The portrait King Philip IV of Spain (1644), by the Spanish court painter Diego Rodríguez de Silva y Velázquez, will travel from The Frick Collection in New York City to the Meadows Museum as part of the ongoing loan program titled "Masterpiece in Residence" and organized by the Meadows, featuring some of the most important works of Spanish art in U.S. collections.
The portrait will be displayed with Meadows Museum’s own three paintings by this influential artist. The Meadows’s bust-length Portrait of King Philip IV (c. 1623–24), likely Velázquez’s first portrait of his king and patron, will be joined by The Frick’s 1644 portrait, which is considered among the most important Spanish paintings in an American collection.
The differences in execution between the two portraits painted just over two decades apart highlight the evolution of Velázquez’s technique and his mastery of looser, more fluid brushwork, which demonstrates the impact of his study of Venetian masters, both in the Spanish royal collections and in Italy, as he developed a style all his own.
The Meadows’s Portrait of Queen Mariana (c. 1656) and Female Figure (Sibyl with Tabula Rasa) (c. 1648), offer further evidence of his artistic growth over his career and will be installed in the same gallery as the two portraits of the king.
The portrait King Philip IV of Spain (1644), by the Spanish court painter Diego Rodríguez de Silva y Velázquez, will travel from The Frick Collection in New York City to the Meadows Museum as part of the ongoing loan program titled "Masterpiece in Residence" and organized by the Meadows, featuring some of the most important works of Spanish art in U.S. collections.
The portrait will be displayed with Meadows Museum’s own three paintings by this influential artist. The Meadows’s bust-length Portrait of King Philip IV (c. 1623–24), likely Velázquez’s first portrait of his king and patron, will be joined by The Frick’s 1644 portrait, which is considered among the most important Spanish paintings in an American collection.
The differences in execution between the two portraits painted just over two decades apart highlight the evolution of Velázquez’s technique and his mastery of looser, more fluid brushwork, which demonstrates the impact of his study of Venetian masters, both in the Spanish royal collections and in Italy, as he developed a style all his own.
The Meadows’s Portrait of Queen Mariana (c. 1656) and Female Figure (Sibyl with Tabula Rasa) (c. 1648), offer further evidence of his artistic growth over his career and will be installed in the same gallery as the two portraits of the king.
The portrait King Philip IV of Spain (1644), by the Spanish court painter Diego Rodríguez de Silva y Velázquez, will travel from The Frick Collection in New York City to the Meadows Museum as part of the ongoing loan program titled "Masterpiece in Residence" and organized by the Meadows, featuring some of the most important works of Spanish art in U.S. collections.
The portrait will be displayed with Meadows Museum’s own three paintings by this influential artist. The Meadows’s bust-length Portrait of King Philip IV (c. 1623–24), likely Velázquez’s first portrait of his king and patron, will be joined by The Frick’s 1644 portrait, which is considered among the most important Spanish paintings in an American collection.
The differences in execution between the two portraits painted just over two decades apart highlight the evolution of Velázquez’s technique and his mastery of looser, more fluid brushwork, which demonstrates the impact of his study of Venetian masters, both in the Spanish royal collections and in Italy, as he developed a style all his own.
The Meadows’s Portrait of Queen Mariana (c. 1656) and Female Figure (Sibyl with Tabula Rasa) (c. 1648), offer further evidence of his artistic growth over his career and will be installed in the same gallery as the two portraits of the king.
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