Bermúdez's writings on the painting were published posthumously in 1885. At the time, van Eyck's painting hung in Philip's palace, and would have been familiar to Velázquez. The words spoken by the sovereign are always treated as a command and so we may owe this masterpiece to a passing wish which only Velazquez was able to turn into reality."  Stone writes: We cannot take in all the figures of the painting in one glance. From the figure of the artist, the viewer's eye leaps again diagonally into the pictorial space. Lending weight to the latter idea are the gazes of three of the figures—Velázquez, the Infanta, and Maribarbola—who appear to be looking directly at the viewer.. This appearance of a total face, full-on to the viewer, draws the attention, and its importance is marked, tonally, by the contrasting frame of dark hair, the light on the hand and brush, and the skilfully placed triangle of light on the artist's sleeve, pointing directly to the face. López-Rey states that the truncation is more notable on the right. , The painted surface is divided into quarters horizontally and sevenths vertically; this grid is used to organise the elaborate grouping of characters, and was a common device at the time. The left cheek of the Infanta was almost completely repainted to compensate for a substantial loss of pigment. Velázquez uses this light not only to add volume and definition to each form but also to define the focal points of the painting. After his early death, Velazquez took up lodgings there.  Several experts, including the former Curator of the Department of Renaissance and Baroque Painting in the Museo del Prado and current Director of the Moll Institute of Studies of Flemish Paintings, in Madrid, Professor Matías Díaz Padrón, suggest that this "could be a model" painted by Velázquez before the completed work which hangs in the Museo del Prado, perhaps to be approved by the king. Information office in Spain: Las Meninas, or The Family of King Philip IV, Velázquez, The 3rd of May 1808 in Madrid or “The exectutions”, Goya, Carlos V at the Battle of Mühlburg, Titian, Nobleman with his Hand on his Chest, El Greco, The Drinkers, or The Triumph of Bacchus, Velázquez. This distinction was a point of controversy at the time. A clear geometric shape, like a lit face, draws the attention of the viewer more than a broken geometric shape such as the door, or a shadowed or oblique face such as that of the dwarf in the foreground or that of the man in the background. The meaning of Las Meninas is far from clear. The dog is thought to be descended from two mastiffs from Lyme Hall in Cheshire, given to Philip III in 1604 by James I of England.  It was damaged in the fire that destroyed the Alcázar in 1734, and was restored by court painter Juan García de Miranda (1677–1749). 00:05:07. In this respect, Calderón de la Barca's play Life is a Dream is commonly seen as the literary equivalent of Velázquez's painting: What is a life? Philip IV's first wife, Elizabeth of France, died in 1644, and their only son, Balthasar Charles, died two years later. It is a meticulous copy made in Iowa City, painted in oil on 140 panels, which together reconstruct the actual size of the painting of 318 x 276 cm. Bankes described his purchase as "the glory of my collection", noting that he had been "a long while in treaty for it and was obliged to pay a high price".  In 2009 the Museo del Prado launched a project facilitating access to Las Meninas in mega high resolution through the Internet. Foucault describes the painting in meticulous detail, but in a language that is "neither prescribed by, nor filtered through the various texts of art-historical investigation". This painting, the most famous of Velázquez’s works, offers a complex composition built with admirable skill in the use of perspective, the depiction of light, and the representation of atmosphere. Sussman had assembled a team of 35, including an architect, a set designer, a choreographer, a costume designer, actors, actresses, and a film crew. A mirror on the back wall reflects the upper bodies and heads of two figures identified from other paintings, and by Palomino, as King Philip IV (10) and Queen Mariana (11). Although constrained by rigid etiquette, the art-loving king seems to have had a close relationship with the painter. The mirror image is only a reflection. Velázquez portrays himself, painting this very painting, on the left of the image, facing a canvas and holding a paintbrush.  The paintings are shown in the exact positions recorded in an inventory taken around this time. In 17th-century Spain, painters rarely enjoyed high social status. The cleaning provoked, according to the art historian Federico Zeri, "furious protests, not because the picture had been damaged in any way, but because it looked different".
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