List of works by Diego Velázquez

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This is a list of paintings and drawings by the 17th-century Spanish artist Diego Velázquez. Velázquez was not prolific; he is estimated to have produced between only 110 and 120 known canvases.[1] Among these paintings, however, are many widely known and influential works.

All paintings are in oil on canvas unless noted.

Seville (until 1622)

Painting Títle Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
Diego Velázquez - The Three Musicians - Google Art Project.jpg Tres músicos 1617–1618 87 × 110 Staatliche Museen, Berlín 1/1
Diego Velázquez 016.jpg The Lunch c. 1618 108.5 × 102 Hermitage, Saint Petersburg 2/3
150px La mulata c. 1620 55 × 118 National Gallery of Ireland, Dublin The dates proposed by critics range from 1617 to 1622. 3/17
150px Old Woman Cooking Eggs 1618 100.5 × 119.5 National Gallery of Scotland, Edinburgh Dated in the lower right corner. 5/6
Cristo en casa de Marta y María, by Diego Velázquez.jpg Christ in the House of Martha and Mary 1618 60 × 103.5 National Gallery of London Dated. 6/7
150px Dos jóvenes a la mesa 1622 65.3 × 104 Apsley House, London 9/24
150px Saint Thomas 1619–1620 95 × 73 Musée des Beaux-Arts d'Orléans, Orléans 10/10
Virgin Mary - Diego Velazquez.jpg Immaculate Conception 1619 135 × 101.6 National Gallery of London 11/11
150px San Juan en Patmos 1619 135.5 × 102.2 National Gallery of London 12/12
150px Adoration of the Magi 1619 204 × 126.5 Museo del Prado, Madrid Dated in the stone under the foot of the Virgin. 13/13
150px San Pablo 1619–1620 99 × 78 Museu Nacional d'Art de Catalunya, Barcelona 14/14
150px Cabeza de apóstol 1622 38 × 29 Museo del Prado, Madrid 15/15
150px The Waterseller of Seville 1620 106.7 × 81 Apsley House, London 16/16
150px Don Cristóbal Suárez de Ribera 1620 207 × 148 Museum of Fine Arts of Seville Signed and dated in a fold of clothing difficult to read.[2] This would be a posthumous portrait, as the sitter died in 1618, although Mayer thought that monogram and date could be apocryphal.[3] 17/19
Madre Jerónima de la Fuente, by Diego Velázquez.jpg La venerable madre Jerónima de la Fuente 1620 162 × 107 Museo del Prado, Madrid Signed and dated "Diego Velazquez f. 1620". The phylactery around the cross with its inscription, now illegible, was erased in 1944, after entering at the Museum, for having believed apocryphal.[4] 18/20
150px La venerable madre Jerónima de la Fuente 1620 162.5 × 105 Colección Fernández Araoz, Madrid Signed and dated "Diego Velazquez f. 1620". Added at a later date under the hand of others.[5] 19/21
150px Imposición de la casulla a San Ildefonso 1620–1623 166 × 120 Municipality of Seville In poor condition with significant loss of paint. 20/22
150px Retrato de caballero/Francisco Pacheco 1620–1622 40 × 36 Museo del Prado, Madrid 21/23

Madrid (1622–29)

