[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:04.90,0:00:09.84,Default,,0000,0000,0000,,"Las Meninas", Diego Velasquez's portrait\Nof a Spanish princess and her entourage
Dialogue: 0,0:00:09.89,0:00:14.75,Default,,0000,0000,0000,,is one of (if not THE) most widely\Ndiscussed painting in Western Art.
Dialogue: 0,0:00:15.38,0:00:17.76,Default,,0000,0000,0000,,Every viewing raises more questions
Dialogue: 0,0:00:17.76,0:00:21.62,Default,,0000,0000,0000,,and every answer is followed\Nby a dense network of meanings.
Dialogue: 0,0:00:22.45,0:00:25.14,Default,,0000,0000,0000,,It is not only a high point\Nof realism in painting,
Dialogue: 0,0:00:25.15,0:00:28.72,Default,,0000,0000,0000,,a perfect lifelike depiction\Nof the Spanish Court,
Dialogue: 0,0:00:28.74,0:00:32.83,Default,,0000,0000,0000,,it is also a complex meditation\Non painting itself.
Dialogue: 0,0:00:33.42,0:00:35.24,Default,,0000,0000,0000,,It is a spellbinding work
Dialogue: 0,0:00:35.24,0:00:38.12,Default,,0000,0000,0000,,that is concerned \Nwith how we view a painting,
Dialogue: 0,0:00:38.14,0:00:40.66,Default,,0000,0000,0000,,and how the subjects\Nin a painting view us.
Dialogue: 0,0:00:41.27,0:00:44.50,Default,,0000,0000,0000,,Velasquez was 57 years old\Nwhen he painted this,
Dialogue: 0,0:00:44.53,0:00:47.74,Default,,0000,0000,0000,,and had been the court painter\Nfor over 30 years.
Dialogue: 0,0:00:47.80,0:00:49.96,Default,,0000,0000,0000,,But in this painting\N— for the first time —
Dialogue: 0,0:00:50.00,0:00:52.84,Default,,0000,0000,0000,,he includes himself among the courtiers,
Dialogue: 0,0:00:52.84,0:00:57.78,Default,,0000,0000,0000,,painting a monumental canvas\N10 and 1/2 feet tall by 9 feet wide,
Dialogue: 0,0:00:58.05,0:01:03.20,Default,,0000,0000,0000,,the same size as the actual painting\Nthat the painted canvas is shown within.
Dialogue: 0,0:01:04.19,0:01:05.94,Default,,0000,0000,0000,,But who is he painting?
Dialogue: 0,0:01:06.29,0:01:09.42,Default,,0000,0000,0000,,The infanta? \NThe king and queen of Spain?
Dialogue: 0,0:01:09.75,0:01:12.49,Default,,0000,0000,0000,,Or is he painting you, looking at him?
Dialogue: 0,0:01:29.85,0:01:32.26,Default,,0000,0000,0000,,Early in his career, Velasquez produced
Dialogue: 0,0:01:32.27,0:01:34.67,Default,,0000,0000,0000,,several of these "kitchen" \Nor "tavern" scenes,
Dialogue: 0,0:01:34.69,0:01:37.08,Default,,0000,0000,0000,,known in Spanish as "bodegones".
Dialogue: 0,0:01:37.46,0:01:40.59,Default,,0000,0000,0000,,They showed ordinary people\Nin ordinary settings,
Dialogue: 0,0:01:40.63,0:01:43.68,Default,,0000,0000,0000,,often with hidden allegorical meaning.
Dialogue: 0,0:01:43.76,0:01:47.08,Default,,0000,0000,0000,,When he was just 18, \Nhe painted this extraordinary work,
Dialogue: 0,0:01:47.08,0:01:49.19,Default,,0000,0000,0000,,which shows a precocious talent
Dialogue: 0,0:01:49.22,0:01:51.60,Default,,0000,0000,0000,,for capturing the everyday moment
Dialogue: 0,0:01:51.62,0:01:53.85,Default,,0000,0000,0000,,and clearly shows his immense skill
Dialogue: 0,0:01:53.87,0:01:56.52,Default,,0000,0000,0000,,in depicting different\Nmaterials and textures,
Dialogue: 0,0:01:56.53,0:01:59.16,Default,,0000,0000,0000,,as well as his mastery of light and shadow
Dialogue: 0,0:01:59.16,0:02:02.12,Default,,0000,0000,0000,,on both opaque and reflective \Nsurfaces.
Dialogue: 0,0:02:02.76,0:02:07.15,Default,,0000,0000,0000,,The detail of the eggs \Nfrying in hot oil is a masterclass.
Dialogue: 0,0:02:07.49,0:02:11.21,Default,,0000,0000,0000,,This painting which was probably\Npainted to show off his skills,
Dialogue: 0,0:02:11.26,0:02:13.70,Default,,0000,0000,0000,,became his calling card \Nto the Royal Palace.
Dialogue: 0,0:02:13.78,0:02:16.15,Default,,0000,0000,0000,,Here, the water dripping down the jug
Dialogue: 0,0:02:16.15,0:02:18.47,Default,,0000,0000,0000,,demonstrates his astonishing ability
Dialogue: 0,0:02:18.47,0:02:21.24,Default,,0000,0000,0000,,to create an almost photographic reality.
Dialogue: 0,0:02:21.45,0:02:25.01,Default,,0000,0000,0000,,Common people were always\Ntreated with dignity by the artist
Dialogue: 0,0:02:25.25,0:02:28.01,Default,,0000,0000,0000,,and his early paintings not only showed
Dialogue: 0,0:02:28.01,0:02:30.98,Default,,0000,0000,0000,,a supremely confident\Ntechnique and attention to detail,
Dialogue: 0,0:02:31.08,0:02:34.44,Default,,0000,0000,0000,,he gave workers\Na gravitas in his paintings.
Dialogue: 0,0:02:37.58,0:02:42.93,Default,,0000,0000,0000,,Diego Rodríguez de Silva y Velázquez\Nwas born in 1599 in Seville,
Dialogue: 0,0:02:43.16,0:02:46.99,Default,,0000,0000,0000,,to a family with plenty of intellect\Nbut little financial means.
Dialogue: 0,0:02:47.86,0:02:51.01,Default,,0000,0000,0000,,Precocious talented, \Nhe began a six-year apprenticeship
Dialogue: 0,0:02:51.04,0:02:52.91,Default,,0000,0000,0000,,when \Nhe was 12 years old,
Dialogue: 0,0:02:52.92,0:02:55.39,Default,,0000,0000,0000,,with the painter Francisco Pacheco,
Dialogue: 0,0:02:55.39,0:02:57.82,Default,,0000,0000,0000,,learning classical techniques of painting.
Dialogue: 0,0:02:58.36,0:03:02.83,Default,,0000,0000,0000,,But the young artist quickly moved away\Nfrom Pacheco's old-fashioned stiff style,
Dialogue: 0,0:03:02.95,0:03:05.63,Default,,0000,0000,0000,,towards a new dramatic naturalism
Dialogue: 0,0:03:05.66,0:03:07.92,Default,,0000,0000,0000,,inspired by Caravaggio and his followers.
Dialogue: 0,0:03:08.40,0:03:11.66,Default,,0000,0000,0000,,There is no evidence he saw\NCaravaggio's work in person,
Dialogue: 0,0:03:11.76,0:03:15.26,Default,,0000,0000,0000,,but he knew the work of Pieter Aertsen,\Na Dutch painter
Dialogue: 0,0:03:15.28,0:03:18.63,Default,,0000,0000,0000,,accredited with the invention\Nof the monumental genre scene,
Dialogue: 0,0:03:18.68,0:03:21.30,Default,,0000,0000,0000,,which combines still life \Nand genre painting,
Dialogue: 0,0:03:21.30,0:03:24.74,Default,,0000,0000,0000,,and often includes \Na biblical scene in the background,
Dialogue: 0,0:03:24.78,0:03:26.99,Default,,0000,0000,0000,,almost like a split screen effect.
Dialogue: 0,0:03:27.42,0:03:30.25,Default,,0000,0000,0000,,Velasquez painted several \Nof these types of scenes,
Dialogue: 0,0:03:30.30,0:03:33.80,Default,,0000,0000,0000,,and he is clearly already\Nexperimenting with illusion,
Dialogue: 0,0:03:33.80,0:03:35.70,Default,,0000,0000,0000,,with the picture within a picture,
Dialogue: 0,0:03:35.74,0:03:39.15,Default,,0000,0000,0000,,something he will perfect later\Nin Las Meninas.
Dialogue: 0,0:03:39.56,0:03:42.59,Default,,0000,0000,0000,,In 1623, two years after Philip IV
Dialogue: 0,0:03:42.59,0:03:45.82,Default,,0000,0000,0000,,came to the throne in Spain \Nat the age of 16,
Dialogue: 0,0:03:46.02,0:03:49.74,Default,,0000,0000,0000,,Velasquez, who was already being \Ntalked about in the right circles,
Dialogue: 0,0:03:49.76,0:03:52.82,Default,,0000,0000,0000,,was summoned to Madrid \Nto paint a portrait of the king
Dialogue: 0,0:03:52.95,0:03:55.20,Default,,0000,0000,0000,,which we think is this one.
