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Juan Bautista Martinez del Mazo

1612-1667 Spanish Juan Bautista Martinez del Mazo Gallery Mazo??s works owe credit above all to Vel??zquez, whose style he was long compelled to emulate in court portraits. However, Mazo shows in his paintings a personality of his own. His portraits exhibit startling naturalism and marvelously executed. Mazo was specially skillful in painting small figures, a cardinal element in both his hunting scenes and the landscapes he painted as in his most celebrate work View of Saragossa. Mazo??s palette was rather like that of Vel??zquez, except for a penchant often shown for stressing blue or bluish tints. .The departure from his master style was in his way of shaping people and things by highlights which flash the pictorial image towards the surface of the painting, even from the background.. As a counterbalance, an explicit, even emphatic, perspective design marks out the spatial confines of the composition, making it appear squarish.. A further departure from Velazquez is his luxurious depiction of detail or incident, which he achieved with brilliant, depthless strokes, whether on the figure of a sitter, a curtain on a wall, a floor, the surface of a river, or plain grounds. .These stylistic traits reveal Mazo??s own personality as an artist. .For centuries, Mazo??s paintings were attributed to Vel??zquez, but modern art criticism, techniques and knowledge have been able to separate their works.
Juan Bautista Martinez del Mazo Retrato de la infanta Margarita painting


Retrato de la infanta Margarita
Retrato de la infanta Margarita
Painting ID::  76573
   ca. 1659(1659) Oil on canvas 212 ?? 147 cm (83.5 ?? 57.9 in) cjr
  ca. 1659(1659) Oil on canvas 212 ?? 147 cm (83.5 ?? 57.9 in) cjr

 
 
   
      

Juan Bautista Martinez del Mazo

1612-1667 Spanish Juan Bautista Martinez del Mazo Gallery Mazo??s works owe credit above all to Vel??zquez, whose style he was long compelled to emulate in court portraits. However, Mazo shows in his paintings a personality of his own. His portraits exhibit startling naturalism and marvelously executed. Mazo was specially skillful in painting small figures, a cardinal element in both his hunting scenes and the landscapes he painted as in his most celebrate work View of Saragossa. Mazo??s palette was rather like that of Vel??zquez, except for a penchant often shown for stressing blue or bluish tints. .The departure from his master style was in his way of shaping people and things by highlights which flash the pictorial image towards the surface of the painting, even from the background.. As a counterbalance, an explicit, even emphatic, perspective design marks out the spatial confines of the composition, making it appear squarish.. A further departure from Velazquez is his luxurious depiction of detail or incident, which he achieved with brilliant, depthless strokes, whether on the figure of a sitter, a curtain on a wall, a floor, the surface of a river, or plain grounds. .These stylistic traits reveal Mazo??s own personality as an artist. .For centuries, Mazo??s paintings were attributed to Vel??zquez, but modern art criticism, techniques and knowledge have been able to separate their works.
Juan Bautista Martinez del Mazo Retrato de la infanta Margarita painting


Retrato de la infanta Margarita
Retrato de la infanta Margarita
Painting ID::  78441
   ca. 1659(1659) Medium Oil on canvas Dimensions 212 x 147 cm (83.5 x 57.9 in) cyf
  ca. 1659(1659) Medium Oil on canvas Dimensions 212 x 147 cm (83.5 x 57.9 in) cyf

 
 
   
      

Diego Velazquez

Spanish Baroque Era Painter, 1599-1660 Spanish painter. He was one of the most important European artists of the 17th century, spending his career from 1623 in the service of Philip IV of Spain. His early canvases comprised bodegones and religious paintings, but as a court artist he was largely occupied in executing portraits, while also producing some historical, mythological and further religious works. His painting was deeply affected by the work of Rubens and by Venetian artists, especially Titian, as well as by the experience of two trips (1629-31 and 1649-51) to Italy. Under these joint influences he developed a uniquely personal style characterized by very loose, expressive brushwork. Although he had no immediate followers, he was greatly admired by such later painters as Goya and Manet
Diego Velazquez Retrato de la infanta Margarita painting