Painting Títle Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
150px Portrait of Don Luis de Góngora 1622 50.3 × 40.5 Museum of Fine Arts, Boston 22/25
150px Retrato de hombre 1623–1624 55.5 × 38 Museo del Prado, Madrid Allende-Salazar (1925), Mayer (1936) and Camón Aznar estimate that this could be a self-portrait. López-Rey and Brown think that the subject could be the artist's brother Juan, also a painter.[6] 24/27
Retrato de Felipe IV, by Diego Velázquez.jpg Felipe IV 1623–1624 61.6 × 48.2 Meadows Museum, Dallas Brown believes that this may be a portrait of the king,[7] an hypothesis rejected by López-Rey.[8] 25/28
150px Retrato de dama 1625 32 × 24 Once in the Royal Palace of Madrid. Current whereabouts unknown. This is a fragment of a larger portrait probably damaged in the fire of Alcazar.[9] 28/31
150px Cabeza de venado 1626–1628 58 × 44.5 Museo del Prado, Madrid Dating is controversial. Most critics suggest 1635.[10] López-Rey gives 1626, based on 1637 information from a picture of a deer antler painted by Velázquez bearing the inscription "Le mató el Rey nuestro Sr. Phe. quarto el year 1626".[11] A technical study by Carmen Garrido placed the date between 1626 and 1628.[12] 31/33
150px Cristo contemplado por el alma cristiana 1626–1628 165 × 206.4 National Gallery of London 32/35
150px Felipe IV 1623–1628 198 × 101.5 Museo del Prado, Madrid 33/36
Carlos de Austria, infante de España.jpg Portrait of the Infante Don Carlos 1626–1628 209 × 12 Museo del Prado, Madrid 34/37
150px Portrait of Philip IV in Armour c. 1628 57 × 44.5 Museo del Prado, Madrid This is considered a fragment of a larger work painted in two stages, reforming the dress and adding the red band in the second.[13] 35/38
0208vela.jpg Demócrito/El geógrafo 1628–1629 101 × 81 Musée des Beaux-Arts de Rouen Head and hand repainted around 1640. Radiography shows the left hand formerly contained a drink, as it appears in two copies preserved.[14] 37/40
150px The Triumph of Bacchus 1628–1629 165.5 × 227.5 Museo del Prado, Madrid 38/41
La cena de Emaús, by Diego Velázquez.jpg La cena de Emaús 1628–1629 123.2 × 132.7 Metropolitan Museum of Art, New York Proposed dates range from 1619 (Lafuente Ferrari) to a time immediately after the first trip to Italy (Marias).[15] 39/42

First trip to Italy (1629–30)

Painting Títle Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
150px Portrait of Maria Anna 1630 59.5 × 45.5 Museo del Prado, Madrid 40/48
Diego Velázquez 065.jpg Joseph's Tunic 1630 223 × 250 El Escorial, San Lorenzo de El Escorial 41/43
150px Apollo in the Forge of Vulcan 1630 222 × 290 Museo del Prado, Madrid 42/44
150px Cabeza de Apolo 1630 36 × 25 Private collection, New York Considered a study for Apollo in the Forge of Vulcan.[16] 43/45
150px El Pabellón de Cleopatra-Ariadna 1630 44.5 × 38.5 Museo del Prado, Madrid The dating of this painting and the next has been controversial. Most critics date it during the second trip to Italy, but technical studies by in the Prado confirm the 1630 date proposed by López-Rey.[17] 44/46
150px View of the Garden of the Villa Medici 1630 48.5 × 43 Museo del Prado, Madrid 45/47

Madrid (1631–48)