Dialogue: 0,0:03:55.50,0:03:57.25,Default,,0000,0000,0000,,It was an immediate success
Dialogue: 0,0:03:57.27,0:04:00.92,Default,,0000,0000,0000,,and he was pronounced \Nofficial painter to the king on the spot,
Dialogue: 0,0:04:01.26,0:04:05.56,Default,,0000,0000,0000,,with a promise that no one else should\Nportray the king without his permission,
Dialogue: 0,0:04:06.28,0:04:08.86,Default,,0000,0000,0000,,a remarkable achievement\Nfor such a young man,
Dialogue: 0,0:04:08.86,0:04:12.75,Default,,0000,0000,0000,,and one which awakened jealousy\Nfrom the other court painters.
Dialogue: 0,0:04:13.64,0:04:16.78,Default,,0000,0000,0000,,Philipe IV of Spain and Velasquez \Nwere linked together
Dialogue: 0,0:04:16.78,0:04:19.08,Default,,0000,0000,0000,,like no other patronage in Art History.
Dialogue: 0,0:04:19.13,0:04:21.69,Default,,0000,0000,0000,,He first painted him at the age of 24
Dialogue: 0,0:04:21.70,0:04:23.46,Default,,0000,0000,0000,,and 33 years later
Dialogue: 0,0:04:23.52,0:04:26.10,Default,,0000,0000,0000,,this painting would \Nbe his last of the king.
Dialogue: 0,0:04:26.41,0:04:30.22,Default,,0000,0000,0000,,Their relationship was unusually close\Nfor a monarch and his painter,
Dialogue: 0,0:04:30.30,0:04:32.50,Default,,0000,0000,0000,,and the king often came to Velasquez
Dialogue: 0,0:04:32.50,0:04:35.92,Default,,0000,0000,0000,,while he was painting in his workshop\N— just for a quick chat.
Dialogue: 0,0:04:36.36,0:04:37.50,Default,,0000,0000,0000,,It has been said
Dialogue: 0,0:04:37.50,0:04:40.67,Default,,0000,0000,0000,,that the principal motivating force\Nin Velasquez's life,
Dialogue: 0,0:04:40.67,0:04:42.99,Default,,0000,0000,0000,,was the desire to be a nobleman,
Dialogue: 0,0:04:43.17,0:04:45.16,Default,,0000,0000,0000,,and he would remain\Nattached to the court
Dialogue: 0,0:04:45.17,0:04:46.76,Default,,0000,0000,0000,,for the rest of his life,
Dialogue: 0,0:04:46.76,0:04:48.89,Default,,0000,0000,0000,,where step by step he would ascend
Dialogue: 0,0:04:48.89,0:04:51.64,Default,,0000,0000,0000,,through the hierarchy\Nof court appointments,
Dialogue: 0,0:04:51.70,0:04:53.94,Default,,0000,0000,0000,,working his way up to a knighthood,
Dialogue: 0,0:04:53.96,0:04:58.40,Default,,0000,0000,0000,,and he used Las Maninas to prove \Nthat he should be considered as a noble.
Dialogue: 0,0:04:58.62,0:05:01.89,Default,,0000,0000,0000,,At the same time \Nhe is painting his masterpiece,
Dialogue: 0,0:05:01.89,0:05:03.59,Default,,0000,0000,0000,,a committee are deciding
Dialogue: 0,0:05:03.59,0:05:06.61,Default,,0000,0000,0000,,whether he can be made a knight\Nof the order of Santiago,
Dialogue: 0,0:05:06.65,0:05:09.11,Default,,0000,0000,0000,,in other words be ennobled.
Dialogue: 0,0:05:09.24,0:05:13.42,Default,,0000,0000,0000,,There is a reason he has put himself\Nin one of his paintings for the first time
Dialogue: 0,0:05:13.50,0:05:16.23,Default,,0000,0000,0000,,— on an equal footing\Nwith Spanish royalty.
Dialogue: 0,0:05:16.56,0:05:18.35,Default,,0000,0000,0000,,It is so important to understand
Dialogue: 0,0:05:18.35,0:05:21.80,Default,,0000,0000,0000,,that a painter in 17th century \NSpain and elsewhere,
Dialogue: 0,0:05:21.85,0:05:25.91,Default,,0000,0000,0000,,was considered as just another\Ncrafts person, like a carpenter,
Dialogue: 0,0:05:26.12,0:05:28.80,Default,,0000,0000,0000,,in other words, a manual worker.
Dialogue: 0,0:05:29.19,0:05:32.21,Default,,0000,0000,0000,,And like most most court painters\Nhe had many other jobs.
Dialogue: 0,0:05:32.26,0:05:34.67,Default,,0000,0000,0000,,Velasquez was also \Nthe "Royal Chamberlain",
Dialogue: 0,0:05:34.67,0:05:37.55,Default,,0000,0000,0000,,a job that involved \Nlooking after the palace,
Dialogue: 0,0:05:37.68,0:05:40.82,Default,,0000,0000,0000,,buying firewood, \Nbedding, and crockery.
Dialogue: 0,0:05:40.95,0:05:43.32,Default,,0000,0000,0000,,He had a key to every room in the palace
Dialogue: 0,0:05:43.32,0:05:46.01,Default,,0000,0000,0000,,and we can see here,\Nhanging from the painters belt,
Dialogue: 0,0:05:46.06,0:05:48.22,Default,,0000,0000,0000,,the symbolic keys\Nof his court offices
Dialogue: 0,0:05:48.22,0:05:51.19,Default,,0000,0000,0000,,of which he was inordinately proud.
Dialogue: 0,0:05:51.50,0:05:53.85,Default,,0000,0000,0000,,He was also the curator\Nof the king's galleries,
Dialogue: 0,0:05:53.88,0:05:57.43,Default,,0000,0000,0000,,responsible for negotiating \Nthe purchase of hundreds of works.
Dialogue: 0,0:05:57.81,0:06:01.16,Default,,0000,0000,0000,,In fact, almost every Titian\Nyou see today in the Prado,
Dialogue: 0,0:06:01.17,0:06:03.83,Default,,0000,0000,0000,,was bought by Velasquez, \Non trips to Italy.
Dialogue: 0,0:06:04.26,0:06:05.95,Default,,0000,0000,0000,,The artist had a long life,
Dialogue: 0,0:06:05.95,0:06:10.10,Default,,0000,0000,0000,,but only produced \Nbetween 110 and 120 known canvases.
Dialogue: 0,0:06:10.35,0:06:12.89,Default,,0000,0000,0000,,He produced no etchings or engravings
Dialogue: 0,0:06:12.91,0:06:15.68,Default,,0000,0000,0000,,and only a few drawings \Nare attributed to him.
Dialogue: 0,0:06:15.70,0:06:20.33,Default,,0000,0000,0000,,This all ties into his two enormous,\Nbut mutually exclusive, ambitions.
Dialogue: 0,0:06:20.98,0:06:22.40,Default,,0000,0000,0000,,He wanted to be seen
Dialogue: 0,0:06:22.40,0:06:24.73,Default,,0000,0000,0000,,as the greatest painter \Nof the Spanish court
Dialogue: 0,0:06:24.77,0:06:28.95,Default,,0000,0000,0000,,but he also wanted to go down\Nin History as a great gentleman.
Dialogue: 0,0:06:29.40,0:06:32.18,Default,,0000,0000,0000,,The problem was that throughout\Nhis time in the palace,
Dialogue: 0,0:06:32.25,0:06:34.20,Default,,0000,0000,0000,,his close friendship with the king
Dialogue: 0,0:06:34.20,0:06:36.08,Default,,0000,0000,0000,,meant he had \Nhis enemies in the court,
Dialogue: 0,0:06:36.11,0:06:39.40,Default,,0000,0000,0000,,who were determined \Nto stop his rise through the ranks.
Dialogue: 0,0:06:42.55,0:06:45.92,Default,,0000,0000,0000,,Philipe became king in 1621 \Nat the age of 16
Dialogue: 0,0:06:45.92,0:06:49.20,Default,,0000,0000,0000,,and heir to the Hapsburg \Nart collection in Madrid.
Dialogue: 0,0:06:49.65,0:06:51.15,Default,,0000,0000,0000,,In a court that commissioned
Dialogue: 0,0:06:51.15,0:06:54.03,Default,,0000,0000,0000,,not only paintings \Nbut poetry and theatre too,
Dialogue: 0,0:06:54.18,0:06:57.05,Default,,0000,0000,0000,,we often talk about\Nthe "Golden Age of Spain",
Dialogue: 0,0:06:57.12,0:06:59.86,Default,,0000,0000,0000,,and it was a time \Nwhen great palaces were being built
Dialogue: 0,0:06:59.92,0:07:02.57,Default,,0000,0000,0000,,and culture was flourishing, \Nwith among others:
Dialogue: 0,0:07:02.63,0:07:07.52,Default,,0000,0000,0000,,El Greco, Velasquez, Zurbaran, \NMurillo and Cervantes.
