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This series of court entertainers was painted by the Spanish painter Diego Velázquez (1599-1660) in the mid 1600s (in the midst of the Baroque era). Velázquez was born in Seville, the cultural capital of Spain during the Golden Age (which included the work of artists such as Murillo, El Greco, Zurbarán, and Cotan, and writers such as Cervantes). Velázquez was an apprentice with Francisco Pacheco and was influenced by Caravaggio’s Baroque style/the works of the Renaissance artist Titian as well. He is most notable for being a court painter to Philip IV, the reigning monarch of Spain. His most famous painting, Las Meninas, depicts Infanta Margarita, her attendants, portraits of the King and Queen in a mirror, and Velázquez himself. That painting and several other Velázquez’s and Goya’s hang majestically in the Prado Museum in Madrid today. Velázquez was a Baroque painter, and images during that time (1600s) were characterized by naturalism, drama, chiaroscuro, tenebrism, emotion, viewer involvement, split-second action, and a prominent diagonal composition. Spanish Baroque paintings tended to be more natural; this preference for truthfulness led to the Bodega painting (scenes of everyday life). Besides courtiers and royalty, Velázquez painted figures from mythology (i.e. The Forge of Vulcan), religion, and everyday life. The series here is Los Bufones; it depicts the court jesters of Philip IV (i.e. dwarfs and people with mental retardation who were considered entertainment).
The first painting is “The Jester Don Sebastian de Morra” painted in 1645. This oil on canvas depicts a dwarf in a truthful, almost rugged way. The brushstrokes are not blended completely; for example, the clenched fists are just a mess of paint. Morra stares out at the viewer, confronting them forcefully. His expression is one of anger—he’s trapped in a body that is meant to amuse others. Most notable about this image is the skillful foreshortening of the feet which emphasizes Morra’s small stature. The rich colors (i.e. the red cape) and the contrast of light and dark are hallmarks of Baroque painting. The way in which Velázquez depicted Morra was meant to reveal his personality; he is a real person, not just a laughable object of the court. The second painting is “The Jester Calabacillas” or “Calabazas” made in 1637. A Calabash is a gourd/melon; this man is mentally retarded so his head is supposed to be “empty as a gourd.” There is also incomplete blending of pigments (i.e. on the collar) which is similar to the “salad of brushstrokes” on the corsage of Infanta Margarita in Las Meninas. Gourds and other play things are next to Calabazas, and his head is illuminated through chiaroscuro. Also, Calabazas is seated, so the viewer is looking down on him; he’s inferior to the viewer and ultimately to Philip IV. However, Velázquez treats him with humanity in a sensitive, realistic way.
El Nino de Vallecas
The third and final image is “Court Dwarf, Don Francisco Lezcano called ‘El Nino de Vallecas’ ” painted in 1637. Again, there is foreshortening in the feet like Morra, and the figure is toying with several letters in his hand. Vallecas is a village in Madrid that was traditionally known for being “working class”; check out the Wikipedia page here. Francisco is shown as innocent, unaware, and more childish compared to the anger and attentiveness of Morra, another dwarf. Interestingly, there is a blue, hazy, and stormy landscape behind Francisco similar to the swirling background in “The Surrender of Breda” that Velazquez painted in 1634.
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