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the surrender of breda
Learn about this Spanish Baroque masterpiece in just 5 minutes. 409. 22. 82/lám. Madrid. hand on the shoulder of his opponent. Hellwig, Karin, Las firmas de Velázquez, Boletín del Museo del Prado, XIX, 2001, pp. La esencia del tiempo, Círculo de Lectores, Barcelona, 1999, pp. 25. Testamentaría Carlos III, Palacio Nuevo, 1794. 69. 139. Varia velazqueña: homenaje a Velázquez en el III centenario, I, Ministerio de Educación Nacional, Dirección General, Madrid, 1960, pp. Alpers, Svetlana, Por la fuerza del arte. 728. Diese Datei und die Informationen unter dem roten Trennstrich werden aus dem zentralen Medienarchiv Wikimedia Commons eingebunden. Calle Ruiz de Alarcón 23. La rendición de Breda (englisch: The Surrender of Breda, auch bekannt als Las lanzas-Die Lanzen) ist ein Gemälde des spanischen Malers Diego Velázquez aus dem Goldenen Zeitalter.Es wurde in den Jahren 1634 bis 1635 fertiggestellt, inspiriert von Velázquez 'Besuch in Italien mit Ambrogio Spinola, dem in Genues geborenen spanischen General, deram 5. En Historias inmortales, Barcelona, 2003, pp. Velázquez, Ministerio de Cultura, Madrid, 1990, pp. 24-25. and flags (right). 69-95. 321-337. De M. Minuesa de los Ríos, Madrid, 1922, pp. the surrender of breda, also known as las lanzas - the lances is a painting by the spanish golden age painter diego velázquez - the surrender of breda stock illustrations The painting 'La rendicion de Breda' by Velazquez is displayed on the walls of the Atocha metro station, named since … 319. and shameful treatment meted out to Spinola, who died shortly after. 364. In Museo Nacional del Prado, El Palacio del Rey Planeta: Felipe IV y el Buen Retiro, Museo Nacional del Prado, Madrid, 2005, pp. Vol. For more historical Baroque paintings Semenzato, Camillo, Les Chefs-D'Oeuvre de la Peinture, Solar, Paris, 1985, pp. - see in particular his dazzling 26,31. campaign in Italy. In 1625, after a ten-month siege, the city The painting was commissioned by Philip IV of Spain between 1630 and 1635 for the palace of Buen Retiro. in Arcadia Ego (1637) by Nicolas Poussin. The art of painting, Nueva York, 1976, pp. 33 / lám. 51. 116/lám. Bottineau, Yves, Tout L'Oeuvre Peint de Velazquez, Flammarion, Paris, 1969. Beruete y Moret, Aureliano de, La Paleta de Velázquez. 66. from his horse to meet his opponent as an equal) by the Dutch leader Justin Its conquest after a lengthy siege was considered a military accomplishment of the first order, generating a plethora of texts and images intended to exalt the winners. I, I, Editions Pierre Lafitte, Paris, 1914, pp. Menéndez Pidal, Ramón, Historia de España, Espasa-Calpe, Madrid, 1982, pp. Cruzada Villaamil, Gregorio, Anales de la vida y de las obras de Diego de Silva Velazquez, Libreria de Miguel Guijarro, Madrid, 1885, pp. Dayot, Armand, Le Prado de Madrid. Velazquez - having recently accompanied his friend Spinola … Réunion des musées nationaux-Grand Palais: Louvre... Junta de Comunidades de Castilla-La Mancha. Other articles where The Surrender of Breda is discussed: Diego Velázquez: Middle years: The Surrender of Breda (c. 1635), Velázquez’s famous contribution to the series of military triumphs painted for the same throne room, is his only surviving historical subject. López Rey, José, Velázquez: a catalogue raisonné of his oeuvre, Faber and Faber, Londres, 1963, pp. 263/lám. The entire composition is designed to emphasize this gesture, and both the group of Dutch soldiers (at the left) and the Spaniards serve to frame, accompany and shelter this principal motif, drawing our attention directly to it. Núm. 2008. Boccardo, Piero, Genova e la Spagna : Opere, Artisti, Commitenti, Collezionis, Silvana Editoriale, Genova, 2002, pp. Spain; second, it represents a noble and magnanimous triumph for Spinola The Surrender of Breda, by the court’s leading artist Diego Velázquez, celebrates the Spanish takeover of the Dutch town of Breda on June 5, 1625. Metropolitan Museum of Art, New York. 57. 