Dialogue: 0,0:07:08.46,0:07:11.18,Default,,0000,0000,0000,,But Philip IV was in trouble\Nfor much of his rule,
Dialogue: 0,0:07:11.25,0:07:16.35,Default,,0000,0000,0000,,mainly because of long drawn out \Nexpensive wars, revolts, revolutions,
Dialogue: 0,0:07:16.47,0:07:18.35,Default,,0000,0000,0000,,and trouble in the colonies.
Dialogue: 0,0:07:18.50,0:07:21.43,Default,,0000,0000,0000,,But also because \Nof genetics and inbreeding.
Dialogue: 0,0:07:22.36,0:07:24.33,Default,,0000,0000,0000,,For two centuries, the Habsburg kings
Dialogue: 0,0:07:24.33,0:07:27.23,Default,,0000,0000,0000,,had married first cousins,\Nnieces and aunts,
Dialogue: 0,0:07:27.33,0:07:30.85,Default,,0000,0000,0000,,resulting in an onslaught of physical \Nand mental ailments
Dialogue: 0,0:07:30.94,0:07:33.60,Default,,0000,0000,0000,,because of their limited gene pool.
Dialogue: 0,0:07:34.10,0:07:37.06,Default,,0000,0000,0000,,The distinctive "Habsburg jaw" \Nwe see on Philip IV
Dialogue: 0,0:07:37.12,0:07:39.56,Default,,0000,0000,0000,,was inherited from earlier Habsburgs,
Dialogue: 0,0:07:39.58,0:07:43.16,Default,,0000,0000,0000,,and likely the result \Nof the Royal Family's inbreeding.
Dialogue: 0,0:07:43.61,0:07:45.92,Default,,0000,0000,0000,,Despite the Spanish Colonial Empire,
Dialogue: 0,0:07:45.92,0:07:49.32,Default,,0000,0000,0000,,the country was almost continuously\Nin financial difficulties,
Dialogue: 0,0:07:49.35,0:07:54.08,Default,,0000,0000,0000,,and had declared bankruptcies\Nin 1647 and 1653.
Dialogue: 0,0:07:54.75,0:07:57.03,Default,,0000,0000,0000,,The Spanish royal family \Nwas so broke
Dialogue: 0,0:07:57.03,0:07:59.92,Default,,0000,0000,0000,,that they often couldn't afford \Nfirewood to heat the palace,
Dialogue: 0,0:07:59.98,0:08:01.80,Default,,0000,0000,0000,,or bread for the tables.
Dialogue: 0,0:08:02.31,0:08:04.43,Default,,0000,0000,0000,,In fact, when Velasquez died,
Dialogue: 0,0:08:04.45,0:08:07.68,Default,,0000,0000,0000,,the crown still owed him \N17 years of salary payments.
Dialogue: 0,0:08:08.37,0:08:11.58,Default,,0000,0000,0000,,And yet, what does Las Meninas portray?
Dialogue: 0,0:08:11.80,0:08:15.21,Default,,0000,0000,0000,,A wealthy family dressed\Nin the finest clothes money can buy
Dialogue: 0,0:08:15.26,0:08:17.100,Default,,0000,0000,0000,,surrounded \Nby gloriously attired servants
Dialogue: 0,0:08:18.00,0:08:20.46,Default,,0000,0000,0000,,in an ornate and sumptuous setting.
Dialogue: 0,0:08:20.84,0:08:24.09,Default,,0000,0000,0000,,Like all royal portraiture, \Nit is a form of propaganda
Dialogue: 0,0:08:24.09,0:08:29.10,Default,,0000,0000,0000,,designed to show a courtly audience,\Ndynastic stability and Imperial wealth.
Dialogue: 0,0:08:30.15,0:08:34.12,Default,,0000,0000,0000,,But one thing Philip IV can't disguise\Nis the lack of a male heir.
Dialogue: 0,0:08:34.77,0:08:37.78,Default,,0000,0000,0000,,He is on his second marriage\Nby the time of this painting.
Dialogue: 0,0:08:38.06,0:08:41.17,Default,,0000,0000,0000,,He had 10 children with his first wife, \NIsabelle de Bourbon,
Dialogue: 0,0:08:41.17,0:08:43.76,Default,,0000,0000,0000,,but only one son and heir.
Dialogue: 0,0:08:43.83,0:08:45.93,Default,,0000,0000,0000,,His wife died in 1644.
Dialogue: 0,0:08:46.03,0:08:48.76,Default,,0000,0000,0000,,And then in 1646, their son died.
Dialogue: 0,0:08:49.69,0:08:52.89,Default,,0000,0000,0000,,A year later, in a hurry \Nto create a new son and heir,
Dialogue: 0,0:08:52.91,0:08:57.19,Default,,0000,0000,0000,,he married his 14-year-old niece, Marianna\N— when he was 44.
Dialogue: 0,0:08:57.52,0:09:01.41,Default,,0000,0000,0000,,She gave him five children,\Nbut only two survived to adulthood.
Dialogue: 0,0:09:01.58,0:09:04.98,Default,,0000,0000,0000,,A daughter, Margarita Theresa, \Nborn in 1651,
Dialogue: 0,0:09:04.99,0:09:09.57,Default,,0000,0000,0000,,the infanta in Las Meninas,\Nwho sadly would die in her teens,
Dialogue: 0,0:09:09.59,0:09:12.43,Default,,0000,0000,0000,,and the future king Charles II of Spain
Dialogue: 0,0:09:12.43,0:09:14.80,Default,,0000,0000,0000,,who was born 5 years after Las Meninas.
Dialogue: 0,0:09:15.40,0:09:17.68,Default,,0000,0000,0000,,Charles however, \Nwas severely disabled,
Dialogue: 0,0:09:17.68,0:09:19.31,Default,,0000,0000,0000,,thanks to inbreeding,
Dialogue: 0,0:09:19.31,0:09:22.12,Default,,0000,0000,0000,,and he would be the last\Nof the Spanish Habsburgs.
Dialogue: 0,0:09:25.08,0:09:26.78,Default,,0000,0000,0000,,Velasquez's position at the court
Dialogue: 0,0:09:26.78,0:09:29.41,Default,,0000,0000,0000,,gave him unique access\Nto the royal collections,
Dialogue: 0,0:09:29.41,0:09:32.92,Default,,0000,0000,0000,,and he would naturally be influenced\Nby the works he saw every day.
Dialogue: 0,0:09:33.19,0:09:35.80,Default,,0000,0000,0000,,He also visited Italy at least twice,
Dialogue: 0,0:09:35.84,0:09:38.79,Default,,0000,0000,0000,,on extended trips \Nto buy paintings for Philipe IV,
Dialogue: 0,0:09:38.88,0:09:41.06,Default,,0000,0000,0000,,and to study the great masters.
Dialogue: 0,0:09:41.20,0:09:44.61,Default,,0000,0000,0000,,He was accompanied on these trips\Nby his enslaved assistant,
Dialogue: 0,0:09:44.64,0:09:48.19,Default,,0000,0000,0000,,a notable painter in his own right, \NJuan de Pareja,
Dialogue: 0,0:09:48.26,0:09:50.64,Default,,0000,0000,0000,,who would be given\Nhis freedom by Velasquez
Dialogue: 0,0:09:50.68,0:09:55.41,Default,,0000,0000,0000,,shortly after he painted this beautiful \Nand dignified portrait in 1650.
Dialogue: 0,0:09:55.48,0:09:59.82,Default,,0000,0000,0000,,The work's extraordinary lifelike quality\Nso astonished the papal court,
Dialogue: 0,0:09:59.94,0:10:03.01,Default,,0000,0000,0000,,that he was asked to paint Pope Innocent X
Dialogue: 0,0:10:03.09,0:10:06.60,Default,,0000,0000,0000,,one of the painter's best \Nand most psychologically insightful works,
Dialogue: 0,0:10:06.62,0:10:09.65,Default,,0000,0000,0000,,which has been described \Nas "a symphony in red".
Dialogue: 0,0:10:10.11,0:10:13.14,Default,,0000,0000,0000,,It is said that when the pope saw\Nhis portrait completed,
Dialogue: 0,0:10:13.14,0:10:15.56,Default,,0000,0000,0000,,he exclaimed somewhat bewildered:
Dialogue: 0,0:10:15.56,0:10:18.38,Default,,0000,0000,0000,,"Troppo Vero" - "too truthful".
Dialogue: 0,0:10:18.90,0:10:22.38,Default,,0000,0000,0000,,The influence of contemporary \NItalian artists, can be seen
Dialogue: 0,0:10:22.38,0:10:24.42,Default,,0000,0000,0000,,in Velasquez's mastery of perspective,
Dialogue: 0,0:10:24.47,0:10:27.50,Default,,0000,0000,0000,,and his rendering of the male nude\Nin this large canvas,
Dialogue: 0,0:10:27.50,0:10:29.40,Default,,0000,0000,0000,,he painted while in Rome.
