Marcela de Ulloa. She is dressed in mourning and converses with an unidentified figure who is likely a bodyguard.
JOSÉ NIETO The queen's chamberlain, José Nieto, stands out in the portrait due to his location at the door. Nieto was also the head of tapestry at the court and may have been related to Velázquez. Nieto appears to push a curtain on the door, perhaps to let in more natural light while the painter works.
KING PHILIP IV OF SPAIN AND MARIANA OF AUSTRIA Although it might not be immediately clear who Infanta María Teresa is looking at, keen observers will notice a couple reflected in a mirror located at the back of the room. Here we see the figures of King Philip IV and Mariana of Austria. So, once we consider that we also see Velázquez painting at his easel, things become clearer: the girl is looking at her parents. The use of mirrors and reflections in the painting is likely due to the influence of Jan Van Eyck's "Portrait of Giovanni Arnolfini and his Wife." Painted in 1434, this Northern Renaissance masterpiece hung in Philip's palace, so Velázquez surely knew of it.
DIEGO VELÁZQUEZ While it is not uncommon for artists to include themselves in paintings—Raphael appears in "The School of Athens," for example—Velázquez gave a significant position to his self-portrait within "Las Meninas." The painting not only takes place within his studio at the Alcazar, but everything in the work revolves around the painter's actions. Besides working as the chamber painter, Velázquez was also the curator of Philip's extensive art collection, so his actions were key to the court's cultural life. Here, the Spanish painter appears in front of a canvas while working on a portrait of the royal couple.
What is the significance of Las Meninas?
The fascinating painting places viewers in the position of the king and queen. This interesting twist makes the viewer both spectator and participant. Of course, the original viewer would have been Philip, as the painting was hung in his office. Considering this, "Las Meninas" presents a group of characters who would have been important to the king himself.
Some art historians see this work as a way Velázquez sought to show his own importance within the court. By elevating himself beyond the "mechanical" art of painting, he was demonstrating his worth. This would have been important when considering a small detail in the artist's self-portrait.
The red cross on his chest is the symbol of the Order of Santiago, a prestigious religious and military order. Although it was extremely difficult to enter this order, Velázquez was admitted in 1659 by royal decree. While it was once thought that the artist added the cross to his chest years later, new conservation studies show this was not the case. Was the artist promoting a personal interest with this work?
Art historian Jonathan Brown, an expert on Velázquez, has proposed another theory. Brown argues that the painting was made between 1659, when the artist was knighted, and 1660, when Velázquez accompanied Philip on an important political trip to France. Thus, Brown theorizes that "Las Meninas" was a sort of thank-you gift to King Philip for giving Velázquez the title of knight.
Whatever the case, "Las Meninas" continues to intrigue scholars and the general public with its complex dynamic between painter, model, and viewer. Who is looking at whom? And why? It is an unresolved mystery that delights art lovers.
The Influence of Las Meninas
"Las Meninas" became a significant artistic influence once Velázquez's work began to gain international fame in the 19th century. Pablo Picasso was particularly enamored with "
"Las Meninas"; the master of Cubism painted 58 versions of this work in 1957.
Salvador Dalí created his own tribute to the painting, "Velázquez Painting the Infanta Margarita with the Lights and Shadows of His Own Glory," in 1958. The pioneer of Surrealism revisited this motif several times, painting works inspired by "Las Meninas" throughout his career.
While Picasso's and Dalí's pieces were direct homages to their compatriot, other painters took the lessons of "Las Meninas" and used them to enhance their portraits. The most famous example is John Singer Sargent's 1882 oil painting "The Daughters of Edward Darley Boit." Sargent's use of space, transitioning from a dark background to a brightly lit foreground, as well as his loose brushstrokes and figure composition, were definitely influenced by "Las Meninas."
Legacy and Enduring Fascination
"Las Meninas" has been studied and analyzed extensively, becoming a cornerstone of art historical scholarship. Its complex composition, masterful use of perspective, and enigmatic subject matter have made it a subject of fascination and debate among art historians. The painting's ability to engage viewers on multiple levels—both as spectators and participants in the scene—has ensured its enduring appeal.
The painting's influence extends beyond visual arts into literature, film, and popular culture. It has inspired numerous adaptations, reinterpretations, and references, underscoring its timeless relevance and impact.
As an iconic work, "Las Meninas" continues to be a subject of exhibitions and scholarly research. Its presence in the Prado Museum remains a significant draw for visitors from around the world, eager to witness the masterful interplay of reality and illusion that Velázquez so expertly created.
In conclusion, Diego Velázquez's "Las Meninas" stands as a testament to the artist's genius and his profound understanding of the dynamics of court life, perspective, and the role of the viewer in the art experience. Its intricate layers and the mysteries it holds ensure that it will remain a pivotal work in the history of art, captivating and inspiring generations to come.