It's very simple. As always happens with Velasquez, everything is obvious, you just need to be able to look and try to understand what you are looking at. The viewer sees the very moment when the defense of the city is destroyed. The siege ended with the victory of the besiegers, the city fell.
Colleagues from Oxford supplied me with materials and articles devoted to both this picture and the siege of Breda, and, as it turned out, the fact of the image of the Trojan horse in connection with the siege of Breda is already being discussed and this fact is considered to be proven. Well-founded texts show that the very type of siege of Breda during the life of Velázquez was called the "method of the Trojan horse." I did not know that. And Velasquez knew. And scientists have found this fact. Glad to have come to this conclusion on my own.
This picture, like any other image, needs to be studied, examined and interpreted. And in studying the picture, one should trust the eye and feeling, provided that your eye and feelings are not littered with superficial knowledge and random information. When you look at a great picture, proceed from the fact that the artist is a very intelligent person, try to listen to him carefully, as you would listen to an intelligent adult specialist in his field if he began to tell you something. There is a story told by Ehrenburg about how the writer Fadeev, at the Picasso exhibition in Moscow, told the artist that the images of the paintings were incomprehensible to him, Fadeev. Picasso asked him:
Fadeev thought and did not open his mouth again. Dear citizens. The visual culture of the world is extremely rich in different images. To read them, one must try to recognize and compare them. Add at least M and A. Without this science, you will not succeed in understanding visual images. Considering that the culture of the Renaissance is 70% visual culture, you risk remaining savages. Alas, that is exactly what it is. Pictures are difficult to read. Every image is subject to four successive interpretations. Dante writes about this at length in the treatise Feast and Thomas Aquinas. According to Dante and St. Thomas there are:
1) literal reading of the image, 2) allegorical interpretation, 3) moral and didactic interpretation, 4) metaphysical.
But even without these sensible men, you must guess for yourself that some things must be taken literally, some figuratively, some as a lesson, and some as a generalization. The image holds everything together. The image is a whole phenomenon. You have to watch and study.
But back to Velasquez. The painting "Surrender of Breda".
1. So, the first level of interpretation is a literal reading of the picture. What, in fact, is depicted in this picture. The painting “Surrender of Breda” depicts the moment when the Spanish commander Spinola receives the keys from the commander of the garrison of the Dutch city of Breda. Soldiers and a landscape are depicted, as well as two horses, and one of the horses is large, in the foreground, covering a quarter of the picture and turned back to the viewer.
The horses walk in a circle, creating a kind of mirror image of the composition. But the horse of the foreground is striking precisely because he is the hero of the picture. This dominant position of the horse and the general meaning of the horse, clearly exaggerated in this composition, should help the viewer to move to the second level of interpretation - allegorical.
2. The second level of interpretation of the image is allegorical or symbolic. And in this case, it is appropriate to assume that Velasquez had in mind the prototype of any siege - the siege of Troy - and depicted the Trojan horse. And how can an intellectual (Velasquez was such), speaking of a long siege, not remember Troy. And if a horse is depicted in the foreground, then (excuse the frankness) you have to be a blockhead not to think about the Trojan horse. The horse is depicted alive, not wooden. But for anyone interested in Spanish painting, El Greco's painting "Laocoön" is memorable, where the Trojan horse is depicted in the center of the picture exactly alive and in exactly the same perspective and exactly the same suit.
The painting “Laocoön” was completed 20 years before the painting “Surrender of Breda” and now, starting from the analysis of the painting by Velazquez, I can say that El Greco had in mind not only Troy, but also the Spanish Empire and also had in mind the capture of Breda - but more on that below. So far - about the influence of Elgrek's horse on Velazquez's painting. You can even say that this horse of the forefront is a quote from a painting by El Greco. However, this is not all. There is, as it turns out, the story of the siege of Breda, in which the motive of the Trojan horse was not only noticed, but became central. Breda changed hands three times. In 1590, when Breda was still in the hands of the Habsburgs, Dutch soldiers, hiding on a peat barge, entered the city and took it, opening the gates of the Dutch army. This feat of theirs was called the "Trojan horse" by the Dutch and Spaniards themselves, and a wooden barge was hoisted in the center of the city, just as a wooden horse once stood in Troy. Songs, hymns were composed and medals were minted on this theme. Breda, like the Dutch "Trojan horse", became known among the Spaniards. The first thing that the commander Spinola did when he took the city was to burn down a wooden barge - a symbol of the Trojan victory. As we can see, there are TWO horses in Velazquez's painting; depicted, as it were, castling by Trojan horses, expressing the simple idea that military happiness is changeable. However, Velazquez did not even suspect how wise he was in this symbol, because a couple of years after writing this picture to Breda, the Dutch took the Trojan Horse again - they restored their wooden barge and returned it to the square. The story of this Trojan horse, depicted by Velazquez literally and in such a way that it is clear how Trojan horses succeed each other in a round dance of military successes - you can read in the article, the link to which I give below.
3. The third level of interpretation is moral. This is a difficult aspect of interpretation, since Velasquez is both a symbolist and a realist at the same time. He writes mercy, but he also writes war, and suspicion, and fatigue. It's about reconciliation. However, the interpreters of the poses in Velazquez's painting saw that the artist took an emblem from the then famous book of emblems of the Italian Alchato, depicting Danaans bringing gifts, to depict consent. I also provide a link to this article. In other words, here the idea of the fall of Troy and the Trojan horse is confirmed for the second time, but it is also said that the gift of the vanquished may not be entirely sincere, and this humility and consent is short-lived. Let's not forget that Trojan horses go around in circles. As we see from the future, Velazquez turned out to be a visionary: the city of Breda was again taken by the Dutch. The Trojan horse entered once again. The moral lesson, the didactic lesson of this composition: the fragility of union, the fragility and vulnerability of mercy.
