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The scene is a room in one of the royal palaces, in which the little is being offered by one of her maids of honour, with a low curtsy, a tray with a little bottle of Infanta Margarita scent or water. it 54 is But the effect is the very reverse of formality; an intimate, almost casually chosen moment. figures are conversing; a child rests a foot on a Two dog; a chamberlain lifts a painting; in a sense, a curtain; the artist himself happening. Yet Velasquez here gives us the most is at work on nothing of any importance is and subtlest of all things to convey by pictorial means, a difficult complex o{ personal relationships.

I^^Sijf. x 7's"i'''^5 *^ O^ m ^^5J~ Maini 0<^' Sockr. : wfadc coc. qiulky qu:: tbeimpaa 1628- c;u£i. s siUiI:o. ii-t r 51 for Rubens's visit were diplomatic, but while in Madrid he carried out an immense programme of work, painting portraits of the king, the queen and other members of the as well as some thirty^odd copies after Raphael and Tintoretto. The vigour of Rubens's royal family, Titian, personality, the ripe sensuousness of his forms, the flow and variety of his technique must have made an immense It was probably on the ad/ June 1629, Velasquez set out for impression upon Velasquez.

His melancholic temperament and excitable fantasy must have been in painful conflict with this Roman environment. The force of his poetic inventiveness found clearest expression in his drawings and etchings. Florence produced no painter of absolutely first rank during the whole Baroque period. Even before the beginning of the century, Lodovico Cigoli had, in his 1597 Martyrdom of St Stephen (Florence, Palazzo Pitti), used powerful diagonal movements, deep recession, and interlocked groupings of figures cipated the Baroque later works make dental.

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Baroque and Rococo by A. C. Sewter


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