Dialogue: 0,0:10:29.54,0:10:31.63,Default,,0000,0000,0000,,It was Titian and Peter Paul Rubens,
Dialogue: 0,0:10:31.63,0:10:34.33,Default,,0000,0000,0000,,who would have more influence\Nthan any other artist
Dialogue: 0,0:10:34.33,0:10:36.16,Default,,0000,0000,0000,,on the development of his style,
Dialogue: 0,0:10:36.25,0:10:38.52,Default,,0000,0000,0000,,and in particular his royal portraits,
Dialogue: 0,0:10:38.54,0:10:41.17,Default,,0000,0000,0000,,where, in some cases, \Nwe can clearly see
Dialogue: 0,0:10:41.17,0:10:44.42,Default,,0000,0000,0000,,stylistic similarities\Nbetween the great masters.
Dialogue: 0,0:10:44.43,0:10:47.70,Default,,0000,0000,0000,,This early Titian painting hung\Nin the Spanish Royal Palace
Dialogue: 0,0:10:47.71,0:10:50.01,Default,,0000,0000,0000,,when Philip IV came to power
Dialogue: 0,0:10:50.01,0:10:51.51,Default,,0000,0000,0000,,and was used as the standard
Dialogue: 0,0:10:51.51,0:10:54.88,Default,,0000,0000,0000,,by which all other royal equestrian\Nportraits would be judged.
Dialogue: 0,0:10:55.32,0:10:59.28,Default,,0000,0000,0000,,And this spectacular life-sized\Nequestrian portrait by Velasquez
Dialogue: 0,0:10:59.32,0:11:03.19,Default,,0000,0000,0000,,of Philip IV clearly influenced \Nby Titian and Rubens,
Dialogue: 0,0:11:03.22,0:11:05.76,Default,,0000,0000,0000,,not only in its simplicity of pose
Dialogue: 0,0:11:05.78,0:11:07.96,Default,,0000,0000,0000,,but also in its depiction of the King
Dialogue: 0,0:11:07.96,0:11:10.31,Default,,0000,0000,0000,,as a restrained and powerful ruler.
Dialogue: 0,0:11:10.41,0:11:15.32,Default,,0000,0000,0000,,Velasquez's portrait however is livelier,\Nmore elegant and uses a lighter pallette,
Dialogue: 0,0:11:15.56,0:11:19.09,Default,,0000,0000,0000,,and doesn't rely \Non a highly charged background.
Dialogue: 0,0:11:19.83,0:11:25.11,Default,,0000,0000,0000,,The Flemish painter Rubens, even visited \Nthe Spanish court of Philip IV in 1628.
Dialogue: 0,0:11:25.39,0:11:27.85,Default,,0000,0000,0000,,He was actually on a diplomatic mission,
Dialogue: 0,0:11:27.87,0:11:30.92,Default,,0000,0000,0000,,but still managed to paint five \Nportraits of Philipe,
Dialogue: 0,0:11:30.92,0:11:32.42,Default,,0000,0000,0000,,while he was there.
Dialogue: 0,0:11:32.47,0:11:34.64,Default,,0000,0000,0000,,He became great friends with Velasquez
Dialogue: 0,0:11:34.64,0:11:37.86,Default,,0000,0000,0000,,and encouraged him to go to Italy\Nto study the Italian masters
Dialogue: 0,0:11:37.86,0:11:40.35,Default,,0000,0000,0000,,to move away from chiaroscuro,
Dialogue: 0,0:11:40.41,0:11:44.27,Default,,0000,0000,0000,,to be looser in his brush work\Nand to adopt a brighter palette colour.
Dialogue: 0,0:11:44.66,0:11:47.32,Default,,0000,0000,0000,,Rubens was not only a successful painter,
Dialogue: 0,0:11:47.34,0:11:49.15,Default,,0000,0000,0000,,but he was also an important diplomat
Dialogue: 0,0:11:49.19,0:11:51.99,Default,,0000,0000,0000,,who had been knighted \Ndespite his humble background.
Dialogue: 0,0:11:52.41,0:11:55.55,Default,,0000,0000,0000,,The ambitious Velasquez \Nsaw Rubens as a role model,
Dialogue: 0,0:11:55.62,0:11:58.66,Default,,0000,0000,0000,,and through him he found someone\Nhe could identify with.
Dialogue: 0,0:11:59.04,0:12:03.11,Default,,0000,0000,0000,,It was Titian's late works that inspired\Nboth Rubens and Velasquez.
Dialogue: 0,0:12:03.35,0:12:06.14,Default,,0000,0000,0000,,Titian used sketchy and loosely\Napplied brush work,
Dialogue: 0,0:12:06.14,0:12:08.66,Default,,0000,0000,0000,,and he would drag and smudge\Npaint over the canvas
Dialogue: 0,0:12:08.69,0:12:12.54,Default,,0000,0000,0000,,to suggest the form, \Nrather than using definitive Strokes.
Dialogue: 0,0:12:12.91,0:12:16.72,Default,,0000,0000,0000,,He also used a very thick\Nrough weave for his canvases,
Dialogue: 0,0:12:16.72,0:12:18.94,Default,,0000,0000,0000,,that gave texture to his surfaces.
Dialogue: 0,0:12:18.100,0:12:20.89,Default,,0000,0000,0000,,Velasquez would do the same.
Dialogue: 0,0:12:20.96,0:12:25.60,Default,,0000,0000,0000,,Maybe less well known is the influence\Nof Sánchez Coello and Antonis Mor,
Dialogue: 0,0:12:25.70,0:12:27.55,Default,,0000,0000,0000,,who were in the royal collection,
Dialogue: 0,0:12:27.55,0:12:30.77,Default,,0000,0000,0000,,and would also be important\Nto how Velasquez helped Philipe IV
Dialogue: 0,0:12:30.77,0:12:34.40,Default,,0000,0000,0000,,forge a calculated image\Nof power and piety.
Dialogue: 0,0:12:35.15,0:12:38.12,Default,,0000,0000,0000,,Probably the biggest influence\Non Las Meninas though,
Dialogue: 0,0:12:38.12,0:12:40.36,Default,,0000,0000,0000,,was a painting from two centuries earlier,
Dialogue: 0,0:12:40.36,0:12:43.26,Default,,0000,0000,0000,,"The Arnolfini Portrait", by Jan Van Eyck,
Dialogue: 0,0:12:43.28,0:12:45.80,Default,,0000,0000,0000,,that I discussed in my earlier video.
Dialogue: 0,0:12:46.08,0:12:48.65,Default,,0000,0000,0000,,This too was \Nin the collection of Philip IV,
Dialogue: 0,0:12:48.67,0:12:52.30,Default,,0000,0000,0000,,and Velasquez would pass it every day\Non the way to his Studio.
Dialogue: 0,0:12:52.75,0:12:56.67,Default,,0000,0000,0000,,Like Las Meninas, the Arnolfini portrait \Nalso has a mirror
Dialogue: 0,0:12:56.68,0:12:59.55,Default,,0000,0000,0000,,positioned at the back\Nof the pictorial space,
Dialogue: 0,0:12:59.60,0:13:03.59,Default,,0000,0000,0000,,reflecting two figures who would have \Nthe same point of view as we do.
Dialogue: 0,0:13:04.27,0:13:07.93,Default,,0000,0000,0000,,It also plays with pictorial space,\Nreflections and illusion,
Dialogue: 0,0:13:08.81,0:13:11.35,Default,,0000,0000,0000,,not only in art but also in literature.
Dialogue: 0,0:13:11.48,0:13:14.97,Default,,0000,0000,0000,,For example, Don Quixote\Nby Miguel de Cervantes,
Dialogue: 0,0:13:14.97,0:13:18.29,Default,,0000,0000,0000,,is itself a complex multifaceted picture
Dialogue: 0,0:13:18.35,0:13:21.38,Default,,0000,0000,0000,,of the relationship\Nbetween reality and illusion.
Dialogue: 0,0:13:24.71,0:13:26.57,Default,,0000,0000,0000,,Velasquez used a very coarse canvas,
Dialogue: 0,0:13:26.63,0:13:29.78,Default,,0000,0000,0000,,and he didn't use many\Npreliminary sketches that we know of,
Dialogue: 0,0:13:29.82,0:13:32.82,Default,,0000,0000,0000,,but rather, he painted\Ndirectly onto the canvas.
Dialogue: 0,0:13:33.06,0:13:35.11,Default,,0000,0000,0000,,As we can see with these x-rays
Dialogue: 0,0:13:35.11,0:13:37.58,Default,,0000,0000,0000,,he often changed his work\Nas he was painting it,
Dialogue: 0,0:13:37.58,0:13:40.42,Default,,0000,0000,0000,,and these changes \Nare known as "pentimento"
Dialogue: 0,0:13:40.47,0:13:43.56,Default,,0000,0000,0000,,Velasquez was so experienced\Nby the time of Las Meninas,
Dialogue: 0,0:13:43.56,0:13:47.60,Default,,0000,0000,0000,,that the work has very few changes,\Napart from his self-portrait,
Dialogue: 0,0:13:47.71,0:13:50.93,Default,,0000,0000,0000,,which initially turned his head\Nmore towards the Infanta.