4. The fourth level of interpretation is anagogical, metaphysical. This level both depends and does not depend on all the previous ones. This level of reading the image is beyond historical connotations, it is above the literal and even allegorical reading. This picture is about the interpenetration of hearts, that the share of a person is changeable, that there is neither a winner nor a vanquished, but everything and everywhere is permeated with love - over war and smoke of bonfires. Only in this way, perceiving the picture in its entirety, can one understand it. Any other, vulgar and literal interpretation does not make sense.
Diego Velazquez - Surrender of Breda.
Year of creation: 1634
La rendicion de Breda o Las lanzas
Canvas, oil.
Original size: 307 × 367 cm
Prado Museum, Madrid
The Surrender of Breda (Spanish: La rendición de Breda or "Spears", Las lanzas) is a painting by Diego Velasquez, written in 1634-1635. Depicts the scene of the transfer of the keys of the Dutch city of Breda by its governor Justin of Nassau to the commander-in-chief of the Spanish troops Ambrosio Spinola on June 5, 1625. The second name of the canvas - "Spears" is due to the fact that almost a third of the canvas is occupied by the image of copies of the Spanish army, which make up an important part of the composition. The painting is in the Prado.
Description of the painting by Diego Velazquez “Surrender of Breda”
The plot of the world-famous painting - "Surrender of Breda" by the most talented artist of Spain of the seventeenth century - Diego Velasquez - was written based on real historical events that occurred during the life of the artist. It was there, at the fortress of Breda in the province of North Brabant near the Netherlands, that the sensational compromise was signed on the rejection of religious persecution of King Philip II, who at that time was accused of blasphemy.
The same fortress was the center of the European wars for power in this region during the long Thirty Years' War of 1618-48. Many times the fortress passed during this time into different hands until the end of the many years of bloody war and until the ascension to the throne of King Philip the Fourth. The canvas depicts an important historical moment for the country - the receipt by the Spanish commander-in-chief, under whose leadership most of the stunning conquests of Spain were made at the beginning of the Thirty Years' War - Ambrosio Spinola - the keys to the famous fortress of Breda.
Then, at the beginning of the Thirty Years' War, Spain, which fought against the Republics of the United Provinces, had a great success, thanks to which most of the Netherlands lands went to Spain. In addition, in the same years, Spain successfully resisted other European countries, including England and Portugal. True, a little later the country was significantly weakened by long wars, and Spain had to retreat from some of the conquests made in those years, including in the Netherlands.
The canvas was completed by the master in 1635, in the midst of fierce bloody battles, and was intended to be displayed in the Great Hall of the new castle that belonged to King Philip the Fourth, who was on the throne at that time - Buen Retiro.
The famous painting by the legendary Spanish artist of the 17th century, Diego Velasquez, entitled “Surrender of Breda”, was written by him in 1635 based on real historical events that took place in Europe during his life. The painting itself was intended for the so-called Great Hall of the new palace of King Philip IV Buen Retiro, who ruled Spain at that time.
About the picture:
The plot of the picture was completely built on historical events, and the actions unfolding on it were connected with the then situation around the fortress of Breda, located in the Dutch province of North Brabant. It was in this city that the well-known compromise was signed regarding the protest against the religious persecution of King Philip II, who was accused, in fact, of blasphemy.
It was the fortress of Breda that was the center of the struggle of the armies of many European countries for dominance in the region during the so-called Thirty Years' War, which lasted from 1618 to 1648. During all this time, until the ascension to the throne of Spain, King Philip IV, Breda passed several times from hand to hand during hostilities.
It was in the first years of the Thirty Years' War that the Spanish troops, who fought against the army of the Republic of the United Provinces of the Netherlands, managed to achieve quite serious successes, as a result of which a very large number of Dutch territories went precisely to Spain. In addition, after that, Spain successfully resisted its other opponents, including the British and the Portuguese.
The painting depicts an important moment of handing over the keys to the fortress of Breda to the Spanish commander-in-chief Ambrosio Spinola, who was just able to achieve such stunning successes for his country. Although, after a short period of time, Spain was economically weakened by the war, and she had to give up a number of her conquests, including those in the Netherlands.
Painting color:
The picture has a rich and rich color scheme, but completely in the spirit of the artist, without the use of flashy, too bright colors. This spectacular canvas still impresses with the skill of painting and the beauty of the image.
The picture has another name - "Spears". Before Velazquez, many depicted such weapons, but only his palisade of long spears can be considered a real personification of war.
Description of the painting by D. Velazquez "Surrender of Breda"
Diego Velazquez is an ever-living source of truth and beauty, whose greatest legacy opens up a whole era in realistic painting, a work that will forever remain in our hearts and minds. His works carry the ideas of humanism, fidelity to the democratic tradition of Spanish culture, love for ordinary people. More directly and boldly than his predecessors, he turned to reality, expanding the themes of painting, contributing to the development of various genres in it.
I am especially interested in the historical, battle canvas, "Surrender of Breda", written by him around 1634-1635. The painting depicts a contemporary and important historical theme for him - a dramatic episode of the war between monarchist Spain and republican-bourgeois Holland, when the Spanish army conquered the border fortress of Breda. It is indicative that the painter did not begin to convey this scene with the accepted solemnity, the majesty of the victorious side: abandoning the parade-allegorical interpretation of the battle scene common in painting, the master turns to the idea of humanity, humanity; Velasquez laid the foundation for realism in historical painting.
Admiring this work, I wanted to understand the artist's intention, to feel the difficult era in which he lived and worked as a master. Find the answer to an unusual, innovative, truly bold solution to the canvas. To answer these questions, let's turn to the historical era in which this "epoch-making and at the same time so humane" canvas was created.