Painting Títle Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
150px A Sybil (Juana Pacheco?) 1630–1631 62 × 50 Museo del Prado, Madrid 46/49
150px Retrato de hombre joven 1630–1631 89.2 × 69.5 Alte Pinakothek, Munich Appears unfinished, with the hands just sketched, although López-Rey suggests that Velázquez may have intended this as a finished work, highlighting the essential features of the portrait.[18] 47/50
150px Temptation of St. Thomas 1631–1632 244 × 203 Museum of the Orihuela Cathedral, Orihuela 48/130
Diego Rodríguez de Silva y Velázquez - Don Baltasar Carlos with a Dwarf - Google Art Project.jpg Prince Balthasar Charles With a Dwarf 1631 128.1 × 102 Museum of Fine Arts, Boston 49/51
Felipe IV de castaño y plata, by Diego Velázquez.jpg Philip IV in Brown and Silver 1631–1632 199.5 × 113 National Gallery of London 50/52
Isabel de Borbón, by Diego Velázquez.jpg Isabel de Borbón 1631–1632 207 × 119 Private collection, New York 51/53
150px Don Diego del Corral y Arellano 1631–1632 205 × 116 Museo del Prado, Madrid 52/55
150px Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis 1631–1632 205 × 115 Museo del Prado, Madrid Brown suggestions that a contemporary workshop was involved in the painting of lady's costume and the figure of the child; changes once thought to be later additions, but denied by radiography.[19][20] 53/54
150px Mano de hombre 1630 27 × 24 Unknown; previously Royal Palace of Madrid 54/56
Pedro de Barberana.jpg Don Pedro de Barberana y Aparregui 1631–1632 198.2 × 111.8 Kimbell Art Museum, Fort Worth, Texas 55/57
150px Don Juan Mateos 1632 108 × 90 Gemäldegalerie Alte Meister, Dresden The hands are only outlined, but with a touch of white light which suggests that Velázquez considered the work finished in that state. 56/58
Cristo crucificado.jpg Christ Crucified 1632 250 × 170 Museo del Prado, Madrid 57/59
150px Retrato del príncipe Baltasar Carlos 1632 117.8 × 95.9 Wallace Collection, London 58/60
150px Felipe IV 1632 127.5 × 86.5 Kunsthistorisches Museum, Vienna Generally considered the work of Velázquez and his workshop.[21] For López-Rey only the head and some small details could be considered by Velazquez.[22] 59/61
150px Isabel de Borbón 1632 132 × 101.5 Kunsthistorisches Museum, Vienna 60/62
150px The Jester Named Don John of Austria 1632–1633 210 × 124.5 Museo del Prado, Madrid 61/65
150px Equestrian Portrait of the Count-Duke of Olivares 1634 314 × 240 Museo del Prado, Madrid 62/66
150px Caballo blanco 1634–1635 310 × 245 Royal Palace of Madrid 63/67
150px Equestrian Portrait of Philip III 1634–1635 305 × 320 Museo del Prado, Madrid 64/68
150px Equestrian Portrait of Margarita of Austria 1634–1635 302 × 311.5 Museo del Prado, Madrid Velazquez and workshop. 65/69
150px Equestrian Portrait of Elisabeth of France 1634–1635 304.5 × 317.5 Museo del Prado, Madrid Velazquez and workshop.[23] 66/70
150px Equestrian Portrait of Philip IV 1634–1635 305.5 × 317.5 Museo del Prado, Madrid 67/71
150px Equestrian Portrait of Prince Balthasar Charles 1634–1635 209.5 × 174 Museo del Prado, Madrid 68/72
Velazquez-The Surrender of Breda.jpg The Surrender of Breda 1634–1635 307.5 × 370.5 Museo del Prado, Madrid 69/73