368 / lám. Jealous of his success, his rivals in Madrid (like the powerful Count Olivares) conspired to engineer his disgrace during his 1629 military campaign in Italy. 129-140. Museo del Prado, Madrid. Ayala Mallory, Nina, Del Greco a Murillo: la pintura española del Siglo de Oro, 1, Alianza, Madrid, 1991, pp. cévenol {adj} of the Cevennes: ultramoderne {adj} state-of-the-art: géogr. Counter-Reformation art, in order to counter Protestant reports Meninas (1656) - he produced numerous masterpieces in other genres, / 319. Front, lower left corner, Reunited MAIN A-Z 366. 56. Congreso Internacional GRISO, Ermitage, San Petersburgo, Pamplona, 2010, pp. Vosters, Simon A., Rubens y España: estudio artístico-literario sobre la estética del Barroco, Cátedra, Madrid, 1990, pp. / El marques de Espinola acompañado de los capitanes de su egercito, a vista de las tropas flamencas y españolas, recibe del general gobernador las llaves de la plaza. The painting illustrates the ceremonial 33. 68. (C.L.) Saxl, Fritz, La vida de las imágenes: estudios iconográficos sobre el arte, Alianza Editorial, Madrid, 1989, pp. Inventario. 21. Pieza de Bestir / {54} 244 / Quatro varas y media de largo y tres y media de alto: La entrega de la Llabes de una Plaza: Velazquez: en ... 120.000, Inv. Mestre Fiol, Bartolomé, Jesús en casa de Marta y María y el ''lenguaje'' de Velázquez., Academia, 1983, pp. 28014. Rodriguez G. Ceballos, A., Del teatro a la pintura en el siglo de oro español. Núm. 19, 64, 113, 128. 161. Doval Trueba, M, Sobre dos viajes a Italia: el de Maria de Hungría y el primero de Velázquez, Boletin del Museo e Instituto Camón Aznar, 105, 2010, pp. 12. 122. Coferencia leida en la inauguracion del Curso de 1920-21 del Ateneo de Madrid, Suc. Vies paralleles et divergentes, Gazette des beaux-arts, 131/2, 1998, pp. On June 5, 1625 the Dutch governor of Breda, Justinus van Nassau, surrendered the keys of that city to Ambrosio Spínola, the Genoese general commanding the Spanish tercios (a group of soldiers that included pikemen, swordsmen and musketeers) of Flanders. Practice: Velázquez, Las Meninas. (1632). like Las Meninas or the Waterseller, The Surrender of This is the currently selected item. Spinola on the voyage from Barcelona to Genoa - was outraged by undeserved Lefort, Paul, La Peinture Espagnole, Librairies Imprimeries Reunies, París, 1893, pp. Brown, Jonathan, Painting in Spain 1500-1700, Yale University Press, Yale, 1998, pp. Brown, Jonathan, Velázquez. García de Cortázar, Fernando, La peseta y el arte: imágenes en billetes anteriores al euro, Safei, Madrid, 1999, pp. Request artworks available in our catalogue in digital format. Real Museo, 1857. the foreground, for instance, it is quite controlled, while in the background Protección del Patrimonio Artístico Nacional, Dirección General de Bellas Artes, Madrid, 1954, pp. Diálogos, Sorolla & Velázquez, Ministerio de Cultura, SGBBAAi, 2009. Algunos cuadros del Salón de Reinos del Palacio del Buen Retiro de Madrid., El siglo de oro español. Marini, Maurizio, Velázquez, Sociedad Editorial Electa, Madrid, 1997, pp. 113. Louvre, Paris. Morán Turina, Miguel, Velázquez, la pintura y el teatro del Siglo de Oro, Boletín del Museo del Prado, 19 (37), 2001, pp. 191. 244. Orozco Díaz, Emilio, El barroquismo de Velázquez, Rialp, Madrid Mexico, 1965, pp. (15681648) between Spain and Holland. The Surrender of Breda (1635) by Velazquez. Between 1630 and 1635 the Spanish king Philip IV commissioned the construction of a royal palace just outside of Madrid. large numbers of soldiers, generals, horses and weapons of the battle, Millner Kahr, Madlyn, Velázquez. of dividing the action into two planes. 