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As if it much mattered. Velasquez's son-in-law, by the way, Juan Mazo, was the author of a number of imitations and forgeries. He was a true friend of the picture-dealers. Velasquez belonged to that rare family of sane genius. He was eminently the painter of daylight and not a nocturnal visionary, as was Rembrandt. Shakespeare, who had all the strings to his lyre, had also many daylight moments.
Educated at Holy Cross College and Boston University Law School. Married. Practised law for two years. Engaged in journalism since 1906. Author: "Loot," 1916; "Plunder," 1917; "The Sport of Kings," 1917. Lives at Castine, Me. *Dummy-Chucker. #Roche, Mazo De La.# Explorers of the Dawn. *Stepping Westward. #Rumsey, Frances.# Born in New York City in 1886. Educated in France.
Señor Beruete believes her to represent the daughter of the painter Mazo and his wife, Francisca Velasquez, therefore a granddaughter of Velasquez. The tonalities of this picture are subtly beautiful, the modelling mysterious, the expression vital and singularly child-like.
If the Venus of Velasquez should turn out to be a Spanish model by del Mazo, the great ones who guide us and teach the people to love art will see to it, I trust, that the picture is moved to a position befitting its mediocrity.
We only dream, we are plunged in sleep; I speak here on earth; but never can we speak in worthy terms here. In manel ye chalchihuitl, mantlamatilolli, on aya mazo ya ipalnemohuani ayac hueltic ilhuia nicana.
Hu inin titotolinia ma yuhquitimiquican ma omochiuh in mantech onittocan in tocnihuan in matech onahuacan in quauhtin y a ocelotl. Alas, we miserable ones, may it happen when we die that we may see our friends, that we may be with them in grandeur and strength. Mazo quiyocoli macaoc xictemachican, can antlahuicaya y caya amechmotlatili in ipalnemohuani, ohuaya.
In this pleasant picture, 'his wife dressed in a brown tunic over a red petticoat, sits in the foreground of a large room, with a pretty little girl leaning on her knees, and the rest of her children grouped around her; behind are the men in deep shadow, one of them, perhaps, being Mazo, the lover or the husband of the eldest daughter, and a nurse with a child; and in an alcove Velasquez himself appears, standing before his easel, at work on a portrait of Philip IV. This is one of the most important works of the master out of the Peninsula; the faces of the family sparkle on the sober background like gems.
He had his bed, board, house, and though he died penniless his good wife Juana only survived him seven days he had the satisfaction of knowing that he owed no man, and that his daughter had married his pupil Mazo. Velasquez was born at Seville in 1599; died at Madrid, 1660. His real name was Diego Rodriguez de Silva y Velasquez.
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