150px Portrait of Juan Martínez Montañés 1635–1636 110.5 × 87.5 Museo del Prado, Madrid 70/76
150px Felipe IV cazador 1632–1633 189 × 124.5 Museo del Prado, Madrid 71/63
150px El cardenal infante don Fernando de Austria cazador 1632–1633 191.5 × 108 Museo del Prado, Madrid 72/64
Príncipe BaltasarCarlos cazador Velázquez lou.jpg Prince Balthasar Charles as a Hunter 1635–1636 191 × 102 Museo del Prado, Madrid 73/77
Lección de equitación del príncipe Baltasar Carlos, by Diego Velázquez.jpg El príncipe Baltasar Carlos en el picadero 1636 144 × 96.5 Duke of Westminster Collection, London 74/78
Diego Velázquez 057.jpg The Lady with a Fan 1635 95 × 70 Wallace Collection, London 75/79
150px The Needlewoman 1635–1643 74 × 60 National Gallery of Art, Washington D.C. Unfinished and of uncertain date. 77/81
150px Portrait of Pablo de Valladolid 1636–1637 213.5 × 125 Museo del Prado, Madrid 78/82
150px The Jester Calabacillas 1637–1639 105.5 × 82.5 Museo del Prado, Madrid 79/83
150px The Jester Barbarroja 1637–1640 200 × 121.5 Museo del Prado, Madrid 80/84
150px San Antonio Abad y san Pablo ermityear 1635–1638 261 × 192 Museo del Prado, Madrid 81/85
Conde-Duque de Olivares.jpg Portrait of the Count-Duke of Olivares 1638 67 × 54 Hermitage Museum, Saint Petersburg 82/87
150px Francisco II de Este 1638 68 × 51 Galería Estense, Módena 84/89
Diego Velázquez 070.jpg El príncipe Baltasar Carlos 1639 128.5 × 99 Kunsthistorisches Museum, Vienna Velázquez and workshop.[24] 86/90
150px Retrato de hombre 1635–1645 76 × 64.8 Apsley House, London 87/91
150px Aesop 1639–1641 179.5 × 94 Museo del Prado, Madrid Inscription at top right: "AESOPVS". 88/92
Diego Velázquez 022.jpg Menipo 1639–1641 178.5 × 93.5 Museo del Prado, Madrid Inscription at top left: "MOENIPVS". 89/93
150px Mars Resting 1639–1641 181 × 99 Museo del Prado, Madrid 90/94
Diego Velázquez Autorretrato 45 x 38 cm - Colección Real Academia de Bellas Artes de San Carlos - Museo de Bellas Artes de Valencia.jpg Self-Portrait 1640 45.8 × 38 Museu de Belles Arts de València 91/96
150px Retrato de niña 1640 51.5 × 41 Hispanic Society of America, New York Unfinished according to López-Rey, highlighting the vigorous brushstrokes in the garment,[25] and "one of the most captivating female portraits by Velazquez," according to Brown.[26] 92/97
150px Portrait of Francisco Lezcano 1643–1645 107.5 × 83.5 Museo del Prado, Madrid 93/99
Philip IV of Spain - Velázquez 1644.jpg Portrait of Philip IV in Fraga 1644 129.8 × 99.4 Frick Collection, New York 94/100
150px The Jester Don Diego de Acedo 1645 106 × 82.5 Museo del Prado, Madrid 96/102
Velázquez – Bufón don Sebastián de Morra (Museo del Prado, c. 1645).jpg Portrait of Sebastián de Morra 1645 106 × 81.5 Museo del Prado, Madrid 97/103
150px Coronation of the Virgin 1645 178.5 × 134.5 Museo del Prado, Madrid 98/105
RokebyVenus.jpg Rokeby Venus 122.5 × 177 National Gallery of London 100/106
150px Female Figure 1644-1648 64 × 58 Meadows Museum, Dallas 101/108
150px La infanta María Teresa 1648 48 × 37 Metropolitan Museum of Art, New York 102/109
150px Un caballero de la Orden de Santiago 1645–1650 67 × 56 Gemäldegalerie Alte Meister, Dresden 103/110

