It operates as a refuge for a civilizing element in short supply in contemporary America: honest criticism
Velázquez in London
On "Velázquez" at the National Gallery, London.
was right!Support The
Diego Rodríguez de Silva y Velázquez is often thought of as a painter of people but his early pictures are best regarded as still lifes. Three Musicians (1616–1617) should be renamed “Bread on a table napkin,” Tavern Scene (1616–1617) should be called “Knife and bursting Pomegranate,” and An Old Woman Cooking Eggs (1618) “Eggs being Cooked.” These early paintings, all of them on view in this excellent exhibition at the National Gallery in London, organized by the American art scholar Dawson W. Carr, are remarkable not for the people in them but for the objects. The party line on these early paintings is that they show how the young Velázquez was able to use his precocious skills to dignify the humble; he was not just a court painter. What we actually see are stereotypes; youngsters with crude sim ...
This article is available to subscribers and for individual purchase
This article originally appeared in The New Criterion, Volume 25 January 2007, on page 53
Copyright © 2014 The New Criterion | www.newcriterion.comhttp://www.newcriterion.com/articles.cfm/Vel-zquez-in-London-2567
E-mail to friend
Reviews of “The EY Exhibition: Late Turner—Painting Set Free” at Tate Britain, London & “Constable: The Making of a Master” at the Victoria and Albert Museum, London
by Mario Naves
On "Cubism: The Leonard A. Lauder Collection" at The Metropolitan Museum of A
On "Wynn Bullock: Revelations" at the High Museum of Art, Atlanta
by Karen Wilkin
On “Goya: Order and Disorder,” at the Museum of Fine Arts, Boston.
December 18 2014
Friends, young friends, and authors event: Holiday Party 2014
The Walter Duranty Prize for Journalistic Mendacity
Introduction to The Kennedy Phenomenon
The Kennedy Phenomenon: "Watching the Kennedy Train-Wreck"
Nov 24, 2014 10:53 AM