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Mother Jerónima de la Fuente, Diego Velazquez

Mother Jerónima de la Fuente, in Tiff cats, Madrid, 1936 .

Although the table is relatively large, the diminutive nun appears as if the passing years, asceticism and experience will have shrunk the physical without making a dent in the power of your character. Her eyes tired, his eyelids heavy, slightly reddened, mouth contracted into a rictus willful. In a bony hand, furrowed with veins, holding a book, with the other clutching a crucifix very glans. Has diverted his eyes for a moment the image of Jesus crucified to fix briefly on the man who is painting and then, for centuries to come, to anyone who stops to admire the picture. Its appearance is severe, but his gaze is compassionate and understanding.
In Madrid there are two identical portraits, both attributed to Velazquez. This is the best and the other is in a private collection. The two are headed by a motto, obscured by the passage of time, but easily readable: Bonum Est Cum Pretolare Silentio Salutare Dei. Means "It's a good thing to wait for God's salvation in silence." The other portrait has also a pennant with another slogan I do not remember entirely, but that is to say, "His glory will be my own satisfaction."

Acedo

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Acedo, Francisco Lezcano Cousin and

Diego, the cousin and Francisco Lezcano, Velazquez, in Tiff cats, Madrid, 1936 .

Diego de Acedo, nicknamed El Primo, and Francisco Lezcano have enjoyed in this world of a rank equal to or lower than the dogs if I had not done Velázquez into immortality through the front door . Lezcano Acedo and two dwarfs were attached to the large cast of buffoons of the court of Philip IV. The paintings displayed are large, five feet high by eighty-five centimeters wide. The portraits of the Infanta Margarita and Maria Teresa measure the same. It is also identical look of the painter on his models, whether children or dwarfs human, without praise or compassion. Velazquez is not God and no se siente llamado a juzgar un mundo que ya ha encontrado hecho y sin remedio; su misión se ciñe a reproducirlo tal cual es, y a eso se aplica. Obviamente Lezcano padece idiocia; probablemente Acedo también. A pesar de sus escasas luces, o quizá para resaltar el hecho, los dos bufones hacen cosas que requieren un mínimo de inteligencia y de aprendizaje, dos cualidades de las que carecen: El Primo sostiene un libro abierto casi tan voluminoso como él mismo; Lezcano coge un mazo de cartas como si fuera a repartir juego. La página abierta del libro de Acedo parece escrita e incluso ilustrada, pero sólo es un truco habitual en Velázquez: vistos de cerca, letra y dibujo sólo son una mancha uniforme. Lo mismo ocurre con la deck. Clowns occupy most of the canvas, to the right of each composition is the outline of the Sierra de Guadarrama, the remoteness of the mountains and the lack of other places regarding the dwarfs in the field, the light, at a time later, the group suggests abandonment. The majesty of the mountains in the background and foreground, the paradigm of smallness and helplessness.

Dwarves do not answer. Look ahead, not the viewer, but to something else, surely that Velazquez himself is painting, perhaps to infinity. This indifference does not surprise Anthony, who did not expect more. For him, the dwarf represent the people of Madrid, silent companions on a journey into the abyss.

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The Mirror venus

The Rokeby Venus by Velázquez in Tiff cats, Madrid, 1936 , Eduardo Mendoza:

English painters of the time knew the art of the nude, but in Spain at the counter, only applied to the male anatomy: scenes of martyrdom and countless crucifixions and descents. In this sense, as in many others, Velazquez had a privileged location as a courtier received private commissions and was able to exercise his art in all genres, including mythology: The Triumph of Bacchus, The Forge of Vulcan and a few others. Among them, Venus and Cupid, who is now in the National Gallery in London and is the first nude in English painting and for a long time alone.
In the decade from 1640 to 1650, Velazquez had reached the height of his fame, "he continued, trying to print to a neutral voice, and irrespective of his duties as court painter, received and accepted orders from major personalities of the nobility and clergy. One such customer was Don Gaspar Gómez de Haro, son of the Marquis del Carpio, who succeeded the Count Duke of Olivares as a favorite of Philip IV.