Second trip to Italy (1649–51)

Painting Títle Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
Retrato de Juan Pareja, by Diego Velázquez.jpg Portrait of Juan de Pareja 1649–1650 81.3 × 69.9 Metropolitan Museum of Art, New York 104/112
150px El llamado barbero del Papa 1650 50.5 × 47 Museo del Prado, Madrid 105/113
Retrato del Papa Inocencio X. Roma, by Diego Velázquez.jpg Portrait of Innocent X 1650 140 × 120 Doria Pamphilj Gallery, Rome Signature on the role held by the pope: "Alla santa di Nro Sigre / Innocencio Xº / Per / Diego de Silva / Velázquez dela Ca / mera di S. Mte Cattca" 106/114
150px Innocent X 1650 82 × 71.5 Apsley House, London 107/115
150px Camillo Massimi 1650 73.6 × 58.5 Kingston Lacy, Dorset 108/116
Camillo Astalli by Diego Velázquez, 1650.jpg El cardenal Astalli 1650–1651 61 × 48.5 Hispanic Society of America, New York 109/117

Madrid (1651–60)

Painting Títle Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
150px María Teresa, infanta de España 1651–1652 34.3 × 40 Metropolitan Museum of Art, New York The work has been cut.[27] Critics have unanimously considered it by Velázquez. Brown (1986) believes that it could be a study used as a model for later portraits.[28] 110/118
Diego Velázquez 030.jpg Portrait of the Infanta Maria Theresa of Spain 1651–1653 127 × 98.5 Kunsthistorisches Museum, Vienna 111/119
150px Felipe IV 1653–1655 69 × 56 Museo del Prado, Madrid 112/120
150px Mariana de Austria, reina de España 1652–1653 234 × 131.5 Museo del Prado, Madrid Painted on a portrait of the king, perhaps only sketched. López-Rey said, confirmed in the technical study conducted at the Museo del Prado, that the top of the curtain was painted by another hand on a piece of fabric added to the original composition, in order to match the canvas with Philip IV with a lion, the Museo del Prado, the work of the workshop.[29][30] 113/121
Diego Velázquez 024.jpg La infanta Margarita 1653 128.5 × 100 Kunsthistorisches Museum, Vienna 114/122
Diego Velázquez 028b.jpg La infanta Margarita 1656 105 × 88 Kunsthistorisches Museum, Vienna 115/123
Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg Las Meninas 1656–1657 318 × 276 Museo del Prado, Madrid 116/124
150px Las Hilanderas or The Fable of Arachne c. 1657 167 × 252 Museo del Prado, Madrid The addition of a new section to the upper portion of the canvas was probably the result of repair after the fire at the Alcázar in 1734. 117/107
150px La reina Mariana de Austria 1655–1656 46.5 × 43 Meadows Museum, Dallas Probably an unfinished study.[31] 118/125
Fábula de Mercurio y Argos, by Diego Velázquez.jpg Mercurio y Argos 1659 128 × 250 Museo del Prado, Madrid Painted for the Hall of Mirrors in the Alcazar with three other paintings of mythological subjects missing in the fire of 1734. 120/127
Retrato de la infanta Margarita (3), by Diego Velázquez.jpg Infanta Margarita Teresa in a Blue Dress 1659 127 × 107 Kunsthistorisches Museum, Vienna 121/128
Prince Philip Prospero by Diego Velázquez.jpg Portrait of Prince Philip Prospero 1659 128.5 × 99.5 Kunsthistorisches Museum, Vienna 122/129

