Study Notes on Velázquez’s Last Portrait of Philip IV and its Context

Introduction

  • Presenter: Javier Portús Pérez Velázquez

  • Topic: The last portrait of Philip IV at the Bilbao Fine Arts Museum.

Copyright Information

  • Usage Policy:

    • Using and copying images are prohibited unless expressly authorized by the owners of the photographs and/or copyright holders.

  • Text and image credits detailed:

    • © Bilboko Arte Ederren Museoa Fundazioa - Fundación Museo de Bellas Artes de Bilbao.

    • Photography Credits:

    • Biblioteca Nacional de España: figs. 4-5

    • Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao: figs. 1-3

    • Cincinnati Art Museum, Ohio, USA: fig. 10

    • KHM-Museumsverband: figs. 9 and 12

    • Museo Nacional del Prado, Madrid: figs. 6 and 8

    • Real Academia de Bellas Artes de San Fernando: fig. 11

    • The National Gallery, London: fig. 7

  • License: This text published under an Attribution-NonCommercial-NoDerivs Creative Commons license (BY-NC-ND), version 4.0.

Historical Acquisition

  • Year of Arrival: 1927

  • Portrait Description: Bust portrait of a mature Philip IV.

  • Acquisition Mediator: Francisco Durrio from the Paris art market, originally from Russia post-1917 Revolution.

  • Artist Attribution:

    • Initial suggestion of Juan Carreño de Miranda as the artist.

    • Revised consensus identifying it as a product of Velázquez's workshop or circle.

  • Restoration Insights: Recent restoration provided insights into the portrait's original values and characteristics.

  • Historical Ownership:

    • Initially owned by Prince Cheremetieff (relevant citations: Lasterra 1969 and Museo de Bellas Artes de Bilbao 1999).

Artist Background: Diego Velázquez

  • Life Span: 1599-1660

  • Portrait of Philip IV (fragment): c. 1657, Oil on canvas, dimensions 40.5 x 32.5 cm, Bilbao Fine Arts Museum, Inventory no. 69/237.

Fragmentary Nature of the Painting

  • Confirmation through x-ray analysis:

    • The current portrait is a "cut-out" with a wide strip around its perimeter added later.

  • Tension Lines:

    • Observed on the canvas indicating its mounting on a stretcher.

    • Undulations present more at the perimeter than in the central area.

  • Original Dimensions Estimation: Likely between 65-70 cm tall and approximately 55 cm wide.

    • Linked to 20 similar works indicating a high production volume due to the monarch's activity and royalty's image control.

Philip IV: Historical Context

  • Born: 1605, Died: 1665

  • Notable Features: Portrait requests intensified as the royal family expanded after remarrying in 1649.

  • Countess of Paredes de Nava: Correspondence reveals ongoing requests for royal portraits starting in 1648, especially regarding the infanta María Teresa's updates.

  • Psychological Insights: Revealed issues in securing Philip IV's portraits due to his reluctance to see evidence of aging.

    • Quotes:

    • King stated, “My portrait was not sent because it is nine years since the last was made…” indicating his awareness of aging.

Portrait Chronology and Technique

  • Key Events:

    • 1651: Requests for additional portraits post-matrimony, leading to intensified pressure for images.

  • Key Paintings for Reference:

    • 1655 print from Rule and Establishment of the Order of Santiago, Madrid.

    • 1657 print by Friar Francisco de los Santos, which provides visual references to Philip IV's evolution.

  • Differences in Artistic Approach:

    • Varied representations of hair and clothing across different portraits, affecting the overall perception of the monarch's image.

Technical Details on Painting Methods

  • Medium: Oil on canvas

  • Artistic Approach: Notable for limited color range and minimal compositional resources. Demonstrated Velázquez's unique ability to create depth and perception of space.

  • Differences in Official vs. Prototype Use:

    • Notably plain execution suggests a functional prototype rather than an official image.

  • Portrait Immediacy: Noted for emotional resonance and stark representation.

Replication and Distribution of Portraits

  • Multiplicity of Philip IV’s Images:

    • At least 20 known versions were produced, fulfilling demand for the monarch's likeness throughout his reign.

    • Changing styles and nuances compared to the original indicated workshop adaptations for various contexts.

Conclusion on Portrait's Legacy

  • Impact: These portraits represent not only artistic achievements but also a form of political and social documentation.

  • Velázquez’s Workshop: Ongoing investigations aim to uncover workshop methods, patronage, and how portraits served as both art and royal propaganda.