122, 129. 120, 305. Ambrosio Spinola recibe la llave de la ciudad de manos de Justino Nassau. The two generals constitute an image that conveys the message with extraordinary efficiency, and historians have related it to extremely varied sources and antecedents from both profane symbolism (Andrea Alciato`s Emblematum liber) and Christian iconography. Catalogue of Paintings, Prints,, Privately Printed, Berlin Munich, 1957, pp. INDEX. on the cruelty of the Spanish Inquisition. In 1625, after a ten-month siege, the city of Breda in southern Holland surrendered to the Spaniards under the famed Spanish General Don Ambrogio Spinola. canvas, but is nonetheless one of the best Las Meninas. 102. The Surrender of Breda, or La Rendicion de Breda to give it its original Spanish title, was completed by Diego Velazquez in 1635. 13. 440-459 [441 Lám.442.1]. Bass, Laura R., The drama of the portrait. Vol. Harris, Enriqueta, Velázquez, Ephialte, Vitoria, 1991, pp. Pérez Sánchez, Alfonso E., Zurbarán et Velázquez. Diego Velázquez. 64-67, 149. The Surrender of Breda (Las Lanzas) 1634-35 Oil on canvas, 307 x 367 cm Museo del Prado, Madrid: In 1630 the count-duke of Olivares decided to initiate a lavish program of artistic display by the construction of a new pleasure palace on the eastern border of Madrid which came to be known as the Buen Retiro. Madrid)Arte en tiempos de guerra, Arte en tiempos de guerra Jornadas de Arte (14º.2008.Madrid), El siglo de oro español. 81. consideration for Nassau and the Dutch army, the artist reveals Spain's Checa Cremades, Fernando, Velázquez: obra completa, Electa, Barcelona, 2008, pp. In 1630 the count-duke of Olivares decided to initiate a lavish program of artistic display by the construction of a new pleasure palace on the eastern border of Madrid which came to be known as the Buen Retiro. Pantorba, Bernardino de, La vida y la obra de Velázquez: estudio biográfico y crítico, Compañía Bibliográfica Española, Madrid, 1955, pp. [244] Ottra [pintura] del mismo tamaño [cuatro varas de largo y tres y media de alto] y marco [dorado] del Marques de espinola reziuiendo las llaues de Una plaza Original de Diego Uelazquez tasada en quinientos doblones ... 30.000, Inv. Borelius, Aron, Etudes Sur Velázquez, P.A.Norstedt and Soners Forlag, 1949, pp. Cerasi Chapel, Santa Maria del Popolo, Rome. lám. 347. Caturla, Maria Luisa, Francisco de Zurbarán, Wildenstein Institute, París, 1994, pp. It was completed during the years 1634–35, inspired by Velázquez's visit to Italy with Ambrogio Spinola, the Genoese general who conquered Breda on June 5, 1625. I. L'Europe Gothique, Skira, Ginebra, 1979, pp. Brown, Jonathan, Velázquez: pintor y cortesano, Alianza Editorial, Madrid, 1986, pp. Artworks similar to or like The Surrender of Breda. 54. Ponz, Antonio, Viage de España., VI, Madrid, 1972, pp. including Manet and Cezanne were greatly influenced by this technique. 237-265 [250]. 76/lám. Lozoya, Juan de Contreras y López de Ayala, Marqués de, Historia del arte hispánico, Salvat, Barcelona, 1945, pp. of Nassau, together with Spinola's simultaneous gesture of placing a friendly 83/lám. It Metropolitan Museum of Art, H. O. Havemeyer Collection. and Delilah (1609-10) by Rubens. The Surrender of Breda, by the court’s leading artist Diego Velázquez, celebrates the Spanish takeover of the Dutch town of Breda on June 5, 1625. 