Dialogue: 0,0:13:51.35,0:13:53.54,Default,,0000,0000,0000,,For much of his early career,
Dialogue: 0,0:13:53.54,0:13:55.71,Default,,0000,0000,0000,,the artist used \Na red ground for underlayer,
Dialogue: 0,0:13:55.71,0:13:58.11,Default,,0000,0000,0000,,good for building up \Ncontrast and tonal values
Dialogue: 0,0:13:58.15,0:14:00.30,Default,,0000,0000,0000,,- the light and the dark.
Dialogue: 0,0:14:00.37,0:14:03.71,Default,,0000,0000,0000,,But by the time of Las Meninas, \Nhe had a much looser style,
Dialogue: 0,0:14:03.73,0:14:07.24,Default,,0000,0000,0000,,and diluted his pigments t\No make them more translucent and fluid,
Dialogue: 0,0:14:07.32,0:14:09.27,Default,,0000,0000,0000,,and he painted quite thinly,
Dialogue: 0,0:14:09.31,0:14:12.75,Default,,0000,0000,0000,,so this necessitated using \Na neutral grey ground,
Dialogue: 0,0:14:12.78,0:14:15.08,Default,,0000,0000,0000,,which allowed \Nfor a much wider tonal range,
Dialogue: 0,0:14:15.11,0:14:18.94,Default,,0000,0000,0000,,greater luminosity\Nand a general silvery range of colour.
Dialogue: 0,0:14:19.30,0:14:21.07,Default,,0000,0000,0000,,This was unusual at the time,
Dialogue: 0,0:14:21.07,0:14:24.10,Default,,0000,0000,0000,,as most canvases were primed \Nusing dark colours.
Dialogue: 0,0:14:24.67,0:14:27.50,Default,,0000,0000,0000,,He would paint "alla Prima" or wet-on-wet,
Dialogue: 0,0:14:27.50,0:14:31.06,Default,,0000,0000,0000,,where layers of wet paint are applied \Nto existing layers of wet paint,
Dialogue: 0,0:14:31.06,0:14:34.05,Default,,0000,0000,0000,,often finishing his paintings\Nin one session.
Dialogue: 0,0:14:34.14,0:14:36.41,Default,,0000,0000,0000,,With a painting\Nof this size and complexity,
Dialogue: 0,0:14:36.41,0:14:38.05,Default,,0000,0000,0000,,that would not be possible,
Dialogue: 0,0:14:38.06,0:14:41.18,Default,,0000,0000,0000,,and we can see one example\Nin the Infanta's sleeve,
Dialogue: 0,0:14:41.18,0:14:43.43,Default,,0000,0000,0000,,where although it is mostly wet-on-wet,
Dialogue: 0,0:14:43.44,0:14:47.09,Default,,0000,0000,0000,,areas of highlights have been dabbed \Non later in thick impasto,
Dialogue: 0,0:14:47.09,0:14:48.90,Default,,0000,0000,0000,,to create texture.
Dialogue: 0,0:14:49.01,0:14:52.58,Default,,0000,0000,0000,,With Velazquez, you are always aware\Nthat you are looking at paint.
Dialogue: 0,0:14:52.75,0:14:56.15,Default,,0000,0000,0000,,He doesn't try to hide his brushmarks\N- quite the reverse.
Dialogue: 0,0:14:56.74,0:14:59.19,Default,,0000,0000,0000,,By the time he came round\Nto painting Las Meninas,
Dialogue: 0,0:14:59.21,0:15:02.28,Default,,0000,0000,0000,,his technique was \Nat its freest and most fluid.
Dialogue: 0,0:15:02.86,0:15:05.50,Default,,0000,0000,0000,,It is often called \Na precursor to Impressionism,
Dialogue: 0,0:15:05.52,0:15:07.34,Default,,0000,0000,0000,,but it's more than that.
Dialogue: 0,0:15:07.38,0:15:11.42,Default,,0000,0000,0000,,Here, the silver of the tray on which\Nthe Menina holds the ceramic container
Dialogue: 0,0:15:11.47,0:15:14.25,Default,,0000,0000,0000,,is achieved with a couple of flicks\Nof white paint,
Dialogue: 0,0:15:14.71,0:15:17.67,Default,,0000,0000,0000,,and the flowers are just\Na few slashes of red.
Dialogue: 0,0:15:17.90,0:15:22.06,Default,,0000,0000,0000,,We often talk about Chiaroscuro,\Nthe extreme contrast of light and dark,
Dialogue: 0,0:15:22.21,0:15:24.01,Default,,0000,0000,0000,,when we talk about Velasquez,
Dialogue: 0,0:15:24.04,0:15:26.50,Default,,0000,0000,0000,,and comparisons \Nare often made with Caravaggio.
Dialogue: 0,0:15:26.75,0:15:30.14,Default,,0000,0000,0000,,He painted his most technically\NCaravaggio-like picture,
Dialogue: 0,0:15:30.16,0:15:32.73,Default,,0000,0000,0000,,"Christ after the flagellation', early on.
Dialogue: 0,0:15:33.11,0:15:36.74,Default,,0000,0000,0000,,But later, he used a more subtle \Nvariation of chiarascuro.
Dialogue: 0,0:15:37.23,0:15:40.54,Default,,0000,0000,0000,,Still using light to direct our vision\Nbut more subtly.
Dialogue: 0,0:15:40.63,0:15:44.12,Default,,0000,0000,0000,,As we can see when we look\Nat Las Maninas in greyscale.
Dialogue: 0,0:15:45.15,0:15:48.36,Default,,0000,0000,0000,,Velasquez uses a dark colour palette\Nfor Las Meninas,
Dialogue: 0,0:15:48.46,0:15:51.34,Default,,0000,0000,0000,,mostly neutral colours and quite limited,
Dialogue: 0,0:15:51.37,0:15:54.07,Default,,0000,0000,0000,,and yet he manages \Nto get a broad range of tones
Dialogue: 0,0:15:54.07,0:15:58.34,Default,,0000,0000,0000,,with just whites, blues, yellows, \Nochres, and small touches of red,
Dialogue: 0,0:15:58.62,0:16:00.83,Default,,0000,0000,0000,,that help draw your eyes \Naround the painting
Dialogue: 0,0:16:00.83,0:16:03.03,Default,,0000,0000,0000,,towards key points of interest.
Dialogue: 0,0:16:03.50,0:16:06.65,Default,,0000,0000,0000,,Velasquez even lets us know\Nwhich colours he used,
Dialogue: 0,0:16:06.73,0:16:09.54,Default,,0000,0000,0000,,as the palette that the painter holds\Nin his left hand,
Dialogue: 0,0:16:09.56,0:16:12.62,Default,,0000,0000,0000,,has the very pigments \Nhe used on Las Meninas.
Dialogue: 0,0:16:16.73,0:16:18.87,Default,,0000,0000,0000,,Between 1640 and 1660,
Dialogue: 0,0:16:18.90,0:16:21.19,Default,,0000,0000,0000,,Velasquez mostly painted \Nsingle portraits.
Dialogue: 0,0:16:21.60,0:16:25.61,Default,,0000,0000,0000,,The composition and structure\Nof Las Meninas was extremely complicated,
Dialogue: 0,0:16:25.67,0:16:27.76,Default,,0000,0000,0000,,and with so many characters
Dialogue: 0,0:16:27.77,0:16:31.21,Default,,0000,0000,0000,,it's really like the staging of a piece \Nof theatre or performance art.
Dialogue: 0,0:16:31.24,0:16:33.12,Default,,0000,0000,0000,,It needed to be carefully planned out,
Dialogue: 0,0:16:33.12,0:16:35.97,Default,,0000,0000,0000,,with every character seen,\Nas well as being seen.
Dialogue: 0,0:16:36.13,0:16:39.54,Default,,0000,0000,0000,,In Velasquez's hands, \Nthey are fully realised individuals.
Dialogue: 0,0:16:40.30,0:16:43.73,Default,,0000,0000,0000,,Thanks to the 18th century \Nart historian Antonio Palamino,
Dialogue: 0,0:16:43.73,0:16:47.06,Default,,0000,0000,0000,,who wrote a 1724 book on Spanish painters,
Dialogue: 0,0:16:47.17,0:16:49.99,Default,,0000,0000,0000,,we know quite a lot \Nabout the people in Las Meninas,
Dialogue: 0,0:16:49.99,0:16:51.75,Default,,0000,0000,0000,,including their names.
Dialogue: 0,0:16:52.02,0:16:54.97,Default,,0000,0000,0000,,Palomino spoke to Velasquez 's colleagues\Nafter his death,
Dialogue: 0,0:16:55.07,0:16:58.06,Default,,0000,0000,0000,,as well as four of the nine people\Npictured in the painting.
Dialogue: 0,0:16:58.37,0:17:00.24,Default,,0000,0000,0000,,Most of the members of the Court
Dialogue: 0,0:17:00.24,0:17:02.56,Default,,0000,0000,0000,,are grouped around\Nthe 5-year-old infanta,
Dialogue: 0,0:17:02.56,0:17:03.100,Default,,0000,0000,0000,,Margarita Teresa,
Dialogue: 0,0:17:04.02,0:17:07.66,Default,,0000,0000,0000,,who is attended by two "meninas"\N- or maids-in-waiting.