Considering the art of Velazquez in the context of his era, I saw how organically, naturally developed his talent, associated with the traditions of the Italian Rinascimento and with the trends of modern times. Life in Madrid, which opened up Velasquez the opportunity to carefully study the most valuable royal collections - paintings by Raphael, Leonardo da Vinci, Titian, Veronese and others, proximity to the Spanish cultural elite, meetings with Rubens who visited Spain in 1628, the first trip to Italy (1629-1631) contributed expanding his artistic horizons and improving his skills. But Diego lives in a different time, other questions and ways to solve them are facing his contemporaries. People are still in the center of attention of artists. Its embodiment becomes more concrete, emotional and psychologically complex. It reveals the infinite diversity and richness of the inner world, national features stand out brighter and more definitely. This new man is aware of his dependence on the social environment, and in Spain the personality even turned out to be more connected with the surrounding society, which was still patriarchally monolithic, did not know the extreme forms of individualism that often manifested themselves in the Renaissance in Italy. Do not forget the fact that the following factors influenced the specificity of Spanish art: just a century ago, before the time of the artist’s life, the Reconquista (the national liberation struggle of the Spanish people against the conquering Moors) ended, which formed the foundations of folk culture. The country flourished after the discovery of the New World and a time of weakening economic and political life and the establishment of a reactionary form of absolutism. And the artists, therefore, pretended their poetic fantasy in images peeped in real life. Creating within a strict dogmatic framework, the painters were able to convey such traits of the national character as self-esteem, pride, a sense of honor associated with personal merits. The person is shown for the most part in a noble, strict and stately aspect. Along with the mythological genre, historical and everyday genres, portrait, landscape and still life, are gaining an independent place. A new circle of social themes and plots appears. Drawing and engraving are developing successfully. Masters are attracted by the theme of the tragic fate of man, dramatic conflicts. All these processes contribute to the formation of two lines in the art of Spain by the 17th century: the courtly-aristocratic, exquisitely refined, painfully fragile art for the “initiates” (mannerism with the baroque) and the national realistic school (the formation of traditions of the left-wing line).
In his painting "Surrender of Breda" Velazquez refuses false dramatization of events, exaggerations, spectacular presentation, cutting off everything unimportant and unnecessary in order to penetrate into the depths of human experiences. In Velasquez we will not find ancient gods explaining the place of events or emphasizing the significance of what is happening, nor the geniuses of victory decorating the commander with a wreath; there are no allegorical figures symbolizing the winners and the vanquished. The artist “elevates the Event itself to the rank of an event”, the painter, as it were, removes a touch of excessive solemnity and thereby reveals its deep human meaning, he creates the first “truly historical picture in the painting of Europe”. The departure from the courtly, pathetic exaggerations of the work, from the rules of the Baroque was a truly creative feat that deserves the highest recognition. Truly, the master anticipated the painters of future centuries, organically merging the traditions of his national Spanish art with realistic tendencies. To this should be added the highest skill of the painter who managed to accurately convey the historical event truthfully.
All this convincingly speaks of Diego Velazquez as one of the creators (along with Caravaggio) of not yet a new style, but already a trend, and looking at his canvas, we can say with confidence that it is one of the best works of the left line, although the artist in this work refers to the classical tradition and even to the baroque.
As you know, before Velasquez, for a long time there was an idea of depicting battle scenes as works of epic-allegorical interpretation. There were strict rules and a whole system of symbols and allegories that the artist had to follow unquestioningly. So, for example, the faces of the winners were supposed to be arrogant and triumphant, and the faces and gestures of the vanquished - humiliated and servile. The painters strove to glorify their rulers as magnificently and fantastically as possible, bringing them closer to the celestials. Velazquez, on the other hand, decided to subordinate his canvas to the main idea: to express respect for the vanquished and, above all, to see in the defeated person - and this is the main humanistic idea of \u200b\u200bthis work. Thus, a monument was created not to military art and tactics, but to a large extent, to the nobility of the character of the commander - the winner. The artist pays tribute to the enemy army, a small nation of the Dutch who fight for their freedom, having the courage to stand up against a world power.
This is the innovative courage of the author's work, and this confirms the fact that it was written in a critical, transitional period between ideas about the ideals that appeared in the Renaissance and the harsh realities of the New Age.
The painting itself was created by the painter around 1634-1635. It was supposed to perpetuate the memory of the surrender, which was considered an impregnable fortress (Breds), and symbolize the glory and invincibility of the Spanish royal house, referring to the events of ten years ago from the history of the Spanish-Dutch war. At that time, military happiness was favorable to the Spanish oppressors. The surrender, which was considered an impregnable fortress, after many months of siege, in 1625, everywhere, was exalted as the greatest strategic achievement of the time. The work is done on canvas with oil. The dimensions of the canvas are simply amazing (307 x 367 cm). This testifies to the high skill of the artist, since one must have an accurate eye, competently master the drawing and be guided by the laws of composition, “in order to boldly and confidently, whole and beautifully” organize the space of the picture. Today it is on public display in the Prado Museum (Madrid).
The artist depicted the moment when Governor Justino of Nassau handed over the keys to the city to the Spanish commander Marquis Ambrosio Spinola. It should also be noted that the presentation of the city keys to the soldiers of the enemy army means one thing: the city surrendered. This custom was born in those distant times, when almost all European cities were large or not very large fortresses, which were really locked with keys at night.
Diego Velazquez created a huge number of portrait images, the strength of which lies in the depth of psychological analysis and the precise sharpness of the characteristics. The painter in portraits does not flatter the models, but represents each in individual uniqueness, national and social characteristics.