59. Ein spanisches intermezzo zum nachleben der Antike., De Gruyter, 2015, pp. Carlos III. y Lunwerg Editores, Madrid, 1991, pp. Key: 55, 154. Judgment The Surrender of Breda' En: Velázquez. Allocutions et conférences prononcées à l'occasion des Journées hispano-belgues (16 et 17 mars 1924), Bruselas, 1925, pp. Velazquez - having recently accompanied his friend Mckim-Smith, Gridley, Ciencia e historia del arte: Velazquez en el Prado, Museo del Prado, Madrid, 1993, pp. Museo Nacional del Prado, Museo del Prado. was against this background that Velazquez approached this composition. As numerous scholars have pointed out, this is no ordinary pictorial celebration of victory or martial ideals -its smoking background speaks clearly of destruction, war and death- but it does concentrate our attention on the foreground, where the triumphant general receives the key from his vanquished foe with an attitude closely resembling affection, in a gesture that seems more like the announcement of impending peace than that of war`s end. to his friend Ambrogio Spinola. 113, 132-214. Boletín del Seminario de Estudios de Arte y Arqueología, Boletín del Seminario de Estudios de Arte y Arqueología BSAA, 2014, pp. Elliot J.H., Historia y mito en el Salón de Reinos. of the time.). 21-46. Una aproximación a los orígenes de una cultura visual., El Ateneo, 3/5, 1994, pp. Núm. The Surrender of Breda therefore / Alto 11 pies, ancho 13 pies, 2 pulg. Interpretation of Spanish Baroque Alberti, R., Mirar un cuadro en el Museo del Prado, R.T.V.E. 125. royal palace, where it formed part of a series of twelve life-size battle 47-49. Inc, Nueva York, 1987, pp. nº319. 109/lám. Velazquez’s The Surrender of Breda revolutionized the genre of military painting precisely by emphasizing that to win with elegance and magnanimity is what defines a great leader, and not merely the ferocious capacity to triumph in combat. Catálogo Museo del Prado, 1854-1858. Potter, George Richard, Historia del mundo moderno, Ramon SopenaCambridge University, Barcelona, 1980, pp. Waterer, John W., Leather and the warrior. 119. Havel, Marc, Jacques Maroger 1884-1962. The Museo del Prado is presenting an unpublished work by Velázquez donated to American Friends by William B. Jordan, The Recapture of Bahía de Todos los Santos, The Relief of Genoa by the 2nd Marquis of Santa Cruz, View of the Gardens of the Villa Medici, Rome, with a Statue of Ariadne, View of the Gardens of the Villa Medici, Rome. National Gallery, London. Movement: Baroque painting thrown away, or dipped in defeat. By Marisa Ollero on 6 June, 2018 No Comments / 680 views. 244. . NOTE: It is possible that the painting's 299. López Rey, José, Velázquez, Compañía Internacional Editora, Barcelona, 1984. 123-131 [125]. A la Recherche des Secrets des Gr, Dessain et Tolra, Paris, 1986, pp. The invited work: Portrait of a Man, Velázquez, Commented works: The Spinners, or the Fable of Arachne, by Diego Velázquez, Commented works: Reproduction of A Sybil, by Velázquez, Commented works: The Spinners, by Velázquez, The exhibition Velázquez and the Family of Philip IV, Invited work: The Daughters of Edward Darley Boit. Samson It is considered one of Velázquez's best works. Splendeurs d'Espagne et les villes belges: 1500-1700, Europalia 85 España, Europalia 85 EspañaCrédit Communal, Bruselas, 1985, pp. Orso, Steven N., Philip IV and the decoration of the Alcazar of Madrid, Princeton University Press, Princenton, 1986, pp. 142. Lafuente Ferrari, Enrique, Velázquez, Albert Skira, Ginebra, 1988, pp. 176, 178/lám. Crucifixion of St. Peter (1601) by Caravaggio. 59-61 f.18. 122. 1789-1790. Pérez Sánchez, Alfonso E., Velázquez, Capitol, Bolonia, 1980. 53, 89. of Other Baroque Paintings. Above all, one suspects that Velazquez painted it as a tribute color soundBelgium 2011 Piningobini 259. Composition and is widely regarded as the dominant figure during the golden age of 06.06.2020 - 25.07.2021, El palacio del Rey Planeta. Bailey, Anthony, Velázquez and the Surrender of Breda. 