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Illusion and reality: The painting constantly plays with what is real and what is a representation. The mirror reflects the King and Queen, who are not directly visible in the room, and the viewer is left to question who is being painted and who is observing.

The artist's role: Velázquez includes himself in the painting, creating a self-portrait that elevates the status of the artist and the art itself. The large canvas he is working on, the viewer's position, and his gaze all contribute to a statement about his creative power and the significance of his work.

The viewer's perspective: The composition is designed to put the viewer in a specific position, as if they are the King or Queen being painted. This makes the viewer an active participant in the scene, blurring the lines between observer and observed.

Light and shadow: The use of light and shadow adds to the painting's sense of mystery. Light is used to create focus, such as on the Infanta, while darkness and shadows create depth and intrigue, further playing with the themes of reality and illusion.

Power and hierarchy: While the painting appears to be a snapshot of court life, it is also a commentary on power, status, and the royal family. The inclusion of the Infanta Margaret Theresa as the focal point, surrounded by her retinue, can be seen as a portrayal of dominion.

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PROJECT SERIES - 4 or more paintings over two weeks

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PROJECT SERIES - 4 or more paintings over two weeks

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1. CHOOSE your favorite painting in art history

2. Recreate it

3. create multiple views of it

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Las Meninas is a series of 58 paintings that Pablo Picasso painted in 1957 by performing a comprehensive analysis, reinterpreting and recreating several times Las Meninas by Diego Velázquez. The suite is fully preserved at the Museu Picasso in Barcelona and is the only complete series of the artist that remains together.

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Back Eve Sussman: 89 Seconds at Alcázar - The Power Plant

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Back Eve Sussman: 89 Seconds at Alcázar - The Power Plant

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Click here to learn more about Eve Sussman: 89 Seconds at Alcázar exhibition at The Power Plant.

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2004. Video, 12 min. Courtesy the artist.

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Eve Sussman, Still from 89 Seconds at Alcázar, 

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Eve Sussman, Still from 89 Seconds at Alcázar, 

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Museo del Prado 6, Madrid 2005

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Velázquez's 'Las Meninas' and its back, the work of the artist Vik Muniz. The work of the artist Vik Muniz, it is the only facsimile of the reverse of Velázquez's painting and is one of the highlights of the institution's next exhibition, 'Reversos'.

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(REPRO), 2019

Digital C-print

118.1 x 101.6 cm; (46 1/2 x 40 in.)

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chromogenic print
Size
7.62 x 6 in. (19.4 x 15.2 cm.)

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Daughter of Art History, Princess A, 1990

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After: Diego Velázquez

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Variation on Velazquez's Las Meninas

1857-58

31.2 x 25.1 cm

Oil on canvas

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Velázquez Painting the Infanta Margarita with the Lights and Shadows of His Own Glory 

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Les Ménines au balcon

1984

oil on canvas

90 1/2 x 90 1/2 in.

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Les Ménines

1982

oil on canvas

90 1/2 x 90 1/2 in.

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Trois Ménines

1982

oil on canvas

74 3/4 x 57 1/8 in.

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Les Ménines

1982

oil on canvas

90 1/2 x 90 1/2 in.

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Artiste peintre (1933-2019)

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During 1957 Pablo Picasso painted 58 recreations of Las Meninas.[84]

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Museu Picasso, Barcelona Spain

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The Album, 1895

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Women Picking Olives, 1889

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Haystacks (Effect of Snow and Sun), 1891

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Claude Monet - Stacks of Wheat (End of Summer) - 1985.

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Claude Monet - Stacks of Wheat (End of Summer) - 1985.

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Color as the main subject:

Emphasis on relationships

Not just vibrant hues

Transcends reality

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Selbstporträt unter Plastik (Self-Portrait under Plastic), 1972 © Maria Lassnig Vienna 2019

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Kopf eines Jungen Mädchen

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Carbon black, mars black, ivory black: these are the types of black Kerry James Marshall uses to color all of the people who have populated his paintings since 1980. Marshall’s paintings often explode with color, while their central protagonists are always painted with deep, unequivocal black pigments.

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The work is an example of Bell's Post-Impressionist style, characterized by simplified forms, bold colors, and a focus on composition over realistic accuracy, a style she adopted after being influenced by exhibitions curated by art critic Roger Fry.

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“I don’t paint people; I paint images.” The subjects of her loosely rendered paintings and ink drawings are generally taken from pictures culled from newspapers and magazines and invariably stand in for larger ideas. What Dumas explores in her work, then, is not really portraiture at all, but rather image-making itself.

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Her paintings have a sensual and "sometimes polarizing" quality, using a palette that evokes both classical and contemporary sources. The work blurs the lines between traditional genres like portraiture, the nude, and landscape, while incorporating modern influences from popular culture.

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Avery was celebrated for his simplified, powerful use of color in landscapes and figures. His flattened forms and harmonious, poetic color palettes influenced later generations of colorists, including Mark Rothko.

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Richly infused with hues of yellow, the canvas radiates a warm glow which contrasts with the somber tones of the artist’s form, emphasizing a sense of introspection and contemplation. The loose brushwork characteristic of Post-Impressionism enhances the emotional depth and evocative quality of the painting, drawing the viewer into the intimate scene.

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Miriam Cahn,

Im Fernsehen Gesehen, 2011

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Miriam Cahn,

Im Fernsehen Gesehen, 2011

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Miriam Cahn began using color in 1994, turned on to the formal and psychological power of mass media imagery and its gradual saturation. She cites Michelangelo Antonioni’s 1964 film Il deserto rosso (Red Desert) as a work that exposed her to the hyper-reality of color. With exquisite sensitivity, Cahn uses color to highlight choice parts of her figures—principally the genitals, breasts, lips, or eyes—suggesting fragility and fecundity and endowing her figures with a sense of inner life.

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Arusha Gallery

London

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Painter in oil, watercolour, gouache and pencil, especially of flowers and landscapes. Born in Oxford, she attended the Byam Shaw School of Art.

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For Nicholson, the interaction between colors was vital. She learned from Van Gogh the dramatic effect of complementary contrasts, and from Gauguin that the perceived intensity of a color depends on the size of its area. This led her to use colors in complex relationships, juxtaposing warm and cool tones, and transparent and opaque layers.

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on an extended trip to Ceylon, India and Burma in 1919–1920 she 'noticed how eastern art uses lilac to create sunlight', and it is this colour, (also magenta, or violet)  which is the key to her colour schemes and the first colour to look for in her paintings.

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In an intensive period of painting in their last winter in Lugano, Winifred found her theme – flowers in a pot, bowl or vase on a windowsill with a view behind.

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the lime-green ground has been left uncovered in many parts of the support, creating a vibrant tension with the luscious flowers.

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Nicholson was a member of the Seven and Five Society, who initially championed traditional still-lifes and landscapes, before turning to abstraction.

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Tate glossary definition for The Seven and Five Society: Formed in London in 1919 The Seven and Five Society was initially a conservative group and can be seen as a British manifestation of the return to order that followed the First World War

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after Winifried and Ben broke up, she painted portraits of her children in party hats that at the same time carry a hint of the sadness as the absence of their father.

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Throughout her life, most of Nicholson’s work depicted either flowers or landscape. This painting is typical in its reduction of the scene to a few simple areas of colour. 

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‘material resemblances were of no account - and that art could be valid without resemblances to physical objects’.  While in Paris in the 1930s she made some abstract works.

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The paintings are expressions of colour and light, and she wrote that ‘the nature of abstract colour is utter purity – but colours wish to fly, to merge, to change each other by their juxtapositions, to radiate, to shine, to withdraw deep within themselves.’