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It may be remembered that the great Spaniard began his apprenticeship to art by copying still-life, which he did in a superlative manner; his Bodegones, or kitchen pieces, testify to this. Chardin, who led as laborious an existence as Degas, shutting himself away from the world, studied surfaces with an intensity that Zola, the apostle of realism, would have misunderstood.
In 1649 Pacheco published a book on painting, in which we are told that the first attempts of Velasquez were studies in still life, or simple compositions of actual figures, called bodegones in Spanish, of which we have a fair example at the National Gallery in the Christ at the House of Martha.
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