Dialogue: 0,0:17:07.68,0:17:09.80,Default,,0000,0000,0000,,María Agustina Sarmiento,
Dialogue: 0,0:17:09.81,0:17:12.02,Default,,0000,0000,0000,,who is passing her water\Nin terracotta pots
Dialogue: 0,0:17:12.05,0:17:13.76,Default,,0000,0000,0000,,(so it could be summer).
Dialogue: 0,0:17:13.76,0:17:17.45,Default,,0000,0000,0000,,and Isabel de Velasco, \Nwho seems to be in mid-curtsy.
Dialogue: 0,0:17:18.01,0:17:20.54,Default,,0000,0000,0000,,Velasquez had painted the princess \Nmany times,
Dialogue: 0,0:17:20.81,0:17:24.36,Default,,0000,0000,0000,,but unfortunately she would die \Nbefore she was out of her teens.
Dialogue: 0,0:17:24.65,0:17:26.57,Default,,0000,0000,0000,,She is in the centre of the painting,
Dialogue: 0,0:17:26.58,0:17:29.29,Default,,0000,0000,0000,,with the central axis\Npassing between her eyes.
Dialogue: 0,0:17:29.59,0:17:31.58,Default,,0000,0000,0000,,Her face is spotlit by light
Dialogue: 0,0:17:31.62,0:17:33.79,Default,,0000,0000,0000,,coming from an unseen window - top right,
Dialogue: 0,0:17:33.83,0:17:37.49,Default,,0000,0000,0000,,and her white satin dress glows\Nas she is bathed in the sun.
Dialogue: 0,0:17:38.05,0:17:39.87,Default,,0000,0000,0000,,It is the princess's presence
Dialogue: 0,0:17:39.87,0:17:42.01,Default,,0000,0000,0000,,that makes this a "political painting",
Dialogue: 0,0:17:42.04,0:17:45.66,Default,,0000,0000,0000,,as at the time the Infanta \Nwas the only child of Philipe IV,
Dialogue: 0,0:17:45.73,0:17:49.48,Default,,0000,0000,0000,,with the dynastic succession\Nresting on her tiny shoulders.
Dialogue: 0,0:17:49.53,0:17:52.33,Default,,0000,0000,0000,,Showing her as a healthy and beautiful princess is important for future marriage prospects.
Dialogue: 0,0:17:55.29,0:17:58.52,Default,,0000,0000,0000,,We don't know the name of the dog, but we know the breed is a Spanish Mastiff, which were bred as guard dogs.
Dialogue: 0,0:18:01.53,0:18:03.14,Default,,0000,0000,0000,,There are few artists with such skill in painting animals as Velasquez!
Dialogue: 0,0:18:06.45,0:18:09.42,Default,,0000,0000,0000,,The dog is being nudged awake by Nicolas Pertusato, an Italian dwarf and Court Jester.
Dialogue: 0,0:18:12.60,0:18:15.95,Default,,0000,0000,0000,,Next to him, is the Austrian dwarf Maria Bárbola, who is depicted in an unusual way for a person in her position at the time.
Dialogue: 0,0:18:19.11,0:18:21.24,Default,,0000,0000,0000,,People with dwarfism, were considered curiosities,
Dialogue: 0,0:18:23.30,0:18:26.46,Default,,0000,0000,0000,,as little more than "pets", but Velasquez always gave \Ndignity to characters who, due to their profession or condition,
Dialogue: 0,0:18:29.34,0:18:30.72,Default,,0000,0000,0000,,we
Dialogue: 0,0:18:30.72,0:18:31.41,Default,,0000,0000,0000,,re treated as lesser beings.
Dialogue: 0,0:18:32.73,0:18:34.03,Default,,0000,0000,0000,,He shows Maria standing upright, beside the princess.
Dialogue: 0,0:18:35.33,0:18:38.66,Default,,0000,0000,0000,,She has a thoughtful and controlled expression, and is looking directly at us - or the royal couple.
Dialogue: 0,0:18:42.10,0:18:44.13,Default,,0000,0000,0000,,Velasquez entered the service of the \N18:44\Npalace as a royal servant
Dialogue: 0,0:18:46.16,0:18:48.01,Default,,0000,0000,0000,,and initially was considered a worker, just like the dwarves of the court,
Dialogue: 0,0:18:49.76,0:18:52.49,Default,,0000,0000,0000,,or the jesters. And so he treated them with an empathy, not seen before in Royal portraits.
Dialogue: 0,0:18:55.20,0:18:58.67,Default,,0000,0000,0000,,He never mocked them or caricatured them, and often made them the focal point, as fully fleshed out humans.
Dialogue: 0,0:19:02.08,0:19:04.57,Default,,0000,0000,0000,,In the shadows, this woman is Doña Marcela de Ulloa, the infanta's chaperone,
Dialogue: 0,0:19:06.86,0:19:08.67,Default,,0000,0000,0000,,and she is in mid-conversation with an unidentified bodyguard.
Dialogue: 0,0:19:10.35,0:19:12.58,Default,,0000,0000,0000,,At the rear is Don José Nieto Velázquez, brother of the artist,
Dialogue: 0,0:19:14.89,0:19:16.84,Default,,0000,0000,0000,,and the Queen's Chamberlain. Velasquez had possibly painted him before.
Dialogue: 0,0:19:18.51,0:19:20.92,Default,,0000,0000,0000,,He has paused at the door, pulling back the heavy exterior curtain,
Dialogue: 0,0:19:23.13,0:19:25.49,Default,,0000,0000,0000,,with one foot resting on a step while his weight \Nis on his other leg on a different step.
Dialogue: 0,0:19:27.71,0:19:30.21,Default,,0000,0000,0000,,As the Queen's attendant he was required to be at hand to \Nopen and close doors for her.
Dialogue: 0,0:19:32.35,0:19:35.12,Default,,0000,0000,0000,,We don't know however if he is coming or going, but the light certainly \Npulls us in,
Dialogue: 0,0:19:38.07,0:19:41.16,Default,,0000,0000,0000,,and it looks as if he will usher all of us, out from the created world and into the real world.
Dialogue: 0,0:19:44.50,0:19:47.32,Default,,0000,0000,0000,,In this masterpiece of Illusion,
Dialogue: 0,0:19:50.14,0:19:52.64,Default,,0000,0000,0000,,Velasquez clearly goes beyond the physical confines of space, \Nby playing with implied spaces, in this case the rest of the palace.
Dialogue: 0,0:19:54.93,0:19:56.88,Default,,0000,0000,0000,,Velasquez himself is pictured \Nemerging from behind the canvas,
Dialogue: 0,0:19:58.75,0:20:00.68,Default,,0000,0000,0000,,moving into our gaze from the shadows into the light,
Dialogue: 0,0:20:02.38,0:20:05.10,Default,,0000,0000,0000,,as he looks at us in the implied space looking at him in the pictorial space.
Dialogue: 0,0:20:08.00,0:20:11.85,Default,,0000,0000,0000,,He is supremely self-confident and \Ncertainly no subservient courtier.
Dialogue: 0,0:20:13.38,0:20:16.06,Default,,0000,0000,0000,,He is proudly holding the tools of his trade, his Palette is \Nturned towards us showing its colours
Dialogue: 0,0:20:18.66,0:20:21.10,Default,,0000,0000,0000,,he also holds a mahlstick, used for steadying the hand \Nwhen doing close work.
Dialogue: 0,0:20:23.43,0:20:26.33,Default,,0000,0000,0000,,And the long round brushes we know he used which created soft edges rather than hard lines.
Dialogue: 0,0:20:29.24,0:20:31.90,Default,,0000,0000,0000,,His brush is dipped in paint and perhaps he is considering whether to add some finishing touches,
Dialogue: 0,0:20:34.50,0:20:36.70,Default,,0000,0000,0000,,but it is also possible that the first stroke has not yet been applied.
Dialogue: 0,0:20:38.53,0:20:42.04,Default,,0000,0000,0000,,His hand is just a flurry of rapid brush strokes and it would appear to be metamorphosing into his brush,
Dialogue: 0,0:20:45.41,0:20:46.82,Default,,0000,0000,0000,,as his flesh becomes instrument.
Dialogue: 0,0:20:48.82,0:20:51.04,Default,,0000,0000,0000,,It is audacious that a servant, albeit a courtier and Royal favourite,
Dialogue: 0,0:20:53.26,0:20:55.03,Default,,0000,0000,0000,,has given himself greater prominence than his master.
Dialogue: 0,0:20:56.83,0:21:00.40,Default,,0000,0000,0000,,But it is also inconceivable that Philip IV did not give the concept his Blessing in advance.
Dialogue: 0,0:21:04.09,0:21:06.58,Default,,0000,0000,0000,,In the same way the Queen's Chamberlain is opening \Nup the implied space beyond the picture frame,
Dialogue: 0,0:21:08.79,0:21:10.55,Default,,0000,0000,0000,,the mirror here is reflecting the opposite direction,
Dialogue: 0,0:21:11.94,0:21:13.35,Default,,0000,0000,0000,,forward into the viewer's space.
