Diego Velázquez

The Triumph of Bacchus (1628–1629), also known as "The Drunks", is a key work in Velázquez’s technical evolution. It demonstrates his exceptional mastery of chiaroscuro and light modulation: a lateral light subtly models the volumes, highlights the body of Bacchus, and creates a warm atmosphere where ochres, earth tones, and grays are balanced with pink and golden accents. The brushwork, still controlled yet vibrant, combines anatomical precision with optical naturalism, foreshadowing the painter’s stylistic maturity.

In The Adoration of the Magi, Velázquez naturally portrays the moment when the three kings from the East offer their gifts to the Infant Jesus. The scene unfolds in a simple, unadorned setting, where the light emphasizes the encounter between the figures and creates an atmosphere of calm and contemplation. The arrangement of the figures forms a visual circle that draws the viewer’s attention toward the child, the true center of the composition.

This portrait features a remarkable use of chiaroscuro, showcasing the face of an apostle. It is not exactly known which biblical figure it represents, but it is known not to be either Saint Thomas or Saint Paul, as it is presumed that the original canvas (before being trimmed) already included these two saints.

Experts are not 100% certain of the canvas's authorship; however, the characteristics of the painting can be attributed with little margin of error to the style the painter developed between 1619 and 1620.

It is considered one of the most significant religious works by Velázquez. The painting was created for the private chapel of Queen Consort Isabel de Borbón, in the Royal Alcázar of Madrid. This context explains the delicacy of the theme and the symbolic depth with which the artist approaches the subject, conceived as an allegory of virtue and divine authority. A connection can be perceived between the figure of Isabel and the central motif of the painting, in which the Virgin Mary assumes a role of spiritual sovereignty, reflecting the queen’s earthly royalty.

Considered one of the most sublime representations of the Crucified Christ in the history of Western art, this work by Diego Velázquez unites the precision of naturalism with profound spiritual depth. Recognized as a masterpiece of male anatomy, its balance between formal beauty and inner drama has inspired generations of artists and writers. The serenity of the scene, stripped of any superfluous detail, focuses attention on the central figure and transforms suffering into a gesture of solemn stillness. The composition evokes Psalm 45, verse 3: “You are fairer than the sons of men; grace is poured upon your lips; therefore God has blessed you forever.”

This rural landscape depicts the famous Fountain of the Tritons, a white marble sculpture that is still preserved today and currently stands on one side of the Royal Palace of Madrid. When Diego Velázquez painted this canvas, around the mid-17th century, the fountain —by an unknown artist— was located in the gardens of the Royal Site of Aranjuez, a place that inspired the painter for its natural atmosphere and architectural harmony. It was relocated to its current position in the 19th century.

The portrait of Francisco Lezcano, known as "The Boy from Vallecas," is one of Velázquez’s most remarkable works within his series of jesters and attendants of the court of Philip IV. Lezcano, who suffered from an intellectual disability—described at the time as “oligophrenia”—served as jester to Prince Balthasar Charles. The artist depicts him seated in a pastoral setting with a marine background, far removed from any theatricality, his expression calm yet slightly proud. He holds in his hands a deck of cards, a symbol of leisure, chance, or the role fate assigned him at court. The concentrated light on his face and hands, combined with the sobriety of the rest of the composition, lends the portrait a human depth that transcends his social and physical condition.

A historic military moment that highlights the victory of Philip IV's Spanish army over the landlords in the Netherlands. The friendly gesture of the characters reflects the terms on which the dispute was settled: a surrender considered honorable by Spain.
This work by Diego is also very well-known as The Lances (in Spanish, Las lanzas).

The painting depicts three episodes from the “Golden Legend” by Santiago de la Vorágine (1230–1298), focusing on Saint Anthony Abbot and Saint Paul the Hermit. At the center, the two saints meet in a rocky landscape—Anthony dressed in brown and Paul in white—while a raven descends carrying the bread that symbolizes divine providence. On either side, Velázquez includes two complementary scenes: on the left, the burial of Saint Paul assisted by a lion; on the right, the discovery of the hermit dead in prayer. The composition maintains a narrative and spiritual balance, uniting the three moments into a single harmonious vision.

Set in Seville, this genre scene aims to highlight the sordid nature of the situation: the youngest of the men, with a mocking expression, holds a glass of wine, indicating that the three musicians have already been drinking. The two characters on the right hold their instruments loosely and seem to be playing music that is disjointed and tuneless.

The preservation of the artwork is exceptional, with the colors, figures, and lighting remaining almost unchanged to this day.

Old Woman Frying Eggs is one of Velázquez’s earliest masterpieces, painted during his youth in Seville and regarded as a benchmark of 17th-century Spanish costumbrismo.

The work dazzles with the extraordinary precision with which Velázquez captures a wide variety of materials and textures: the sheen of the boiling oil, the weight of the bronze mortar, the roughness of the fabrics and vegetables, the wear marks on the kitchen utensils, the dark wood, the metals, the ceramics, and the wicker. Each element appears carefully arranged, not as mere decoration, but as an exercise in observation and technical virtuosity.