Petak, 01 Oktobar 2021 11:29

Las Meninas, after Velázquez by Pablo Picasso is unambiguous variation of Las Meninas Istaknut

Pablo Picasso was especially attracted to Diego Velázquez's masterpiece Las Meninas because it dealt with his central theme of painter and model. In 1957, he started an extended series of variations on Las Meninas where he produced a personal interpretation of the whole of Velázquez's work. Las Meninas, after Velázquez, is the first, largest, and most widely recognized variation of Las Meninas, and is the most faithful to the vertical composition created by Velázquez. It is situated in Picasso Museum, Barcelona.

The vertical composition of Diego Velázquez's Las Meninas is substituted for the broad horizontal in Pablo Picasso's work. The same characters assume the same roles and similar positions as in Velázquez's work, although with an aesthetically different form, with variations in certain elements of the composition. In Picasso's work transformation of space by converting elements into geometric shapes creates a different reality. In Velázquez's work, the figure around whom the entire composition revolves is the Infanta Margarita. In Picasso's work, she still has an essential role, but it is emphasized the idea that the most important thing in the entire creation of art is the artist himself. Self-portrait of Diego Velázquez, who included himself in a scene of the life of the court, in an innovative gesture in the case of Velázquez and a vindication of his importance. However, Pablo Picasso painted him as the more complex character and the biggest in size of the painting with two palettes, easel, paintbrush, and canvas, and is wearing on his chest the medal of the Cross of Calatrava, which Picasso reproduced. In this way, moving towards the right of the composition, the form simplifies, and the figures to the right contrast with the more elaborate figures of Velázquez and the first menina. The dwarf and dog are in the infant style Picasso had evolved for Guernica. The chamberlain at the rear, the maids-of-honor and servants, and the king and queen in the mirror, are all crudely and hastily established in a manner also reminiscent of children's drawings.

An important variant is the treatment of light and color. The color and light, crucial factors in the original, have undergone a total change. Picasso's variation has a direct effect on the painting's luminosity with the opening of large windows to the right which, in Velázquez's work, remain closed. To provide structure to the space and its figures, Picasso uses an effectual and fragmented black, gray, and white palette. The lack of color contrasts with this luminosity. Light floods into the room in Picasso's version, the atmosphere is more muted in Velázquez's Las Meninas.

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