Dialogue: 0,0:21:14.83,0:21:17.53,Default,,0000,0000,0000,,The reflection is of King Philip IV and Maria of Austria, the \NKing and Queen.
Dialogue: 0,0:21:20.14,0:21:22.61,Default,,0000,0000,0000,,We know it is a mirror, and not a painting, as everything else is muted and fuzzy,
Dialogue: 0,0:21:24.73,0:21:28.27,Default,,0000,0000,0000,,whereas the image of the king and queen is bathed in light in the beveled mirror giving them an almost divine presence.
Dialogue: 0,0:21:32.39,0:21:34.88,Default,,0000,0000,0000,,That is if we believe the King and Queen are in the same room as the other characters.
Dialogue: 0,0:21:41.24,0:21:44.07,Default,,0000,0000,0000,,The aforementioned historian, Palamino, noted that the mirror which shows the royal couple, was actually a reflection,
Dialogue: 0,0:21:46.89,0:21:49.17,Default,,0000,0000,0000,,not of the real monarchs in the room, but of the canvas Velasquez is working on.
Dialogue: 0,0:21:51.45,0:21:53.22,Default,,0000,0000,0000,,In other words, the couple are not in the room.
Dialogue: 0,0:21:55.16,0:21:57.14,Default,,0000,0000,0000,,This idea is disputed though, as the reflection is not logical.
Dialogue: 0,0:21:59.22,0:22:03.44,Default,,0000,0000,0000,,It has to be said though, this is not the first time Velasquez has painted an image which explores the relationship between reality, reflection, and image,
Dialogue: 0,0:22:07.87,0:22:10.97,Default,,0000,0000,0000,,and which flouts the laws of
Dialogue: 0,0:22:11.01,0:22:13.06,Default,,0000,0000,0000,,Optics. Here too, we see the mirror with this rather blurred reflection.
Dialogue: 0,0:22:15.03,0:22:17.03,Default,,0000,0000,0000,,The constant speculation as to what is happening in this painting,
Dialogue: 0,0:22:19.03,0:22:21.64,Default,,0000,0000,0000,,who is where, and why, is absolutely intentional on the part \Nof Velasquez.
Dialogue: 0,0:22:24.10,0:22:28.65,Default,,0000,0000,0000,,Whatever the study of perspective or reflection tells us, the Royal presence is still the most plausible explanation for the outward glances of the characters,
Dialogue: 0,0:22:33.28,0:22:37.36,Default,,0000,0000,0000,,and I think that the King and Queen ARE in the room, and the mirror IS a reflection of them at the far end of the room,sitting for Velasquez.
Dialogue: 0,0:22:41.53,0:22:44.95,Default,,0000,0000,0000,,The fact that the Queen's Chamberlain is opening the curtain to the Palace, \Nsugests that the royal couple are preparing to exit.
Dialogue: 0,0:22:48.03,0:22:49.92,Default,,0000,0000,0000,,This would explained the infanta's gaze towards her parents.
Dialogue: 0,0:22:51.67,0:22:54.08,Default,,0000,0000,0000,,Velasquez, who seems to be peeping out of the darkness realising \Nhis time is up,
Dialogue: 0,0:22:56.52,0:22:59.56,Default,,0000,0000,0000,,and the Manina to the right of the infanta, who is beginning to curtsy, as she \Nlooks towards the couple.
Dialogue: 0,0:23:02.66,0:23:04.57,Default,,0000,0000,0000,,There is a palpable sense of anticipation in the air.
Dialogue: 0,0:23:06.32,0:23:09.39,Default,,0000,0000,0000,,If the king and queen are there, and I think they are, then Velasquez has one more trick up his sleeve.
Dialogue: 0,0:23:12.24,0:23:14.16,Default,,0000,0000,0000,,He has placed the king and queen outside of the pictorial space,
Dialogue: 0,0:23:15.84,0:23:18.37,Default,,0000,0000,0000,,standing exactly where we the commoners \Nwould stand, when we view the paintings.
Dialogue: 0,0:23:21.34,0:23:23.35,Default,,0000,0000,0000,,We are standing right next to King Philipe IV of Spain!
Dialogue: 0,0:23:29.52,0:23:31.91,Default,,0000,0000,0000,,With this painting, Velasquez was out to prove that painting was a noble, intellectual art,
Dialogue: 0,0:23:34.23,0:23:35.60,Default,,0000,0000,0000,,and Las Maninas would be evidence.
Dialogue: 0,0:23:36.97,0:23:38.92,Default,,0000,0000,0000,,It is in fact, a portrait about the painting of a \Nportrait.
Dialogue: 0,0:23:40.70,0:23:42.16,Default,,0000,0000,0000,,Let's start with the physicality of the space.
Dialogue: 0,0:23:43.81,0:23:46.52,Default,,0000,0000,0000,,The building was destroyed by fire \Nin 1734, but the historical plan still exist.
Dialogue: 0,0:23:49.03,0:23:52.47,Default,,0000,0000,0000,,Las meninas was painted in the Cuarto del Príncipe, or the \Nking's quarters, in the Alcazar in Madrid.
Dialogue: 0,0:23:56.02,0:23:57.20,Default,,0000,0000,0000,,Which is the room depicted in the work.
Dialogue: 0,0:23:58.36,0:24:02.01,Default,,0000,0000,0000,,It was once part of \Nthe apartment occupied by the Crown Prince Don Baltasar Carlos, who had died in 1646.
Dialogue: 0,0:24:05.41,0:24:07.96,Default,,0000,0000,0000,,Once the painting was finished it was planned to be placed in that same room.
Dialogue: 0,0:24:10.38,0:24:13.60,Default,,0000,0000,0000,,An inventory of the room, proved \Nthat everything Velasquez painted, was really there (apart from the mirror in the back).
Dialogue: 0,0:24:16.96,0:24:18.78,Default,,0000,0000,0000,,The illusion starts with the almost life-size figures.
Dialogue: 0,0:24:20.62,0:24:22.80,Default,,0000,0000,0000,,The painting is enormous, coming in at over 10 ft by 9 ft.
Dialogue: 0,0:24:24.96,0:24:29.07,Default,,0000,0000,0000,,The room had these wonderful high ceilings, and the shutters have been placed by Velasquez to \Nreveal slivers of light exactly where he wants it.
Dialogue: 0,0:24:33.07,0:24:35.00,Default,,0000,0000,0000,,The main light source is from an invisible window \Nto the right
Dialogue: 0,0:24:37.04,0:24:40.25,Default,,0000,0000,0000,,, and another source is the door at the back, that illuminates the figure and sends a pencil thin beam across the floor.
Dialogue: 0,0:24:43.76,0:24:46.42,Default,,0000,0000,0000,,While Las Meninas is clearly a royal painting, it stands out from \Nother court paintings,
Dialogue: 0,0:24:48.93,0:24:51.78,Default,,0000,0000,0000,,because the piece was intended to hang in a private room rather than displayed publicly.
Dialogue: 0,0:24:54.54,0:24:58.73,Default,,0000,0000,0000,,It may look formal to us nowadays, but compared to other Royal portraits, Las Meninas is fairly spontaneous, casual, and relaxed.
Dialogue: 0,0:25:02.80,0:25:06.90,Default,,0000,0000,0000,,There is a LOT in this painting; people, animals, Reflections, \N25:07\Npaintings on the wall, textures, other objects, and movement
Dialogue: 0,0:25:10.99,0:25:13.100,Default,,0000,0000,0000,,- and yet, there is a cohesion to the \Ncanvas, because it is organised in an orderly composition.
Dialogue: 0,0:25:17.07,0:25:20.03,Default,,0000,0000,0000,,It is balanced perfectly with the \Nrelatively quiet top half against the busy bottom half.
Dialogue: 0,0:25:23.08,0:25:25.17,Default,,0000,0000,0000,,The figures occupy a clear horizontal strip \Nacross the painting,
Dialogue: 0,0:25:27.35,0:25:29.77,Default,,0000,0000,0000,,but it isn't frieze-like, as they are at different depths into the view.
Dialogue: 0,0:25:31.70,0:25:33.62,Default,,0000,0000,0000,,The first layer is the canvas, the dwarf, and the dog.
Dialogue: 0,0:25:35.54,0:25:36.90,Default,,0000,0000,0000,,Then we have the infanta and her maids.
Dialogue: 0,0:25:38.26,0:25:40.09,Default,,0000,0000,0000,,And then Velasquez, the chaperone and the bodyguard.
Dialogue: 0,0:25:41.93,0:25:44.28,Default,,0000,0000,0000,,The layering continues throughout the picture, and beyond \Nthe picture frame.
Dialogue: 0,0:25:48.19,0:25:52.19,Default,,0000,0000,0000,,The painting features several frames; the frame of the room in which they are all standing,
Dialogue: 0,0:25:52.66,0:25:55.31,Default,,0000,0000,0000,,the frames of the paintings on the wall, the frame of the canvas Velasquez is working \Non,
Dialogue: 0,0:25:58.13,0:25:59.83,Default,,0000,0000,0000,,the frame of the mirror, and the frame of the door in the background.