As for the "Surrender of Breda", the originality of the artist's method reached a new height in it: he strives to reveal in the integral unity of the soldiers the essential character traits, spiritual and mental makeup of each person in their complexity and contradictions. The master gives the correct, psychological characteristics of the main characters. The pictorial canvas includes several portraits: a portrait of the winner of Spinola himself, perhaps a portrait of the artist himself, who was not present at the surrender of Breda ": he places his self-portrait (a young man in a hat at the right side of the picture) in the generality of the Spanish army, and, of course, is depicted the second representative of the warring parties - Justino. With the help of the simplest means and techniques, the artist recreates life in all its truth, simplicity and at the same time charm - a mystery that still amazes us today. The portraits of soldiers of both armies painted by him are distinguished by the fidelity of the depicted physiognomies, the transfer of an individual type, an expression of national pride and a sense of dignity. Nature is reflected in them, as in a mirror; there is not a shadow of any conventionality in them. So, behind the outward secular restraint of Spinola, one can feel both the proud consciousness of victory and the nobility of his nature: he politely meets the vanquished, paying tribute to the courage and unbroken spirit of the Dutch. Stepping heavily, with a bare head, he goes towards the victorious Nassau, it seems that he is ready to kneel, handing over the keys, and Spinola dismounted, took off his hat and, stretching his hand forward, did not allow the Dutchman to kneel. With the elegance of a true knight, he places his right hand on the Dutchman's shoulder, holding his hat and marshal's baton in his left. The Spaniard friendly welcomes the commandant. The Spaniard does not seem to notice that von Nassau is handing over the keys to him. It can be seen that Spinola is in every possible way concerned that his opponents should not feel the humiliation of the situation in the least; he treats von Nassau not as a defeated enemy, but, on the contrary, as a person who, in his unenviable position, cannot be denied sympathy. The movement of the Dutchman forms a distinct diagonal, thereby expressing his subordinate position, and the movements of the winner are full of courtesy and respect for the defeated, the Spaniard's face expresses ordinary human feelings - feelings of empathy and respect. Their postures and gestures are justified, natural. The Dutchman is excited and deeply experiencing the event, he appears somewhat defenseless in the image, this feeling is conveyed by a certain hunchback in front of the Spaniard and a detail: the hat is removed, but Spinola, as a sign of respect, also stands with his head uncovered. In what other historical canvas of the 17th century, depicting a military episode, can one hear so many more human sounds that touch the soul! It clearly sounds a peaceful note of human respect for the valor of the enemy. Peering into the features of two people, it becomes clear that it is the humanistic idea that distinguishes The Surrender of Breda from previous works on historical themes. This is something new that did not exist before Velasquez, this is his trait, by which you recognize his work, his work.
It is also interesting how the deep difference in the attire of the two generals is striking: Justin is dressed in a marching, devoid of ceremonial gloss, golden-brown suit; The spinola is clad in black armor, over which a pink scarf is tied - this contrast also reveals the differences between them and gives the work a special color and truthfulness. This is also a factor proving that this work belongs to a turning point, a time of struggle between the new and the old in Spanish society. In the picture of Velasquez, we no longer see the behavior of an exemplary knight, but the formula for the relationship of people of the New Age.
It cannot be said that the transfer of the keys to the Dutch fortress of Breda to the Spaniards is a semantic and central-geometric knot of the composition. The "key of the picture" - it is also the key in the material sense - is highlighted by a dark silhouette in a light polygon between the main figures playing the role of wings (an artistic technique of classicism) - the entire artistic space and the integrity of the canvas are tied to this transfer ceremony. Everything revolves around the key hanging in the center, as if it contains some kind of mystery, as if the further course of events will depend on what and how they do with it. The key turns into a kind of tuning fork of time. And this is also a sign of the New Age. The main meaning of what is happening is concentrated in this center, and the viewer pays attention primarily to it. And the attention of almost all the actors is drawn to what is happening in the center, which is emphasized by the aspect of lighting and aerial perspective. The "key" of the composition and movement of the figures links the left and right parts of the picture (warring armies) and at the same time creates the depth of space. The breadth of the idea is emphasized by the landscape, in which the reflections of the flames and the smoke of the fire merge with the silvery mist of a summer morning. And, looking at the landscape panorama unfolding behind the backs of people, you notice how the artist sketchily, without a thick overlay of colors, reproduces difficult and subtle effects, enhancing the spatiality of the image. The entire background is relegated to an immeasurable distance: only in some places are traces of the recent battle, the bastions of Breda shrouded in a light silvery fog, but Velazquez accurately conveys the signs of the area - he is the innovation of the painter, one feels how he wants to truthfully convey not only the event, but also the scene .
Before proceeding to the description of both camps: Spanish and Dutch, we note the complete absence of an average transitional plan (between the first plans and distances - a failure) and the characters are close to the front plane of the picture, which indicates the artist's acquaintance with the techniques of classicism (bas-relief),
Both groups of soldiers are characterized objectively, with the identification of differences in the national and social characteristics of each of them. Their faces are portrait and at the same time typical, which enhances the significance of what is happening, turns a small event into an image of a historically important one.
On the right side of the picture, the Spaniards crowded tightly, monolithically, with spears triumphantly directed upwards, creating an image of a powerful force, designed to demonstrate the power of the Spanish state. The guns form a single wall, cutting off the front plane of the canvas from the back (it is no coincidence that the painting also bears the second name “Spears”). sees in the organization, discipline of the professional Spanish army Proud Spanish grandees in armor: warriors in similar clothes, almost in uniform. The Spaniards have similar hairstyles, mustaches, expressions of sophisticated faces. They form an organized system, standing closely, as a single cohesive mass. And Diego skillfully weakens this tense spot with the croup of the horse, thereby preserving the harmonic structure of the picture. The Spanish soldiers are so closely packed that people block each other, and those behind are depicted as standing taller.
