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  • 遠藤 恒雄
    美学
    1970年 21 巻 2 号 21-47
    発行日: 1970/09/30
    公開日: 2017/05/22
    ジャーナル フリー
    Velazquez's Bodegones paintings in his early period are inclined to be disregarded. Through the studies on them, however, we should recognize him as a great portrait painter who had an incomparably sharp eyes to objects. Ortega y Gasset (Velazquez, 1954) thinks that Bodegones has eight works in all. But it would be better for us to count nine works in all on referring to Jose Lopez-Rey's Velazquez : Catalogue raisonne (1963). These Bodegones paintings show a process through which Velazquez got out of Carvaggic influence and gradually made up his own style : the period when the main objects he painted were changing from inanimate objects to human figures. In this paper, the periods in which Bodegones paintings were born, are divided into three. The 1st period ; 1616-1617 (from the earliest work of Three Musicians to An Old Woman Frying Eggs), the 2nd ; 1618-1622 (The Waterseller), the 3rd ; 1623-1629 (the latest work of Drunkards or The Triumph of Bacchus). We could find in these Bodegones a principle of "the very imitator of the natural". They show us not only the style of young Velazquez's painting, but also a remarkable tendency of European history of painting from the end of 16th century to the early 17th. To sum up, Bodegones paintings were inevitable for Velazquez to go forwards to his second period of work.
  • 諸星 妙
    美学
    2008年 59 巻 1 号 99-112
    発行日: 2008/06/30
    公開日: 2017/05/22
    ジャーナル フリー
    This paper examines the opening and the function of the gesture of Cristobal Suarez de Ribera in his portrait by Velazquez. The portrait was painted in 1620, that is two years after the subject's death, and was placed above the tomb of Cristobal Suarez in the Chapel of San Hermenegildo in Seville, which he had founded from 1606 to 1616. As was the custom for funerary sculptures, he is shown kneeling in the attitude of a prayer. However he is pointing towards the main altar which contains a polychrome statue of San Hermenegildo by Martinez Montanes. This gesture is exceptional for a funerary portraiture, which leads us to consider that the portrait performs a specific function in the Chapel. In this point, showing how the portrait was hung in the Chapel in the 17th century, I point out that Suarez in this portrait plays a role similar to the intercession. According to the documents, Suarez was known as a leading figure in the veneration of San Hermenegildo at that time, which makes us consider that Velazquez painted the portrait in a peculiar manner so that Suarez could seem to be playing a role of mediator between the members of the Confraternity of San Hermenegildo and the statue of the saint in the main altar.
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