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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