The group of Dutchmen on the left side of the picture is placed more freely and naturally, the disorganization and spontaneity of which is conveyed by a variety of clothes, poses. Each defender of the city is individual: despite the significance of the moment (handover of the keys), the Dutch do not observe the military order: one stands with his back to the viewer, the other sideways, a young man in white is talking to a comrade in arms, putting a hat on his musket. Yes, and other Dutch hold weapons arbitrarily. The interpretation of the theme was also innovative: the defeated Dutch, concentrated on the left side of the picture, are presented with the same sense of dignity as the winners - the Spaniards, grouped in a denser mass on the right side of the composition, against the backdrop of rows of mines. The faces of the militias of the garrison do not bear the stamp of fear and admiration - on the contrary, they are filled with some kind of internal ebullient activity, people are keenly interested in what is happening. And although their spears and banners bowed before the enemy, the expression of independence of spirit dominates in free poses and open faces. No, the Dutch are not defeated, having been defeated, they do not lose heart. This is noticeable in their postures, the nature of their movements. New fight ahead! And again, the ephemerality of the victory of the Spaniards is felt - the future already belongs to people of a new formation, professing new values and ideals. The painter makes the viewer think about the clash of the old and the new, while the internal flow in the picture is not immediately noticeable, and it seems that the painter does not take the position of either side. And only a true master is capable of this.
Velazquez strives for the most truthful transfer of characters, the master carefully peers into the faces of his opponents, his genuine interest in each person is felt. All “highlighted” faces are unique and at the same time similar to each other. The artist creates the most magnificent portraits of military leaders and ordinary soldiers, and you understand that personalities are growing in front of us, with their thoughts, dreams and hopes for the best, but Diego Velasquez does not imitate the baroque masters, does not seek to throw out a sea of feelings on the canvas - the artist conveys only natural, realistic movements of the souls and bodies of people located on different sides of the main action. And again in the picture there is a motive of equality, the denial of the superiority of one over the other. In addition to the striking portrait resemblance, there is a noticeable commonality that forms a kind of “body unity” of the Spanish army. In a completely natural way, it came out through a smooth transition from the middle plan to the foreground and filled the historical stage with itself. Spinola also took a step towards his army, stepping back from the front line of the historical ramp, and thereby gained physical, moral and spiritual unity with his soldiers. Velasquez masterfully used the antithesis technique at the level of the following categories: movement-rest, volume-flatness, warm-cold colors, giving preference to the Netherlands in some way, which betrays in the artist the gift of a seer who saw the future power of Holland. It is the defeated Justin de Nassau who is depicted in action - he is heavy and slow, but he advances, while Spinola is standing. The figures of the Dutch are voluminous and materially tangible, they actively advance thanks to the light and warm colors (accents of yellow-gold, white and green) and literally move into the real space of the viewer (the figure in yellow on the edge of the picture). In addition, they are psychologically active, which is expressed both in the individualization of each reaction to events, and in a direct appeal to the viewer (the look of a man with a musket in green). At the same time, the ranks of the Spanish army are deployed in depth, and, as it were, retreat from the picture plane, gradually flattening and merging with the planar graphics of the pattern of spears and the blueness of the sky. This impression is also facilitated by the visual "retreat" of the dark and refined cold tones of blue and pearl pink. Before our eyes, real people turn into the past of a fresco, the myth of spears recedes before the reality of a tightly tailored halberd and a musket that is completely ineffective only in appearance, victory turns into defeat.
And not so unexpectedly in the battle scene, there is a moment of silence: impending changes are felt in the air (let us recall at least the inner current to which we referred above): people are listening, trying to catch these changes. And that is why the motive of listening is so important in Velasquez's picture - the Nassau page, a young man in white behind the commander, solemnly frozen Spanish and silent Dutch armies, the heavens themselves stopped in their movement, calls for this directly, with an expressive gesture.
In the painting by Diego Velasquez, the composition is extremely clear and tactile. In the center is the main event - the handover of the keys. At the same time, it is formed by the movement of two key figures, the contrast of which in relation to those around them is so active that the artist (in order not to destroy the integrity of the composition) “stopped” them with the rhythm of the copies and the rump of the horse on the right side of the picture. The center - the "key" is surrounded by double wings: with the help of the figures of generals and soldiers (the trend of classicism), there is an emphasis on this epic event. Thanks to this, a special harmony of all elements of the picture is achieved. But compositionally, the picture is divided into two more parts: the upper one is free, the lower one is occupied by figures.
There is also a rhythm of symmetrical groups in the picture. On the left is the Dutch army, on the right is the Spanish, in the center is an empty space, a pause. Moreover, the nature of the rhythm within the symmetrical groups on the left and right is different. The right group - the army of victors - has a rhythm that creates the impression of solidity, its strength. This impression is emphasized by the nature of the spears and the turning of the horse in the foreground. The nature of the rhythm of the defeated troops on the left creates the impression of greater fragmentation, the figures, which are closer to the foreground than on the right, do not allow many figures to be depicted. This creates the impression of a small number and weakness of the troops.
It is amazing how the artist managed to create a moment of unity, despite the fact that the armies are still quite different. The moment of generalization is achieved precisely with the help of bands of rhythms that encircle the central part and ensure the interconnection of all parts of the picture.
And in terms of composition, this work is a vivid example of the art of the New Age, and it can be safely attributed to the out-of-body line.
The color stand of the picture.