74. Theater and visual culture in ea..., Pennsylvania State University Press, 2008, pp. - see for example, The Portrait The painting`s dimensions, the importance of the event it depicts and the significance of the hall where it was to hang all encouraged the painter to put his best efforts into this work, offering proof of his extraordinary faculties. Fernando VII, Palacio Nuevo, 1814-1818. Networks of Knowledge in 17th Century Lands. humanitarian tone was deliberately designed as a piece of Catholic 244 Interpretation Description Inscribed in white. 261. Londres, 1986, pp. Marías, Fernando, Pinturas de historia, imágenes políticas. 93. Gudiol, José, Velázquez: 1599-1660, historia de su vida, catálogo de su ob, Ediciones Polígrafa, Barcelona, 1973. The Surrender of Breda. 25. (1635) 100-128. Hager, Werner, La Rendición de Breda de Velázquez, Alianza editorial Cero ocho, Madrid-Cuenca, 1981. Triadó, Joan-Ramon, La Pintura Española. 212. Harris, Enriqueta, Velázquez, Phaidon, Oxford, 1982, pp. Museo Nacional del Prado. of the Spanish Baroque. Analysis of The Surrender of Breda The central point of 266. Übersetzung Englisch-Deutsch für the surrender of Breda im PONS Online-Wörterbuch nachschlagen! Baroque art, Diego Velazquez was court painter to King Philip IV, 84, 86 / lám. Testamentaría Carlos II, Buen Retiro, 1701-1703. Impressionist painters Madrid Painting by the Spanish Golden Age painter Diego Velázquez. lám. 103. Location: Prado Museum, Madrid. Madrid Brown, J, Un Velázquez en Nueva York, Ars magazine, año 3, 2010, pp. 93. Vol. 189. López-Rey José, Nombres y nombradía de Velázquez., Gazette des beaux arts, 115/6, 1990, pp. Lafuente Ferrari, Enrique, III Centenario de la muerte de Velázquez, : conmemorado por el Instituto de España el día 9 de diciembre de 1960 conmemorado por el Instituto de España en el Salón de Actos de la Real Academia de Bellas Artes de San Fernando, Magisterio Español, Madrid, 1961, pp. notably that of Paolo Veronese Catálogo de las pinturas, Museo del Prado, Madrid, 1972. Also noticeable is how Velazquez handles 36. Sánchez Cantón, F.J., La revue française de l' élite européenne, Revue française, Paris, pp. Counter-Reformation art. in the 17th century. Spanish General Don Ambrogio Spinola. Baroque paintings of its type. The Buen Retiro and the Court of Philip, Yale University Press, New Haven- Londres, 1980, pp. Museo Nacional del Prado, El Palacio del Rey Planeta: Felipe IV y el Buen Retiro, Madrid, Museo Nacional del Prado, 2005, p.132-133. Catálogo Museo del Prado, 1910. © visual-arts-cork.com. Fernández Miranda y Lozana, Fernando, Inventarios Reales. 8. Eine kunstgeschichte in einzelinterpretationen, Martin Lurz, Munich, 1986, pp. laid down by Spinola at Breda were among the most honorable and lenient Ambrosio Spinola recibe la llave de la ciudad de manos de Justino Nassau. Stanley Riggs, Arthur, Velázquez. lám. Tormo y Monzó, Elías, Velázquez y el Salón de Reinos del Palacio del Buen Retiro, Imprenta San Francisco de Sales, Madrid, 1912, pp. Picouet, Pierre, Les Tercios Espagnols 1600-1660, LRT Éditions, 2010. The Surrender of Breda was one of these works; it was planned for display in the throne room of Philip IV. 456. to decorate the throne room (Salon de Reinos) of the Buen Retiro La rendición de Breda (English: The Surrender of Breda, also known as El cuadro de las lanzas or Las lanzas) is a painting by the Spanish Golden Age painter Diego Velázquez. Wikipedia. nudes known as The Rokeby Venus Catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. Reyero, C., Los Velázquez del Prado en América. Camón Aznar, José, Tercer centenario de Velázquez: estudios velazqueños, Universidad, Barcelona, 1962, pp. 15-46. Winkel-Rauws, H., Familieleed op ''Las Lanzas''?, Jaarboek van de Geschied- en Oudheidkundige Kring van Stad en Land van Breda ''De Oranjeboom'', XLIX, 1996, pp. Dictionary French ↔ English: The Surrender of Breda: Translation 1 - 50 of 1428 >> French: English: Full phrase not found. Velazquez. 52/lám. 55. Real Palacio de Madrid. 