Paintings of debated attribution

Painting Títle Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
150px Education of the Virgin 1617-1618 Yale University Art Gallery, New Haven Thought to have been given to Yale in 1925, the painting has previously been attributed to the 17th-century Spanish school. Some scholars are prepared to attribute the painting to Velázquez, though the Prado Museum in Madrid is reserving judgment. The work will be restored by conservators at Yale.[32][33]
150px La mulata 1620 55 × 104.5 Art Institute of Chicago, Chicago Brown and others cannot rule out the work of a copyist.[34] 4/18
150px Cabeza de hombre joven de perfil 1618–1619 39.5 × 35.8 Hermitage Museum, Saint Petersburg 7/8
Diego Velázquez 005.jpg The Farmers' Lunch 1618–1619 96 × 112 Museum of Fine Arts, Budapest 8/9
150px La Immaculada 1618–1620 142 × 98.5 Centro de Investigación Diego Velázquez, Fundación Focus-Abengoa Sevilla Presented in Paris in 1990 as the work of Velazquez's circle. Sotheby's auction in London (1994) with attribution to Velazquez relying on the favorable opinion of José López-Rey and Jonathan Brown.[35][36] This is rejected by Alfonso E. Perez Sanchez, who assigns it to Alonso Cano.[37]
150px Las lágrimas de San Pedro 1618–1619 132 × 98.5 Colección Villar-Mir, Madrid
150px San Juan Bautista en el desierto 1620 175.3 × 152.5 Art Institute of Chicago
150px Retrato de un clérigo 1622–1623 66.5 × 51 Colección Payá, Madrid Inscription "AETATIS SVAE. 40-". Presented by Mayer in 1936, López-Rey admits as Velázquez, noting its poor condition, and thinks that the portrait could be of Francisco de Rioja.[38] For Brown, only "possibly Velázquez".[39] 23/26
Diego Velázquez 059.jpg A gentleman (Juan de Fonseca?) 1623 52 × 40 Detroit Institute of Arts, Detroit
150px El venerable padre fray Simón de Rojas difunto 1624 101 × 121 Colección de los duques del Infantado, Madrid Inscriptions: "AVE MARIA" and at top right, "El RºP.M. Fr. Simon D. Roxas". Antonio Palomino notes that Velazquez painted a portrait of Simon de Rojas "being dead".[40] Identified by Pérez Sánchez in a Madrid private collection, attributed to Francisco de Zurbarán.[41]
150px Felipe IV 1624 200 × 102.9 Metropolitan Museum of Art, New York 26/29
Velazquez - condedqolivares03.jpg Portrait of the Count-Duke of Olivares 1624 201.2 × 111.1 São Paulo Museum of Art, São Paulo 27/30
150px El conde-duque de Olivares 1624–1626 216 × 192.5 Hispanic Society of America, New York Inscriptions: "el Conde Duque" and a barely legible "A 25". 29/32
150px El conde-duque de Olivares 1624–1625 209 × 111 Colección Várez Fisa, Madrid In poor condition; the surface is badly damaged except for the head. Excluded from the catalog by López-Rey and Brown, among others. 30/–
150px Retrato de hombre 1626–1628 104 × 79 Private collection, Princeton, New Jersey Problematic for López-Rey, because of the poor condition.[42] For Brown, "possibly by Velazquez".[43] –/34
150px Felipe IV con jubón amarillo 1628 205 × 117 John and Mable Ringling Museum of Art, Sarasota, Florida Rejected by López-Rey and Brown, but defended by Julian Gallego when exhibited in 1990 at the Museo del Prado.[44]
150px El bufón Calabacillas 1626–1632 175.5 × 106.5 Cleveland Museum of Art, Cleveland Rejected by Brown.[45] 36/39
150px Portrait of a Clergyman (Self-portrait?) 1630 67 × 50 Capitoline Museums, Rome
150px Riña entre soldados ante la embajada de España / "La rissa" 1630 28.9 × 39.6 Colección Pallavicini, Rome Oil on panel. Attributed to Velazquez by Roberto Longhi, noting similarities with The Forge and Joseph's Tunic, a thesis defended by Marini and Salort, who noted the exceptional technical quality.[46]
150px Santa Rufina 1632–1634 77 × 64 Centro de Investigaciones Diego Velázquez, Fundación Focus-Abengoa, Seville
150px Portrait of a Man 1630 68.6 × 55.2 Metropolitan Museum of Art, New York Posited by Mayer in 1917 as a self-portrait, relating to one of the characters in The Surrender of Breda. Cataloged in the museum as a work of the workshop, after exclusion by López-Rey, but has again been attributed to Velazquez with the support of Jonathan Brown after cleaning in 2009.[47]
150px Portrait of a Man 1630 Otto Naumann, New York Rediscovered in 2010, sold at an auction in London for $4.7 million in 2011 to New York dealer Otto Naumann.[48]
150px Cristo en la cruz 1631 100 × 57 Museo del Prado, Madrid Signed "Do. Velazquez fa. 1631", which may or may not be a later addition to the painting.
150px Dama joven 1635 98 × 49 Collection of the Duke of Devonshire, Chatsworth, Derbyshire, England 76/80
150px San Antonio Abad 1635–1638 55.8 × 40 Private collection, New York -/86
150px La tela real 1636–1638 182 × 302 National Gallery of London 85/-
150px El conde-duque de Olivares 1638 10 × 8 Palacio Real de Madrid, Madrid Oil on copper. Some documents show that Velázquez painted portraits in miniature on copper, including some members of the royal family. 83/88
150px Don Francisco Bandrés de Abarca 1638–1646 64 × 53 Private collection, New York Supported by López-Rey, while noting the poor condition (possibly a fragment half-length portrait) and lack of resemblance to other portraits of the same period.[49] -/95
150px Retrato ecuestre de Felipe IV 1645 393 × 267 Uffizi, Florence 95/101
150px El bufón don Sebastián de Morra 1645 106 × 84.5 Private collection, Switzerland -/104
150px Juan Francisco Pimentel, conde de Benavente 1648 109.5 × 88.5 Museo del Prado, Madrid Exhibited at the museum as "attributed" to Velazquez and excluded by López-Rey and Brown, but supported by Gallego in the exhibition of 1990, Marias (1996) and Bottineau (1998). 99/-
150px La gallega 1645–1650 60 × 46.5 Private collection, Switzerland? Unfinished. Rejected by Brown.[50] -/111
150px Cristoforo Segni 1650–1651 144 × 92 Kisters Collection, Kreuzlingen, Switzerland
150px La infanta Margarita 1653 115 × 91 Collection of the Dukes of Alba, Madrid
Philip IV of Spain.jpg Felipe IV 1656–1657 64 × 53.75 National Gallery of London 123/-
150px La reina Mariana de Austria 1656–1657 64.7 × 54.6 Thyssen-Bornemisza Museum, Madrid Excluded by Brown. 119/126