Diego Rodriguez de Silva Velasquez is one of the first masters of valere painting. The gray tones of his paintings shimmer with many shades, while the blacks are light and transparent. The bright warm tones of the Dutch clothes, the cold bluish-green of the Spaniards, are illuminated with an even silvery light, creating an atmosphere of early morning and forming a rich light and air environment. The virtuoso stroke is diverse: the ways of applying paint are interesting - from gentle imperceptible touches of the brush in the background to energetic strokes and free bravura strokes that form the shape and volume of people's clothes. The virtues of color are combined in Velazquez's painting with clarity and majestic simplicity of composition, a sense of proportion.
The impeccable fidelity and refined sophistication of Velasquez's eye, which knows how to enjoy both the richness and depth of the bright color chords of the foreground, is striking. And at the same time, we notice the subtlest reflections interacting with halftones and chiaroscuro, which enhances the transmission of materiality.
The painter turns to the problem of the formation of the air environment: deaf dark shadows disappear, sharp lines, silvery light and air literally envelop the figures. Pleasant gray tones muffle the brightness of individual colors of the picture. An unprecedented feeling of depth appears, the artist faithfully reproduces the state of the Dutch air, filled with the moisture of the near sea. Everything eloquently speaks of Velazquez's desire to convey reality more fully and reliably.
The color scheme is sparingly, but extraordinarily rich: it is built on a few tones - black, yellow, pink and green - united by gray of different strength, intensity and shade, from dark gray to pearl, and these various gray spots tie the individual elements of the picture into a single compositional whole.
Noble cold prevails in this canvas, from which only separate spots of yellow, black and light shades of white break out. The background is perceived as an invisible distance, lost in the morning haze of fog and fires, on which two camps stand out.
Let us note a peculiar “play” of tonal spots: the gaze goes from the dark armor of Spinola to the tail of the horse and further to the own shadow of the Dutch army.
It is impossible not to admire the accuracy and richness of Diego Velazquez's drawing. The artist carefully, with the help of a brush, models the faces, hands and clothes of the characters in the picture. The volume of the figures is formed due to color solutions in color and numerous natural reflexes characteristic of the natural environment.
The artist actively uses the line with which he conveys the movement of people. For example: the movement of the commandant enhances the transverse folds of his suit, as well as the position of the legs and the aspiration of the torso to the right plane of the picture.
The painter skillfully models the hands: they feel the natural movements of the two main characters towards each other. Velazquez depicts the characters anatomically correctly, although their bodies are hidden under clothing: Spinola stands slightly leaning on one of his legs and leaning towards the Dutchman.
Thanks to the rhythm of the lines, a smooth, lively movement is created, evoking the feeling that the artist managed to capture a brief moment, an episode from ordinary life.
The soft, airy contour of the painter not only outlines the edges of objects, but, gently curving, glides smoothly, and very often it simply disappears. This means that the master uses a “live line”, which enhances additional movements. For example, the Dutchman's marching suit is in the foreground.
The master also actively uses chiaroscuro, with its help he achieves an amazing “naturalness” of the figures and gives the picture depth. And this is the exclusivity of the talent of Diego Velasquez, who can convey the stunning effects of realistic vision. This once again confirms the fact that Diego, as an artist, has made a lot of innovation in the art of the New Age. It is also gratifying to see how solidly, correctly the figures of the characters are drawn, forming a bizarre but harmonious pattern.
Having examined the painting “Surrender of Breda”, it can be argued that in the work of Velazquez, the leftist line, which originated in modern times, was most fully expressed. Proceeding from the fact that Diego Velasquez in his work uses painting techniques that have a realistic orientation (air environment, chiaroscuro, characteristic of natural lighting, harmonious color solutions of soft morning lighting, composition, and so on), and most importantly - this canvas embodied the hopes of people Despite the fact that, despite the numerous problems of the new complex world that a person encounters, they can be destroyed by good natural relationships (one feels a connection with the Baroque), it can be said with confidence that this canvas is most fully identified with the art of the New Age: first of all with an off-line line, and partly with baroque and classicism.
As for artistic techniques, Velazquez uses them so competently and accurately (“sculpting” forms, harmonious close tones, natural movements and complexity of composition) that this painting is rightfully the first example of a new canvas - a canvas of historical realism. The purpose of which is to truthfully convey at the moment of some upheavals the complex feelings of a person who was “rediscovered” by the masters of the Renaissance.
It can be said without exaggeration that the work of Diego Velasquez is a true transfer of reality, which he masterfully embodied in The Surrender of Breda.
velazquez delirium surrender picturesque
Bibliography
1. Alpatov M.V. "Hinted Legacy". Moscow: Education, 1990.
2. “Renaissance. Baroque. Classicism. Problems of Styles in Western European Art” Editor Viller. Moscow: Nauka, 1966
3. "History of foreign art." Thought edited by M.T. Kuzmina, N.L. Maltseva, M.: 1980.
4. José Ortega y Gasset "Introduction to Velazquez" Per. from Spanish Lysenko E.S. Petrov M.:, 1991.
Description of the painting by D. Velazquez "Surrender of Breda"
Diego Velazquez is an ever-living source of truth and beauty, whose greatest legacy opens up a whole era in realistic painting, a work that will forever remain in our hearts and minds. His works carry the ideas of humanism, fidelity to the democratic tradition of Spanish culture, love for ordinary people. More directly and boldly than his predecessors, he turned to reality, expanding the themes of painting, contributing to the development of various genres in it.
I am especially interested in the historical, battle canvas, "Surrender of Breda", written by him around 1634-1635. The painting depicts a contemporary and important historical theme for him - a dramatic episode of the war between monarchist Spain and republican-bourgeois Holland, when the Spanish army conquered the border fortress of Breda. It is indicative that the painter did not begin to convey this scene with the accepted solemnity, the majesty of the victorious side: abandoning the parade-allegorical interpretation of the battle scene common in painting, the master turns to the idea of humanity, humanity; Velasquez laid the foundation for realism in historical painting.
