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Velázquez. The Complete Works
Manet called him “the greatest painter of all.” Picasso was so inspired by his masterpiece Las Meninas that he painted 44 variations of it. Francis Bacon painted a study of his portrait of Pope Innocent X. Monet and Renoir, Corot and Courbet, Degas and Dalí…for so many champions of art history, the ultimate soundboard was—and remains—Diego Rodríguez de Silva y Velázquez (1599-1660).
This updated catalog raisonné brings together Velázquez’s complete works, jaw-droppingly reproduced in extra-large format, with a selection of enlarged details and brand new photography of recently restored paintings, achieved through the joint initiative of TASCHEN and Wildenstein. The book's dazzling images are accompanied by insightful commentary from José López-Rey on Velázquez's interest in human life and his equal attention to all subjects, from an old woman frying eggs to a pope or king, as well as his commitment to color and light, which would influence the Impressionists over two centuries later.
Contributors
José López-Rey (1905–1991) taught Italian Renaissance at the University of Madrid and worked as an art advisor for the Spanish Ministry of Education. Before the end of the Spanish Civil War, he emigrated to the USA, where he resumed his teaching career at the Institute of Fine Arts, New York. In 1973 he was awarded emeritus status. López-Rey was a corresponding member of the Hispanic Society of America and a consultant and contributor to several international art journals, including the Gazette des Beaux Arts and Art News.
Odile Delenda, graduate of the École du Louvre, served as professor there, and then as deputy head of the department of paintings at the Musée du Louvre until 2007. She has collaborated on several exhibitions of old master paintings. A research fellow at the Wildenstein Institute in Paris since 1990, she has continued her study of Spanish art from the Siglo de Oro. She is, among other works, the author of Vélasquez, peintre religieux (1993) and, under the auspices of the Wildenstein Institute, the first critical catalogue raisonné of the painted oeuvre of Francisco de Zurbarán and his studio (2009/10).
This updated catalog raisonné brings together Velázquez’s complete works, jaw-droppingly reproduced in extra-large format, with a selection of enlarged details and brand new photography of recently restored paintings, achieved through the joint initiative of TASCHEN and Wildenstein. The book's dazzling images are accompanied by insightful commentary from José López-Rey on Velázquez's interest in human life and his equal attention to all subjects, from an old woman frying eggs to a pope or king, as well as his commitment to color and light, which would influence the Impressionists over two centuries later.
Contributors
José López-Rey (1905–1991) taught Italian Renaissance at the University of Madrid and worked as an art advisor for the Spanish Ministry of Education. Before the end of the Spanish Civil War, he emigrated to the USA, where he resumed his teaching career at the Institute of Fine Arts, New York. In 1973 he was awarded emeritus status. López-Rey was a corresponding member of the Hispanic Society of America and a consultant and contributor to several international art journals, including the Gazette des Beaux Arts and Art News.
Odile Delenda, graduate of the École du Louvre, served as professor there, and then as deputy head of the department of paintings at the Musée du Louvre until 2007. She has collaborated on several exhibitions of old master paintings. A research fellow at the Wildenstein Institute in Paris since 1990, she has continued her study of Spanish art from the Siglo de Oro. She is, among other works, the author of Vélasquez, peintre religieux (1993) and, under the auspices of the Wildenstein Institute, the first critical catalogue raisonné of the painted oeuvre of Francisco de Zurbarán and his studio (2009/10).
