Diego Velázquez in 10 Paintings

1. The Feast of Bacchus

The Feast of Bacchus, also known as The Drunkards, was completed by Diego Velázquez around 1629. This early masterpiece portrays Bacchus, the Roman god of wine, in the act of crowning a group of revelers. Velázquez blends earthy realism with mythological elements, forming a lively contrast between the mortal figures and the divine presence. Caravaggio‘s influence is evident in the dramatic interplay of light and shadow, which intensifies the sense of depth. Today, The Feast of Bacchus has become a prized component of the Museo del Prado collection.

2. The Surrender of Breda

Often referred to as Las Lanzas (The Lances), The Surrender of Breda was completed by Velázquez in 1635. It was commissioned for the Hall of Realms in the Buen Retiro Palace. The composition, measuring 307.3 × 371.5 cm (ca. 121 × 144 in), depicts the final moments of the Dutch city of Breda before it was handed over to Spanish forces. The scene further underscores a sense of chivalry and mutual respect among foes, thereby reflecting Velázquez’s refined artistry. Today, The Surrender of Breda remains a masterpiece of the Baroque era for its dramatic portrayal of honor in conflict.

3. The Buffoon El Primo

The Buffoon El Primo showcases Velázquez’s remarkable ability to capture nuanced expressions. Painted around 1644, it portrays jester “El Primo” Don Diego de Acedo in a contemplative pose. Using light and shadow, Velázquez foregrounds the sitter. It is, in fact, common for him to praise court jesters and highlight the dignity of themselves and their profession. This approach contrasts with the caricature-like representations that appear in other artworks.

Many note that the painting’s composition underscores El Primo’s intelligence and presence at King Philip IV’s court. However, some experts argue that the subdued color palette was meant to highlight the sitter’s isolation.

4. The Crucified Christ

Created in about 1632, The Crucified Christ exemplifies Diego Velázquez’s mastery of Baroque realism. The subtle lighting and anatomical detail Velázquez crafted compose an intimate portrayal of Christ’s suffering, gently positioning the figure to evoke viewers’ empathy. This painting is a powerful testament to Velázquez’s ability to balance serenity and spiritual depth.

5. Vulcan’s Forge

During his first trip to Italy between 1629 and 1631, Diego Velázquez created Vulcan’s Forge, an ambitious portrayal of the Roman god Vulcan forging weapons for the god Apollo. Velázquez’s evolving technique shines through this particular piece, especially in terms of dramatic lighting. Many scholars praise the painting for its balanced composition, featuring both classical themes and naturalistic motifs. It stands as a testament to Velázquez’s expanding artistic repertoire.

6. An Old Woman Cooking Eggs

An Old Woman Cooking Eggs is an early example of Diego Velázquez’s mastery of realistic lighting. It is considered a bodegón, a still-life genre that frequently portrays kitchen scenes and pantry items. The painting is a telling example of Velázquez’s ability to make a Baroque piece out of ordinary domestic elements and humble subject matters. The interplay of light and shadow and the detailing are compelling. Just look at the reflected light on the copper pot.

Experts view this early work as proof of Velázquez’s youthful talent and ambition. An Old Woman Cooking Eggs influenced later still-life painters with its subtle use of chiaroscuro.

7. The Spinners (The Fable of Arachne)

Diego Velázquez completed The Spinners (Las Hilanderas) around 1657. This masterpiece, also known as The Fable of Arachne, is one of the most significant paintings of the Spanish Baroque. While the narrative was based on the myth of Arachne from Ovid’s Metamorphoses. Velázquez employed a clever composition that layers a busy foreground of laborers against a dramatic mythological background referencing Titian’s Rape of Europa. Such a choice of subject matters often invites us to look up close. The painting also exemplifies Velazquez’s dexterity in painting fabrics and textures.

8. Portrait of Juan de Pareja

Velázquez’s Portrait of Juan de Pareja captures the essence of his subject—it looks straight into the sitter’s soul. Some regard it as a turning point in Western portraiture. Velázquez created it in Rome while looking for artistic inspiration. Juan de Pareja, despite being Velázquez’s slave, is treated as a person with dignity and care in the portrait. The work gained acclaim for its truthful depiction when it was exhibited at the Pantheon in 1650, solidifying Velázquez’s reputation in the Italian art scene.

9. View of the Gardens of the Villa Medici, Rome

View of the Gardens of the Villa Medici, Rome is one of the most unusual paintings of Diego Velázquez. It demonstrates a remarkable perception of natural light. Velázquez completed this painting around 1630. At the time, choosing a landscape theme without any narrative was a very bold move. The interesting fact that Velázquez likely painted it outdoors would make this masterpiece an early example of plein-air painting.

The composition emphasizes the subtle color transitions and the atmospheric depth that convey a serene Italian landscape. With delicate brushstrokes, Velázquez captured the interplay of light and foliage, creating a tranquil setting that contrasts with the more formal court portraits he later produced.

10. Infanta Margarita in a Blue Dress

Infanta Margarita in a Blue Dress (1659) is one of Diego Velázquez’s final portraits. The delicate brushwork and subtle color transitions exemplify the artist’s mature style. Perhaps because of Margaret Theresa of Spain’s royal background and her being the favored daughter of King Philip IV, Velázquez featured her in multiple works, including the most famous Las Meninas.

In this painting, Velázquez employs loose brushstrokes, creating his signature luminous effects. The Infanta is portrayed with a serious expression, possibly due to shyness, as indicated by the gentle blush on her cheeks. Her hair is elegantly tied back with laurel leaves. She extends her arms gracefully, lightly touching her dress. In her left hand, she holds a brown fur muff. The dress, in dark blue and silver, is decorated with silver borders. A prominent gold chain crosses the Infanta’s chest, further proving her royal status.

These metallic effects of the dress contrast with the softly painted face of the sitter. They also help create a positive image for the royal family, with her being a focal point. In turn, the background appears somewhat somber, subtly featuring everyday objects and furniture typical of the Baroque period.

The portrait clearly reflects the Infanta’s political and dynastic significance. Margaret Theresa was eventually married to her uncle, Emperor Leopold I of Habsburg—the arrangement was one of the strategic marriage alliances frequently practiced by European royal families at that time.