Admiring this work, I wanted to understand the artist's intention, to feel the difficult era in which he lived and worked as a master. Find the answer to an unusual, innovative, truly bold solution to the canvas. To answer these questions, let's turn to the historical era in which this "epoch-making and at the same time so humane" canvas was created.
Considering the art of Velazquez in the context of his era, I saw how organically, naturally developed his talent, associated with the traditions of the Italian Rinascimento and with the trends of modern times. Life in Madrid, which opened up Velasquez the opportunity to carefully study the most valuable royal collections - paintings by Raphael, Leonardo da Vinci, Titian, Veronese and others, proximity to the Spanish cultural elite, meetings with Rubens who visited Spain in 1628, the first trip to Italy (1629-1631) contributed expanding his artistic horizons and improving his skills. But Diego lives in a different time, other questions and ways to solve them are facing his contemporaries. People are still in the center of attention of artists. Its embodiment becomes more concrete, emotional and psychologically complex. It reveals the infinite diversity and richness of the inner world, national features stand out brighter and more definitely. This new man is aware of his dependence on the social environment, and in Spain the personality even turned out to be more connected with the surrounding society, which was still patriarchally monolithic, did not know the extreme forms of individualism that often manifested themselves in the Renaissance in Italy. Do not forget the fact that the following factors influenced the specificity of Spanish art: just a century ago, before the time of the artist’s life, the Reconquista (the national liberation struggle of the Spanish people against the conquering Moors) ended, which formed the foundations of folk culture. The country flourished after the discovery of the New World and a time of weakening economic and political life and the establishment of a reactionary form of absolutism. And the artists, therefore, pretended their poetic fantasy in images peeped in real life. Creating within a strict dogmatic framework, the painters were able to convey such traits of the national character as self-esteem, pride, a sense of honor associated with personal merits. The person is shown for the most part in a noble, strict and stately aspect. Along with the mythological genre, historical and everyday genres, portrait, landscape and still life, are gaining an independent place. A new circle of social themes and plots appears. Drawing and engraving are developing successfully. Masters are attracted by the theme of the tragic fate of man, dramatic conflicts. All these processes contribute to the formation of two lines in the art of Spain by the 17th century: the courtly-aristocratic, exquisitely refined, painfully fragile art for the “initiates” (mannerism with the baroque) and the national realistic school (the formation of traditions of the left-wing line).
In his painting "Surrender of Breda" Velazquez refuses false dramatization of events, exaggerations, spectacular presentation, cutting off everything unimportant and unnecessary in order to penetrate into the depths of human experiences. In Velasquez we will not find ancient gods explaining the place of events or emphasizing the significance of what is happening, nor the geniuses of victory decorating the commander with a wreath; there are no allegorical figures symbolizing the winners and the vanquished. The artist “elevates the Event itself to the rank of an event”, the painter, as it were, removes a touch of excessive solemnity and thereby reveals its deep human meaning, he creates the first “truly historical picture in the painting of Europe”. The departure from the courtly, pathetic exaggerations of the work, from the rules of the Baroque was a truly creative feat that deserves the highest recognition. Truly, the master anticipated the painters of future centuries, organically merging the traditions of his national Spanish art with realistic tendencies. To this should be added the highest skill of the painter who managed to accurately convey the historical event truthfully.
All this convincingly speaks of Diego Velazquez as one of the creators (along with Caravaggio) of not yet a new style, but already a trend, and looking at his canvas, we can say with confidence that it is one of the best works of the left line, although the artist in this work refers to the classical tradition and even to the baroque.
As you know, before Velasquez, for a long time there was an idea of depicting battle scenes as works of epic-allegorical interpretation. There were strict rules and a whole system of symbols and allegories that the artist had to follow unquestioningly. So, for example, the faces of the winners were supposed to be arrogant and triumphant, and the faces and gestures of the vanquished - humiliated and servile. The painters strove to glorify their rulers as magnificently and fantastically as possible, bringing them closer to the celestials. Velazquez, on the other hand, decided to subordinate his canvas to the main idea: to express respect for the vanquished and, above all, to see in the defeated person - and this is the main humanistic idea of \u200b\u200bthis work. Thus, a monument was created not to military art and tactics, but to a large extent, to the nobility of the character of the commander - the winner. The artist pays tribute to the enemy army, a small nation of the Dutch who fight for their freedom, having the courage to stand up against a world power.
This is the innovative courage of the author's work, and this confirms the fact that it was written in a critical, transitional period between ideas about the ideals that appeared in the Renaissance and the harsh realities of the New Age.
The painting itself was created by the painter around 1634-1635. It was supposed to perpetuate the memory of the surrender, which was considered an impregnable fortress (Breds), and symbolize the glory and invincibility of the Spanish royal house, referring to the events of ten years ago from the history of the Spanish-Dutch war. At that time, military happiness was favorable to the Spanish oppressors. The surrender, which was considered an impregnable fortress, after many months of siege, in 1625, everywhere, was exalted as the greatest strategic achievement of the time. The work is done on canvas with oil. The dimensions of the canvas are simply amazing (307 x 367 cm). This testifies to the high skill of the artist, since one must have an accurate eye, competently master the drawing and be guided by the laws of composition, “in order to boldly and confidently, whole and beautifully” organize the space of the picture. Today it is on public display in the Prado Museum (Madrid).
The artist depicted the moment when Governor Justino of Nassau handed over the keys to the city to the Spanish commander Marquis Ambrosio Spinola. It should also be noted that the presentation of the city keys to the soldiers of the enemy army means one thing: the city surrendered. This custom was born in those distant times, when almost all European cities were large or not very large fortresses, which were really locked with keys at night.