Drawings

Drawing Títle Date Medium Dimensions (cm)s Collection Notes Catalog numbers: Brown/López-Rey
150px Busto de muchacha 1618 Charcoal on paper 20 × 13.5 Biblioteca Nacional de España, Madrid For Brown this and the following are "possibly Velázquez." DQ6/4
150px Cabeza de muchacha 1618 Charcoal on paper 15 × 11.7 Biblioteca Nacional de España, Madrid DQ1/5
150px Study for Cristo contemplado por el alma cristiana 1626–1628 Earlier in the Jovellanos Institute, Gijón Destroyed in 1936. DQ5/35b
150px Study for The Surrender of Breda 1634–1635 Black pencil on paper 26.2 × 16.8 Biblioteca Nacional de España, Madrid D2a/74
150px Study for the figure of General Spinola in The Surrender of Breda 1634–1635 Black pencil on paper 26.2 × 16.8 Biblioteca Nacional de España, Madrid Drawn on the back of the former. D2b/75
150px Retrato de don Gaspar de Borja y Velasco 1643–1645 Black pencil on paper 18.6 × 11.6 Real Academia de Bellas Artes de San Fernando, Madrid Study for a lost portrait. D1/98

Notes

  1. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  2. ↑ López-Rey, p. 46.
  3. ↑ Morán Turina and Sánchez Quevedo, p. 50.
  4. ↑ López-Rey, p. 48.
  5. ↑ Garrido Pérez, pp. 94–95.
  6. ↑ Morán Turina and Sánchez Quevedo, p. 64.
  7. ↑ Brown, Velázquez, pintor y cortesano, pp. 45–46.
  8. ↑ López-Rey, p. 64.
  9. ↑ Morán Turina and Sánchez Quevedo, p. 72
  10. ↑ Morán Turina and Sánchez Quevedo, p. 78
  11. ↑ López-Rey, p. 76.
  12. ↑ Garrido Pérez, p. 155.
  13. ↑ Morán Turina and Sánchez Quevedo, p. 86
  14. ↑ Morán Turina and Sánchez Quevedo, p. 90
  15. ↑ Morán Turina and Sánchez Quevedo, p. 94
  16. ↑ Morán Turina and Sánchez Quevedo, p. 102.
  17. ↑ Morán Turina and Sánchez Quevedo, p. 104.
  18. ↑ López-Rey, p. 120.
  19. ↑ Brown, Velázquez, pintor y cortesano, pp. 140–141.
  20. ↑ López-Rey, p. 134.
  21. ↑ Morán Turina and Sánchez Quevedo, p. 134
  22. ↑ López-Rey, Velázquez, p. 181
  23. ↑ Garrido Pérez, pp. 367–383.
  24. ↑ Morán Turina and Sánchez Quevedo, p. 188.
  25. ↑ López-Rey, p. 236.
  26. ↑ Brown, Velázquez, pintor y cortesano, p. 156.
  27. ↑ Metmuseum, base de datos.
  28. ↑ Morán Turina and Sánchez Quevedo, p. 236.
  29. ↑ López-Rey, Velázquez, p. 185.
  30. ↑ Garrido Pérez, pp. 527–537.
  31. ↑ Morán Turina and Sánchez Quevedo, p. 252.
  32. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  33. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  34. ↑ Brown, Velázquez, pintor y cortesano, p. 21.
  35. ↑ Marini, p. 39, note 1.
  36. ↑ Navarrete Prieto, Benito, "Velázquez y Sevilla: la Inmaculada del Deán López Cepero recuperada", Ars Magazine, July–September 2009, pp. 100–117.
  37. ↑ Pérez Sánchez, Novedades velazqueñas, pp. 386–390.
  38. ↑ López-Rey, p. 60.
  39. ↑ Brown, Velázquez, pintor y cortesano, p. 282.
  40. ↑ Palomino, p. 233
  41. ↑ Pérez Sánchez, "Novedades velazqueñas", pp. 371–390.
  42. ↑ López-Rey, p. 80.
  43. ↑ Brown, Velázquez, pintor y cortesano, p. 47.
  44. ↑ "Catálogo de la exposición Velázquez" (1990), pp. 139–141.
  45. ↑ Brown (2008), Escritos completos sobre Velázquez, pp. 370–372.
  46. ↑ Salort, Velázquez en Italia, pp. 296–301.
  47. ↑ Metropolitan Museum of Art. Velázquez Rediscovered exhibit, New York, 2009, with text by Keith Christiansen, Michael Gallagher and Jonathan Brown.
  48. ↑ Bloomberg. Velazquez Portrait Sells for $4.7 Million at London Auction
  49. ↑ López-Rey, p. 232.
  50. ↑ Brown (2008), Escritos completos sobre Velázquez, pp. 411–414 and 376, note 28.

Sources

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