Don Gaspar was a very powerful man and a passionate art collector, and Velázquez commissioned a painting of mythological: a nude Venus in the manner of Titian. Despite the unusual charge, the company undertook Velázquez with evident relish, judging by the result. When the table was ready, Don Gaspar wisely kept it in his palace and nobody saw it until many years later, when all the protagonists of this story had already died.

Don Gaspar Gómez de Haro was not only an art connoisseur, but a man of licentious. His personality was closer Don Juan Tenorio of San Juan de la Cruz, to say the least. Perhaps this weakness led him to commission a painting Velázquez incompatible with the morals of his time. In any case, the question is this: Who is the woman in the picture? Did you use either a model Velázquez, possibly a prostitute, to represent Venus, or the model was, as some say, one of the mistresses of Don Gaspar, whose forms he wanted to perpetuate on the web? What if, as some have suggested, the woman's portrait is none other than his own wife of Don Gaspar? Proponents of this view argue, by way of proof, that the features of the Venus of the table, reflected in the mirror held by Cupid, were deliberately obscured by the artist to avoid identification, unnecessary thing it had been a simple prostitute.

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Velázquez portrait of Philip IV by Velázquez and Aesop

The portrait of Philip IV by Velázquez in Tiff Gatos, 1936, by Eduardo Mendoza

The label says: Portrait of Philip in brown and silver TV, for understood, Philip Silver. The portrait shows a young man of noble traits but not graceful, long face framed in golden curls, and concerned the watchful eye of one who strives for greatness when you show what you feel is fear. Fate has placed a heavy burden on a back weak and inexperienced. Felipe IV wears jacket and brown trousers with lavish embroidered in silver. Hence the name and the nickname you know the work. A gloved hand with a gallant gesture rests on the hilt of the sword in the other holding a folded paper containing the name of the portrait: Diego de Silva. Velazquez had come to Madrid in 1622 in the wake of his compatriot, the Count Duke of Olivares, a year after the accession to the throne of Philip IV. Velasquez was twenty-four, six more than the King, and had a significant painting technique, but remnants still provincial. Seeing the works of aspiring court painter, Philip IV, who was dull to affairs of state but not for art, he realized that he was in front of a genius and, ignoring opposition from the experts, decided to entrust his image and his family to the young indolent and challenging, insulting modernity. When it entered history through the front door. Maybe between the two men were treated governed only by the label palace. But in the intricate world of court intrigue, never wavered on his support of King's favorite painter. Both shared decades of solitude, of Crossed Destinies. The gods had given to Philip IV all power imaginable, but he was only interested in the art. Velazquez had received the gift of being one of the largest painters of all time, but he just wanted a little power. In the end the two were carried out her wishes.

Felipe IV's death left a ruined country, a decaying empire and ill fated heir to settle the Habsburg dynasty, but bequeathed to Spain the most extraordinary gallery in the world. Velázquez subordinated art to his desire to thrive on the court without further credentials to his talent. He painted little and reluctantly, to obey and please the King, no other purpose than to earn their social status. At the end of his life won the coveted flag.

In the same room, at the same cloth wall a few meters from the splendid picture, there is another portrait of Philip IV, Velázquez also. Mediate between the two thirty. The first picture is nearly two meters high and one wide peak and represents the monarch of the whole body, the second measuring just two feet from side and represents only the head on a black jacket as just outlined. Naturally, the features are the same in both pictures, but there the complexion is pale and dull, there is some tenderness in the cheeks and jowls and bags under his eyes sad, dull eyes.

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Velazquez Menippus

Menippus and Aesop Velázquez in Brawl Cat of Eduardo Mendoza:

was going to see The Spinners, but Menippus pass stopped dead, enjoined by the look of that character, half philosopher, half rogue. It had always seemed strange choice of subject by Velázquez. In 1640 Velazquez painted two portraits, Menippus and Aesop, intended to compete in the king's favor with two very similar portraits of Peter Paul Rubens, who was then in Madrid. Rubens painted Democritus and Heraclitus, two Greek philosophers of fame. By contrast, Velazquez chose two characters of little importance, one almost unknown. Aesop was Menippus a fabulist and a cynical philosopher sure that nothing has come to us except what we have Lucian and Diogenes Laertius. According to them, Menippus born into slavery and joined the sect of Cynics, won a lot of money by dubious methods in Thebes righteousness and that he had lost. The legend relates that he ascended to Olympus and descended into Hades found in both places the same: corruption, deceit and villainy. Velázquez portrays him as a thin man, elderly but still full of energy, dressed in rags, without home or possessions and no resources but his intelligence and serenity in the face of adversity.

