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Here Velasquez soon learned that untiring industry and the study of nature were the surest guides to perfection for an artist. Until 1622 he painted pictures from careful studies of common life, and always with the model or subject before him adhering strictly to form, color, and outline.
Men like Holman Hunt, on the one hand, and on the other hand Whistler, living and working at the same time, exhibiting their works in the same galleries, differ even more in their ideals than Velasquez differed from the fifteenth-century painters of Italy. Facts such as these make the study of modern art difficult.
She looked as if she might have stepped from out the frame of one of the pictures of Velasquez. Her beauty was striking. Fanfar grasped it, Caillette studied it. "Pray tell me," said the young lady to Gudel, "if you have no seats where I can avoid contact with the crowd? I am ready to pay any sum you ask." "Oh! we have but one price, ten sous."
The style proves an earlier date than 1650. The cardinal withdrew from the cardinalate after three years, 1644-47 > and married. The portrait was acquired by the American artist the late Francis Lathrop. Stevenson grants to the Metropolitan Museum a fruit-piece by Velasquez. Not so Beruete.
This was painted in 1609, when Rubens was over thirty years old. In 1627 Rubens went to Madrid on a diplomatic errand, but still as a painter, as we shall see when discussing his relations with Velasquez. Towards the end of the year 1629 he was sent on another diplomatic mission, this time to England.
"It is a device of the priest," said he; "he wants a mitre." 11 Yet he repeated the story to the judge Velasquez, who, instead of ordering the conspirators to be seized, and the proper steps taken for learning the truth of the accusation, seemed to be possessed with the same infatuation as Pizarro; and he bade the governor be under no apprehension, "for no harm should come to him, while the rod of justice," not a metaphorical badge of authority in Castile, "was in his hands." 12 Still, to obviate every possibility of danger, it was deemed prudent for Pizarro to abstain from going to mass on Sunday, and to remain at home on pretence of illness.
I suppose Velasquez was a better painter than El Greco, but custom stales one's admiration for him: the Cretan, sensual and tragic, proffers the mystery of his soul like a standing sacrifice.
No painter could live for a season in Madrid without being affected by the work of Velasquez; he might strive against the influence, fight to preserve his own eccentric originality and independence, but the very fact that for the time being he is confronted with a force, an influence, is sufficient to affect his own work, whether he accepts the influence reverentially or rejects it scoffingly.
On the south of Cuba there are a prodigious number of small islands, which were named the Queens Garden, by the admiral Don Christopher Columbus. There are other small islands on the north side, though not so numerous, which Velasquez named the Kings Garden.
Several of his pupils painted exactly like him, save that they neglected to breathe into the nostrils of their work the breath of life. But Velasquez seems to have encouraged Murillo to follow the bent of his moody and melancholy genius so Murillo was himself, not a diluted Velasquez.
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