415 pages, Hardcover
First published August 1, 2014
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Displaying 1 - 4 of 4 reviews
September 25, 2016
Foreword, by Guy Wildenstein
Introductions to the editions of 1979, 1981 and 1996, by José López-Rey, Odile Delenda
Preface and new attributions, by Odile Delenda
--I. Velázquez in Seville 1599-1622
--II. Madrid and the Court. The defining years 1622-1628
--III. Meeting with Rubens. First journey to Italy 1628-1631
--IV. Return to Madrid. The Great Hall of the Buen Retiro Palace 1631-1635
--V. Torre de la Parada. Dwarfs and jesters 1636-1645
--VI. Portraits. Main themes 1638-1648
--VII. Second journey to Italy 1648-1651
--VIII. Last Works. The Workshop 1651-1660
--Catalogue of Works
Notes
Concordance
Bibliographies
Index of Names
Index to the Catalogue Raisonné
Location of the Catalogued Works
Acknowledgements
Photo Credits
Imprint
Introductions to the editions of 1979, 1981 and 1996, by José López-Rey, Odile Delenda
Preface and new attributions, by Odile Delenda
--I. Velázquez in Seville 1599-1622
--II. Madrid and the Court. The defining years 1622-1628
--III. Meeting with Rubens. First journey to Italy 1628-1631
--IV. Return to Madrid. The Great Hall of the Buen Retiro Palace 1631-1635
--V. Torre de la Parada. Dwarfs and jesters 1636-1645
--VI. Portraits. Main themes 1638-1648
--VII. Second journey to Italy 1648-1651
--VIII. Last Works. The Workshop 1651-1660
--Catalogue of Works
Notes
Concordance
Bibliographies
Index of Names
Index to the Catalogue Raisonné
Location of the Catalogued Works
Acknowledgements
Photo Credits
Imprint
October 18, 2021
Taschen nunca decepciona! Es un libro de altísima calidad y realmente precioso. Las pinturas se aprecian claramente y el Prof. López-Rey es un sabio. Velásquez es el pintor de los pintores como dijo Manet y sus obras conforman la teología de los pintores como afirmó Giordano. Aunque a primera vista el arte del retrato no parezca interesante después del invento de la fotografía sinceramente he llegado a entender su importancia al sumergirme en la obra de este gran maestro. Todos los grandes temas y problemas del arte se plasman en las pinceladas de Velázquez. Insistió en un estilo realista que va más allá que la mera copia natural sin el uso de símbolos o alegorías. Impresionante. Les agradezco tanto a Tachen como al Prof. López-Rey que me hayan dado la oportunidad de adentrarme en este maestro del arte.
Solo tengo una pega que me molesto suficiente como para resta una estrella. Al leer el texto faltan referencias a las páginas en las que se encuentran las pinturas analizadas. Muchas veces el texto hace referencia a pinturas que son difíciles de encontrar tanto en el catálogo como en libro. Cuando se hace referencia a pinturas que no son de Velázquez no está claro si la pintura se puede encontrar en el libro, o si uno ha de buscar por cuenta propia. Es decir el aparato de referencias es confuso y inconsistente; al catálogo, a pinturas representadas en grande en el texto y pinturas de terceros dentro o fuera del libro. Cres mucha confusión al lector y rompe su lectura fluida.
Solo tengo una pega que me molesto suficiente como para resta una estrella. Al leer el texto faltan referencias a las páginas en las que se encuentran las pinturas analizadas. Muchas veces el texto hace referencia a pinturas que son difíciles de encontrar tanto en el catálogo como en libro. Cuando se hace referencia a pinturas que no son de Velázquez no está claro si la pintura se puede encontrar en el libro, o si uno ha de buscar por cuenta propia. Es decir el aparato de referencias es confuso y inconsistente; al catálogo, a pinturas representadas en grande en el texto y pinturas de terceros dentro o fuera del libro. Cres mucha confusión al lector y rompe su lectura fluida.
February 19, 2022
El libro es de gran tamaño, pero eso permite apreciar perfectamente todos los detalles de la obra de Velázquez. Parece que estás delante del cuadro, es una edición muy cuidada. Ahora lo siguiente es ir al Museo del Prado a ver los cuadros originales!!!
July 16, 2021
Great photos of paintings
Didn’t read all the text
Didn’t read all the text
Displaying 1 - 4 of 4 reviews