Aesop painting your partner, holding a thick book in his right hand, which are certainly written his famous but humble fables. A Menippus also accompanied by a book, but is on the ground, open and with a torn page, as if everything had been written without interest. What would have meant choosing this character Velázquez evanescent, always coming to any goal, except the incessant and repeated disappointment? In those years Velazquez was just the opposite: a young artist in search of artistic recognition, and above all, the social upliftment. Maybe painted Menippus as a warning to remind himself that the end of the road to the summit is not expected us to glory, but disenchantment.

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Death of Actaeon, by Titian

Eduardo Mendoza, Tiff cats, Madrid, 1936:

Anthony left alone reviewed the pictures hanging on the walls. Most were hunting scenes, including a powerful call your attention. Death of Actaeon happens to be one of the most important works of Titian's maturity. The table now beheld was a beautiful copy of the original, that Anthony had never had occasion to contemplate, though he had seen many films and had read enough to recognize the work immediately. The issue came from several sources, although the best known was Ovid's Metamorphoses. Going hunting with friends, Actaeon is lost and wandering through the woods when it surprises Diana was stripped of his clothes to swim in a pond. Irritated, the goddess transformed Actaeon into a stag and torn to pieces by his own dogs. Without that seems relevant, Ovid gives the name of all dogs that made up the pack of Acteon, and in many cases their parents, indicating their origin and lists his attributes. The accumulation of detail just to make more distressing a massacre in which All participants were known but not recognized and can communicate. Ovid's account that the first to reach his master become deer are two dogs that were lagging behind but had taken a shortcut. This tragic event, says the poet, do not blame anyone, because it is a crime to have taken the wrong road. Other versions say that Actaeon had wanted to seduce the goddess, by word or by force. Minimize other causes, no one can spot a deity, with or without clothes, and come out unscathed. Titian represents the scene of an incoherent: Diana and still keeps his clothes instead of cursing Actaeon looks as if about to throw an arrow or would have already launched, the transformation of the unfortunate Hunter has not just begun, still retains its body of man, but he has left a stag's head disproportionately small, this does not prevent dogs and attack him with the ferocity that would put in a regular game piece, though rigor should have recognized the smell of his master. At first glance, these failures could be attributed to the precipitation or the unwillingness of the artist in a commissioned work. Titian, however, painted at the end of his life and his execution has invested more than ten years. At his death, the painting was still held by the painter. Passed through several hands and visited several countries to end up in a private collection in England. The copy Anthony was now examining a somewhat smaller than the original and had been made, as could be inferred in the late nineteenth century, by a competent scribe. How he came to the hall of that palace in Madrid was a mystery to solve when it was interrupted by a voice behind him.

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Don Juan de Austria, Il Furore

Eduardo Mendoza, Tiff cats, Madrid, 1936:

Anthony Whitelands n or is intending to write anything, but as a pilgrim who came to the place where we honor the saint, to implore his protection. With this vague feeling, stops in front of a table, find the appropriate distance, cleaned the glasses and looks motionless, hardly breathing.

Velázquez painted the portrait of Don Juan of Austria at the same age who now has the English that provides awe. In his day was part of a collection of buffoons and dwarfs intended to decorate the royal apartments. That someone could instruct a great artist's portraits of these pathetic creatures and then convert the pictures in order preeminent decor may be shocking today, but must not be so and, ultimately, what matters is that the strange King's whim gave rise to these tremendous works.

