disturbs, imposes, bothers.
Perhaps he himself felt self-conscious before his own portrait.
“Troppo vero!” They say that Innocent X exclaimed when confronted with the portrait that Velázquez had made of him. too real. In any case, the result must have pleased the pontiff since he ended up giving the painter a gold medal with his effigy in half relief and, in addition, he gave instructions to the apostolic nuncio in Madrid to support Velázquez's request for admission to the Order. of Santiago, a desire of the artist, who had always sought public recognition of his nobility.
For many, Velázquez's portrait of Innocent X is the best in the history of art. The realism of a face with a scrutinizing look that is difficult to hold its own and the fantasy of reds in a brave combination only within the reach of a genius like him, make this work a milestone in the portraiture genre that captivated artists like him centuries later. Giacometti or Francis Bacon.
Ortega y Gasset said in The Papers of Velázquez and Goya that it seemed that those portrayed were looking at us from inside the space created by Velázquez, with an outward projection that seeks expressive communication on the other side..
When reality assaults you with news that bears names and surnames, I always wonder how Velázquez would paint the politician involved in a corruption case, the judge in a media case, the footballer who signs an obscenely millionaire contract. Or the philosopher who made an apology for the Humanities.
Nuccio Order has died.
Democritus (or The Geographer), the philosopher who laughs at the extravagances and absurdities of the world, interpreted by the brushes of a young Velázquez who has met Rubens, illustrates the cover of The Usefulness of the Useless, the manifesto in which Ordine defends that “knowledge constitutes by itself an obstacle against the delusion of omnipotence of money and utilitarianism”.
A half-length portrait, a white shirt with subtle gray brushstrokes, a noble forehead, a sensitive, seductive, intelligent look, the look of someone who knows how to cross the line of the artificial and plunge into the depths of what sublimates us as living beings.. Yes, I am convinced that Velázquez would portray Ordine, managing to capture the psychological depth of the philosopher with that exceptional love for the world, the love for the men and women whom he portrayed with the truth of his painting..
I reread the pages of Ordine's manifesto in one of the courtyards of the place where this love for the beautifully useless was forged.. Faculty of Philosophy and Letters, a golden plaque, a porticoed gallery, a fountain and knowing that you are in the right place, justifying love and knowledge. The place where we learned to write with indelible ink the names of Raphael, Michelangelo or Titian, and where we should have written those of Morisot, Cassatt, Artemisia or Delaunay. Oel by Françoise Gilot.
A black dress, a slender neck under white lace and a Velázquez portrait of the Infanta Margarita to copy a hairstyle that seduces Picasso. This is how Gilot began his life with the minotaur. Ten years, two children, the dazzle before the colossus, the dark face of the man, the courage to leave and to tell it, and a shadow too long. “But do you think that people are going to be interested in you?” Vomited the wounded pride of the abandoned giant. yes paul. After one hundred and one years of life, the French artist leaves her works hanging in the Pompidou in Paris, in the Metropolitan in New York or in the MoMA and the portraits that the man from Malaga made of her, in the times of wine and roses, became immortal the beautiful eyes of Françoise.
Because a portrait is buying a passport to eternity. This is what Valeriano Domínguez Bécquer did when portraying his brother, turning the poet into an idealized icon of romantic love of his essential rhymes. Not for being more reproduced and idealized, the superb work of Valeriano has less value. Impeccably executed, the portrait is a psychological study of someone moved by melancholy, but at the same time determination is glimpsed in an irresistible look due to pure magnetism.. The concise color palette, mainly ocher and white, the elegant and aristocratic demeanor, remind Velázquez who, without a doubt, must have been in Valeriano's subconscious when it came to giving his brother that one-way ticket to eternity..
A display of vanity, a symbol of power, a diplomatic instrument, a declaration of love, a psychoanalysis session, renting a piece of collective memory..
And he did.
Standing, looking at the viewer, making clear his presence in the most universal work in the history of painting, with the cross of Santiago on his chest and an entire Art History manual on the fingers turned into brushes of the hand that painted. the truth of useful things.