Retrato de la infanta Margarita
Retrato de la infanta Margarita
Painting ID::  78635
   1653(1653) Medium Oil on canvas Dimensions 70 x 59 cm (27.6 x 23.2 in) cyf
  1653(1653) Medium Oil on canvas Dimensions 70 x 59 cm (27.6 x 23.2 in) cyf

 
 
   
      

Diego Velazquez

Spanish Baroque Era Painter, 1599-1660 Spanish painter. He was one of the most important European artists of the 17th century, spending his career from 1623 in the service of Philip IV of Spain. His early canvases comprised bodegones and religious paintings, but as a court artist he was largely occupied in executing portraits, while also producing some historical, mythological and further religious works. His painting was deeply affected by the work of Rubens and by Venetian artists, especially Titian, as well as by the experience of two trips (1629-31 and 1649-51) to Italy. Under these joint influences he developed a uniquely personal style characterized by very loose, expressive brushwork. Although he had no immediate followers, he was greatly admired by such later painters as Goya and Manet
Diego Velazquez Retrato de la infanta Margarita painting


Retrato de la infanta Margarita
Retrato de la infanta Margarita
Painting ID::  79310
   . 1653(1653) Medium Oil on canvas Dimensions 70 x 59 cm (27.6 x 23.2 in) cyf
  . 1653(1653) Medium Oil on canvas Dimensions 70 x 59 cm (27.6 x 23.2 in) cyf

 
 
   
      

Diego Velazquez

Spanish Baroque Era Painter, 1599-1660 Spanish painter. He was one of the most important European artists of the 17th century, spending his career from 1623 in the service of Philip IV of Spain. His early canvases comprised bodegones and religious paintings, but as a court artist he was largely occupied in executing portraits, while also producing some historical, mythological and further religious works. His painting was deeply affected by the work of Rubens and by Venetian artists, especially Titian, as well as by the experience of two trips (1629-31 and 1649-51) to Italy. Under these joint influences he developed a uniquely personal style characterized by very loose, expressive brushwork. Although he had no immediate followers, he was greatly admired by such later painters as Goya and Manet
Diego Velazquez Retrato de la infanta Margarita painting


Retrato de la infanta Margarita
Retrato de la infanta Margarita
Painting ID::  80057
   after 1655(1655) Medium Oil on canvas Dimensions 14 x 12 cm (5.5 x 4.7 in) cyf
  after 1655(1655) Medium Oil on canvas Dimensions 14 x 12 cm (5.5 x 4.7 in) cyf

 
 
   
      

Diego Velazquez

Spanish Baroque Era Painter, 1599-1660 Spanish painter. He was one of the most important European artists of the 17th century, spending his career from 1623 in the service of Philip IV of Spain. His early canvases comprised bodegones and religious paintings, but as a court artist he was largely occupied in executing portraits, while also producing some historical, mythological and further religious works. His painting was deeply affected by the work of Rubens and by Venetian artists, especially Titian, as well as by the experience of two trips (1629-31 and 1649-51) to Italy. Under these joint influences he developed a uniquely personal style characterized by very loose, expressive brushwork. Although he had no immediate followers, he was greatly admired by such later painters as Goya and Manet
Diego Velazquez Retrato de la infanta Margarita painting


Retrato de la infanta Margarita
Retrato de la infanta Margarita
Painting ID::  80069
   between 1654(1654) and 1655(1655) Medium Oil on canvas cyf
  between 1654(1654) and 1655(1655) Medium Oil on canvas cyf

 
 
   
      
Diego Velazquez
Spanish Baroque Era Painter, 1599-1660 Spanish painter. He was one of the most important European artists of the 17th century, spending his career from 1623 in the service of Philip IV of Spain. His early canvases comprised bodegones and religious paintings, but as a court artist he was largely occupied in executing portraits, while also producing some historical, mythological and further religious works. His painting was deeply affected by the work of Rubens and by Venetian artists, especially Titian, as well as by the experience of two trips (1629-31 and 1649-51) to Italy. Under these joint influences he developed a uniquely personal style characterized by very loose, expressive brushwork. Although he had no immediate followers, he was greatly admired by such later painters as Goya and Manet
Retrato de la infanta Margarita
between 1654(1654) and 1655(1655) Medium Oil on canvas cyf
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