Unlike his co-collection, the individual nicknamed Don Juan of Austria did not have permanent employment court. He was a part-time clown, occasionally hired to fill a temporary absence or to strengthen the staff of the sick, idiotic and insane to amuse the king and his companions. The files do not retain their name, only his nickname extravagant. Equate the military's largest armies Imperial and natural son of Charles V had to be part of the joke. In the portrait, the clown, to do honor to his name, has his feet a musket, a breastplate, helmet and balls that could be cannon balls, small arms, her dress is royal, wields a baton and hat is covered with a disproportionately large, slightly twisted, topped by an ornate headdress. These sumptuous garments do not conceal the reality, but the show, he immediately notices a ridiculous mustache and a scowl that with a few centuries before him a little like Nietzsche. The clown is no longer young. It has the rough hands, legs, however, are thin and show a fragile complexion. The face is extremely skinny, prominent cheekbones, his eyes evasive, suspicious. For more fun behind the character, to one side of the table, we foresee a naval battle and its aftermath: a ship on fire, black smoke. The real Don Juan of Austria had sent the English fleet at the Battle of Lepanto against the Turks, the greatest feat ever met, in the words of Cervantes. The battle of the picture remains unclear: it may be a fragment of reality, an allegory, a parody or a fool's dream. The effect is intended to be satirical, but English is clouded eyes to contemplate a battle described by a technique that is ahead all his time painting and Turner used the same purpose.

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Velázquez, bust of Carlos V, Leone Leoni

Eduardo Mendoza in Tiff cats, Madrid 1936 , on account of its English protagonist, Anthony Whitelands, a specialist in English art, says a seires artwork. Let's see.

Indifferent to everything that is not reunited with their cherished museum, Anthony stops for a brief moment before Il Furore, the effigy of Charles V cast in bronze by Leone Leoni. The emperor, Roman armor clad, clutching a spear while at his feet, beaten and chained, the portrayal of violence subdued wild lies, his nose pressed against the back of the winner, which represents the order and imposes on the earth, by divine command and regardless of media.

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bronze representation of paradise

The word paradise comes from the pari-daiza Persian through the Greek paradeisos , a garden surrounded by a wall that protected him from the hot desert winds. The image of the Garden of Eden or Paradise Lost of Genesis comes from there.

The Gospel does not describe paradise, but it speaks of the kingdom of heaven, which more than one place is a situation or a state.

is in the third century, with St. Cyprian, when happiness is represented as a place, a garden, the Christian paradise, which relates to "a land whose lush green fields covered in food plants and maintain the fragrant flowers. " Image is represented in the mosaic of St. Apollinaris in Classe in Ravenna , a wide, green meadow, majestic trees, grass can, flowers, birds and sheep.

also appears as ideal city or the heavenly Jerusalem, in Revelation, a city protected by high walls, which rest on solid foundations and enlightened by the glory of God, as a consolation to the persecuted Christians.

by the end of the XV and XVI appears as the heavenly court where Queen Mary surrounded by angels singers and musicians . Then, happiness in paradise was to be with Christ, with Mary, his court and listen to lovely music.

The sky occupies Baroque domes of churches, the church itself is paradise. Thus, for example in Assumption of Correggio in the dome of Parma.

Finally, more recently, and since the Reformation, is looking for paradise within oneself, and in some case, as the Jansenists of Port Royal to the contempt of the world.

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Barber Shop, 1931

Edward Hopper, Barber Shop, 1931. This was seen Muñoz Molina.

this morning, at the Whitney, I appreciated more the presence of a bank because it has allowed me to slow down a box look Hopper could not remember ever seeing in reality, large format, bright colors, with a these compositions of his that give an impression of naturalness or chance and yet they are full of oddities: Barber Shop, 1931. Certainly is a photogenic picture, as would Genoese, but do not think any photo will do justice: Midi clarity is the one on the wall clock comes from the street through the large storefront window and dazzle the white walls and the barber's jacket, and makes clean green uniform of his assistant, responsible for the manicure, which uses a truce leisure to get lost in reading a magazine. Perhaps most amazing of all is the mirror, which should reflect the client's face being care: but the mirror is a stain, color gauze pierced by light, and an oval face is stripped of features, a presence so alien, so tight, as the barber who is almost back to us or assistant leaning over the magazine. Blue shadows give shape to the volume of things, diagonally divided space: each target has its own tone, texture, accurate, always austere.