Early Modern Europe
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| Diego Velázquez, Juan de Pareja (1650), oil on canvas |
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| Judith Leyster, Self-Portrait, c. 1633, oil on canvas |
Let's start with an introduction to both of these paintings. The two are the same medium; oil on canvas and are both portraits, though Judith Leyster's is a self portrait. Diego Velázquez was considered as being an extremely important artist in the 17th century. His decent is of Spanish and Portuguese and was 24 years old when he started serving as a court painter to the King of Spain. Diego Velázquez's early style was interpreted as naturalistic with a heavy consideration on contrasts and dramatic shadows. His brushstrokes were more loose and expressive in comparison to Leyster's. If you look at the difference in how the lace was painted you can see this. Velázquez's is not detailed but solely suggested and heavy, while Leyster's is more delicate, airy and precise. Judith Leyster's self portrait has become one of the National Gallery of Art's most popular Dutch painting because of how it radiates her self confidence in her abilities. At only 19 years old, a historian had described her as having a "good and keen insight". Over ten years later another was recorded saying that over all the women that were experienced in painting, "one execs exceptionally, Judith Leyster, called 'the true leading star' in art".
You might ask, what does each portrait emphasize about the sitter? Well, first let's start with Juan de Pareja. The story is quite intriguing so bear with me on this one. This portrait was painted while Velázquez and him were in Italy to paint Pope Innocent X but Velázquez had made the decision to practice painting his enslaved assistant because of the fact that there was only a short window of time to paint the Pope. Pareja's mother was African and his father was Spanish, we know nothing from his life before he became enslaved to Velázquez but, this portrait is very unique because it was the first Spanish portrait that illustrated a named black sitter. Moving on to Judith Leyster, we see that her self portrait is quite eye catching because it is odd to think she was painting a portrait of herself painting a portrait. Self portraits are done to offer insights into the lives and minds of the artists so it makes sense that Leyster has found herself at the easel. After looking at this painting awhile a couple of questions came to mind; Are the colors on her palette the same ones she used to paint the portrait? Did she actually paint another portrait of that guy playing a violin?
You can find close up pictures to look at her palette at;
Bibliography
“1650 – Diego Velázquez, Juan De Pareja.” Fashion History Timeline, August 12, 2020. https://fashionhistory.fitnyc.edu/1650-velazquez-juan-de-pareja/.
Art, The Metropolitan Museum of, and The Metropolitan Museum of Art. “Diego Velázquez, Juan De Pareja.” Smarthistory. Accessed February 1, 2021. https://smarthistory.org/velazquez-juan-de-pareja/.
Dr. Beth Harris and Dr. Steven Zucker, Dr. Beth Harris, and Dr. Steven Zucker. “Judith Leyster, Self-Portrait.” Smarthistory. Accessed February 1, 2021. https://smarthistory.org/judith-leyster-self-portrait/.
“Self-Portrait.” Art Object Page. Accessed February 1, 2021. https://www.nga.gov/collection/art-object-page.37003.html.
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