Dialogue: 0,0:26:01.82,0:26:03.67,Default,,0000,0000,0000,,These frames provide a \Nstrong linear and geometric theme to the painting.
Dialogue: 0,0:26:05.77,0:26:06.69,Default,,0000,0000,0000,,You get a feel of structure and organisation.
Dialogue: 0,0:26:08.89,0:26:11.17,Default,,0000,0000,0000,,But, a perfect perspective is not essential to our understanding of this painting,
Dialogue: 0,0:26:13.43,0:26:15.14,Default,,0000,0000,0000,,any more than a \Nperfect understanding of optics.
Dialogue: 0,0:26:16.96,0:26:18.70,Default,,0000,0000,0000,,What is the focal point? Well there are several possibilities.
Dialogue: 0,0:26:20.43,0:26:24.30,Default,,0000,0000,0000,,Just look at the picture as a whole, and you notice your eye scans around the canvas, as it would do in any large space.
Dialogue: 0,0:26:28.41,0:26:30.68,Default,,0000,0000,0000,,We ricochet from one figure to another.
Dialogue: 0,0:26:31.34,0:26:33.95,Default,,0000,0000,0000,,Possible Focus points are the man in the \Ndoorway, the infanta, or the reflection of the King and Queen.
Dialogue: 0,0:26:36.56,0:26:39.00,Default,,0000,0000,0000,,It seems at first glance that Velasquez is drawing all our attention to the infanta,
Dialogue: 0,0:26:42.05,0:26:44.80,Default,,0000,0000,0000,,and he has used some clever and subtle techniques to draw \Nattention to her in such a busy scene.
Dialogue: 0,0:26:47.40,0:26:50.26,Default,,0000,0000,0000,,There is the dress of course, but also she faces towards the main light\Nsource coming from the right,
Dialogue: 0,0:26:53.33,0:26:55.04,Default,,0000,0000,0000,,while most of the other figures are facing away from the light.
Dialogue: 0,0:26:56.55,0:26:59.91,Default,,0000,0000,0000,,Maria Augustina is looking directly at her, and the characters to the left nudge us towards the infanta.
Dialogue: 0,0:27:04.09,0:27:07.17,Default,,0000,0000,0000,,We do know that this painting was not intended to be on public View \Nand was really considered a private possession of the king
Dialogue: 0,0:27:10.31,0:27:11.84,Default,,0000,0000,0000,,- for an audience of one.
Dialogue: 0,0:27:12.30,0:27:14.29,Default,,0000,0000,0000,,Which would suggest the focal point is the reflection of the king?
Dialogue: 0,0:27:16.35,0:27:19.20,Default,,0000,0000,0000,,The focus is STILL highly debated \Nand always wil
Dialogue: 0,0:27:22.20,0:27:26.67,Default,,0000,0000,0000,,l be, but the vanishing point is not. It comes from José Nieto, as he stands in the staircase, more specifically the crook of his arm is the exact vanishing point.
Dialogue: 0,0:27:31.88,0:27:33.64,Default,,0000,0000,0000,,THIS is the key to Velasquez's \Nmastery of Illusion.
Dialogue: 0,0:27:36.08,0:27:39.14,Default,,0000,0000,0000,,He uses realism, light, and structure, to pull together the disparate elements \Nin an exquisitely balanced painting.
Dialogue: 0,0:27:42.14,0:27:45.40,Default,,0000,0000,0000,,It is an image so complex, that he could only have achieved it at \Nthis later stage of his life,
Dialogue: 0,0:27:48.53,0:27:50.63,Default,,0000,0000,0000,,with the extensive knowledge he has picked up from a lifetime of painting.
Dialogue: 0,0:27:56.64,0:28:00.24,Default,,0000,0000,0000,,The two paintings on the back wall are important symbolically, and represent two oil paintings by Rubens, Velasquez's role model.
Dialogue: 0,0:28:03.83,0:28:06.58,Default,,0000,0000,0000,,And show scenes from Ovid's "Metamorphoses".
Dialogue: 0,0:28:06.65,0:28:08.49,Default,,0000,0000,0000,,There is a good reason they are there.
Dialogue: 0,0:28:09.08,0:28:12.05,Default,,0000,0000,0000,,If we remember that Velasquez wants desperately to raise his \Nprofession from "Tradesmen" to "Artistic nobility".
Dialogue: 0,0:28:14.87,0:28:17.79,Default,,0000,0000,0000,,They tell the tale of the superiority, the nobility, \Nand the Divine calling of the artist.
Dialogue: 0,0:28:21.37,0:28:23.31,Default,,0000,0000,0000,,In which Mortals prove themselves more skilled than even \Nthe gods.
Dialogue: 0,0:28:25.25,0:28:27.56,Default,,0000,0000,0000,,Rubens was the most influential Flemish artist of the 17th century,
Dialogue: 0,0:28:29.86,0:28:33.13,Default,,0000,0000,0000,,so by linking himself with Rubens, Velasquez is showing that he had reached the highest tier in European art.
Dialogue: 0,0:28:39.84,0:28:42.13,Default,,0000,0000,0000,,One of the great enigmas in the portrait of Velasquez, is the Red Cross on his tunic.
Dialogue: 0,0:28:44.41,0:28:47.79,Default,,0000,0000,0000,,It is the heraldic symbol of the order of Santiago,
Dialogue: 0,0:28:47.80,0:28:49.71,Default,,0000,0000,0000,,a religious and Military order, founded in the 12th \Ncentury.
Dialogue: 0,0:28:51.62,0:28:54.41,Default,,0000,0000,0000,,He had petitioned the king to make him a knight of Santiago for years, to secure Noble status,
Dialogue: 0,0:28:57.76,0:29:00.35,Default,,0000,0000,0000,,citing the link between artistic nobility and social nobility.
Dialogue: 0,0:29:02.81,0:29:05.03,Default,,0000,0000,0000,,But the committee of the order \Nof Santiago refused - due to his bloodline.
Dialogue: 0,0:29:07.23,0:29:08.89,Default,,0000,0000,0000,,It was rumoured that his grandparents were Jewish converts.
Dialogue: 0,0:29:10.43,0:29:13.56,Default,,0000,0000,0000,,Luckily for Velasquez, as well as being employer and employee, he and Philip IV were close friends,
Dialogue: 0,0:29:16.58,0:29:19.43,Default,,0000,0000,0000,,and he was finally inducted in the order in 1659, a year before his death,
Dialogue: 0,0:29:22.53,0:29:25.86,Default,,0000,0000,0000,,after the king obtained a dispensation from the Pope to overrule doubts as to the artist's blood and trade.
Dialogue: 0,0:29:30.19,0:29:33.24,Default,,0000,0000,0000,,Diego Velasquez, in many ways was unremarkable, apart from the fact he was appointed court painter.
Dialogue: 0,0:29:35.79,0:29:40.35,Default,,0000,0000,0000,,He had one wife, one Friend (the King), and one Studio (the palace), and spent his whole life climbing the social ladder.
Dialogue: 0,0:29:45.00,0:29:47.28,Default,,0000,0000,0000,,His Knighthood is the culmination.
Dialogue: 0,0:29:48.34,0:29:51.76,Default,,0000,0000,0000,,What makes makes this cross in the painting interesting, is that he was knighted a full 3 years after Las meninas was finished,
Dialogue: 0,0:29:54.100,0:29:59.05,Default,,0000,0000,0000,,and a year before he died, which means that the cross was painted on the artist's tunic years after the painting was created.
Dialogue: 0,0:30:03.39,0:30:08.15,Default,,0000,0000,0000,,Tradition had it, that after the artist's death, Philipe IV \Nhimself painted the Red Cross of the Knights of Santiago on the tunic, but that's unlikely.
Dialogue: 0,0:30:12.77,0:30:16.96,Default,,0000,0000,0000,,After the painting was cleaned in the early 1980s it was revealed that the brush work of the cross is uniform with the rest of the surface,
Dialogue: 0,0:30:21.15,0:30:23.01,Default,,0000,0000,0000,,so it was almost certainly Velasquez \Nwho painted the cross.
Dialogue: 0,0:30:24.98,0:30:30.42,Default,,0000,0000,0000,,We can only imagine the immense satisfaction the artist got from adding \Nthe cross to the painting, and therefore rubbing the snobby courtier's noses in the fact that he was now one of them.
Dialogue: 0,0:30:37.64,0:30:39.74,Default,,0000,0000,0000,,Velasquez, who was in essence, born a trades person, died a wealthy Noble.
Dialogue: 0,0:30:41.84,0:30:46.62,Default,,0000,0000,0000,,On his death it is said that the King was heartbroken, and the great friendship that had united them, is evident in three words that the Monarch wrote
Dialogue: 0,0:30:51.52,0:30:55.86,Default,,0000,0000,0000,,in a memorandum after his death: "I am shaken".
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Transcript by Margarida Mariz