385. Dueñas, Germán, 'La indumentaria y el ornamento en la época de los Austrias' En:, La moda española en el Siglo de Oro., Junta de Comunidades de Castilla-La Mancha. It is therefore not surprising that the decision to decorate the Buen Retiro Palace`s Hall of Realms with a series of paintings narrating the military triumphs of Philip IV`s reign called for a depiction of what was probably the most resounding victory of all. Díez Torre, Alejandro, Ciencias históricas. Liebmann, K., Diego Velazquez, Verlag Der Kunst, Dresde, 1970, pp. Angulo Íñiguez, Diego, Velazquez, cómo compuso sus principales cuadros y otros escr, Istmo, Madrid, 1999, pp. Velázquez`s genius lies in having discovered the ideal formula for transmitting that content, which he did by eliminating all rhetoric and drawing instead on the most straightforward, and thus the most efficient means: the simple gesture of the two generals is enough to transmit a theory of State and a view of history. please see: Famous Paintings Analyzed Breda is packed with vivid military detail—whole armies are suggested on the … Museo Nacional del Prado, Museo del Prado. takes place in the background of the picture, the foreground is used for the ceremony of reconciliation. Portús, Javier, La sala de Las Meninas en el Museo del Prado; o la puesta en escena de la obra maestra., Boletín del Museo del Prado, XXVII, 2009, pp. 186 / lám. Encina, Juan de la, Sombra y enigma de Velázquez, Espasa-Calpe Argentina, Buenos Aires, 1952, pp. 74. Triadó, Joan-Ramon, Las claves del arte barroco: [cómo identificarlo], Ariel, Barcelona, 1986, pp. of St Ignatius (1688-94) by Andrea Pozzo. Abduction See Spanish-English translations with audio pronunciations, examples, and word-by-word explanations. 15. 191-214 [207]. Heber, Anton, Diego Velázquez. L'archiduchesse infante Isabelle-Claire-Eugénie au Musée du Prado: l'Espagne et la Belgique dans l'histoire. Velázquez and the surrender of Breda | Bailey, Anthony | ISBN: 9780805088359 | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Jordan de Urries, Juan, Enlaces de Reyes de Portugal con Infantas de Aragon. 154. Mckim-Smith, Gridley, Examining Velazquez, Yale University Press, New Haven-Londres, 1988, pp. Though the elaborate composition was based on a pictorial formula of Rubens, he creates a vivid impression of… Palomino de Castro y Velasco, Acisclo Antonio, El Museo Pictorico y Escala Optica. Velázquez, The Surrender of Breda. Fundación Cultura y Deporte, Círculo de Lectores - Fundación Amigos Museo del Prado, Fundación Fondo de Cultura de Sevilla (Focus), [244] Ottra [pintura] del mismo tamaño [cuatro varas de largo y tres y media de alto] y marco [dorado] del Marques de espinola reziuiendo las llaues de Una plaza Original de Diego Uelazquez tasada en quinientos doblones ... 30.000, Antecámara de la Serenísima Infanta [...] {12834} 244 / Retiro = Otro [quadro] que representa el Marques de Leganés en la entrada de vna plaza recibiendo las llaves de quatro varas y media de largo y vna menos de caida original de Velázquez, Pieza de Bestir / {54} 244 / Quatro varas y media de largo y tres y media de alto: La entrega de la Llabes de una Plaza: Velazquez: en ... 120.000, [1ª] Pieza de vestir [...] {21191} 244 / La entrega de unas llaves de una plaza = Velazquez. Breda even features pastel blues and pinks - in the soldiers (background) The Salas, Xavier de, Velázquez, Phaidon, Oxford, 1976, pp. Rodriguez G. de Ceballos, A, Representación de la guerra en la pintura española de la época heróica al desastre moral, Arte en tiempos de guerra Jornadas de Arte (14º.2008.Madrid), 2009, pp. 36. As with his equestrian portrait of Philip IV (P01178), the artist proudly declares his authorship and his stylistic singularity on a sheet of bank paper appearing in the composition`s lower right corner.
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