Diego Velazquez created a huge number of portrait images, the strength of which lies in the depth of psychological analysis and the precise sharpness of the characteristics. The painter in portraits does not flatter the models, but represents each in individual uniqueness, national and social characteristics.
As for the "Surrender of Breda", the originality of the artist's method reached a new height in it: he strives to reveal in the integral unity of the soldiers the essential character traits, spiritual and mental makeup of each person in their complexity and contradictions. The master gives the correct, psychological characteristics of the main characters. The pictorial canvas includes several portraits: a portrait of the winner of Spinola himself, perhaps a portrait of the artist himself, who was not present at the surrender of Breda ": he places his self-portrait (a young man in a hat at the right side of the picture) in the generality of the Spanish army, and, of course, is depicted the second representative of the warring parties - Justino. With the help of the simplest means and techniques, the artist recreates life in all its truth, simplicity and at the same time charm - a mystery that still amazes us today. The portraits of soldiers of both armies painted by him are distinguished by the fidelity of the depicted physiognomies, the transfer of an individual type, an expression of national pride and a sense of dignity. Nature is reflected in them, as in a mirror; there is not a shadow of any conventionality in them. So, behind the outward secular restraint of Spinola, one can feel both the proud consciousness of victory and the nobility of his nature: he politely meets the vanquished, paying tribute to the courage and unbroken spirit of the Dutch. Stepping heavily, with a bare head, he goes towards the victorious Nassau, it seems that he is ready to kneel, handing over the keys, and Spinola dismounted, took off his hat and, stretching his hand forward, did not allow the Dutchman to kneel. With the elegance of a true knight, he places his right hand on the Dutchman's shoulder, holding his hat and marshal's baton in his left. The Spaniard friendly welcomes the commandant. The Spaniard does not seem to notice that von Nassau is handing over the keys to him. It can be seen that Spinola is in every possible way concerned that his opponents should not feel the humiliation of the situation in the least; he treats von Nassau not as a defeated enemy, but, on the contrary, as a person who, in his unenviable position, cannot be denied sympathy. The movement of the Dutchman forms a distinct diagonal, thereby expressing his subordinate position, and the movements of the winner are full of courtesy and respect for the defeated, the Spaniard's face expresses ordinary human feelings - feelings of empathy and respect. Their postures and gestures are justified, natural. The Dutchman is excited and deeply experiencing the event, he appears somewhat defenseless in the image, this feeling is conveyed by a certain hunchback in front of the Spaniard and a detail: the hat is removed, but Spinola, as a sign of respect, also stands with his head uncovered. In what other historical canvas of the 17th century, depicting a military episode, can one hear so many more human sounds that touch the soul! It clearly sounds a peaceful note of human respect for the valor of the enemy. Peering into the features of two people, it becomes clear that it is the humanistic idea that distinguishes The Surrender of Breda from previous works on historical themes. This is something new that did not exist before Velasquez, this is his trait, by which you recognize his work, his work.
It is also interesting how the deep difference in the attire of the two generals is striking: Justin is dressed in a marching, devoid of ceremonial gloss, golden-brown suit; The spinola is clad in black armor, over which a pink scarf is tied - this contrast also reveals the differences between them and gives the work a special color and truthfulness. This is also a factor proving that this work belongs to a turning point, a time of struggle between the new and the old in Spanish society. In the picture of Velasquez, we no longer see the behavior of an exemplary knight, but the formula for the relationship of people of the New Age.
It cannot be said that the transfer of the keys to the Dutch fortress of Breda to the Spaniards is a semantic and central-geometric knot of the composition. The "key of the picture" - it is also the key in the material sense - is highlighted by a dark silhouette in a light polygon between the main figures playing the role of wings (an artistic technique of classicism) - the entire artistic space and the integrity of the canvas are tied to this transfer ceremony. Everything revolves around the key hanging in the center, as if it contains some kind of mystery, as if the further course of events will depend on what and how they do with it. The key turns into a kind of tuning fork of time. And this is also a sign of the New Age. The main meaning of what is happening is concentrated in this center, and the viewer pays attention primarily to it. And the attention of almost all the actors is drawn to what is happening in the center, which is emphasized by the aspect of lighting and aerial perspective. The "key" of the composition and movement of the figures links the left and right parts of the picture (warring armies) and at the same time creates the depth of space. The breadth of the idea is emphasized by the landscape, in which the reflections of the flames and the smoke of the fire merge with the silvery mist of a summer morning. And, looking at the landscape panorama unfolding behind the backs of people, you notice how the artist sketchily, without a thick overlay of colors, reproduces difficult and subtle effects, enhancing the spatiality of the image. The entire background is relegated to an immeasurable distance: only in some places are traces of the recent battle, the bastions of Breda shrouded in a light silvery fog, but Velazquez accurately conveys the signs of the area - he is the innovation of the painter, one feels how he wants to truthfully convey not only the event, but also the scene .
Before proceeding to the description of both camps: Spanish and Dutch, we note the complete absence of an average transitional plan (between the first plans and distances - a failure) and the characters are close to the front plane of the picture, which indicates the artist's acquaintance with the techniques of classicism (bas-relief),
Both groups of soldiers are characterized objectively, with the identification of differences in the national and social characteristics of each of them. Their faces are portrait and at the same time typical, which enhances the significance of what is happening, turns a small event into an image of a historically important one.
On the right side of the picture, the Spaniards crowded tightly, monolithically, with spears triumphantly directed upwards, creating an image of a powerful force, designed to demonstrate the power of the Spanish state. The guns form a single wall, cutting off the front plane of the canvas from the back (it is no coincidence that the painting also bears the second name “Spears”). sees in the organization, discipline of the professional Spanish army Proud Spanish grandees in armor: warriors in similar clothes, almost in uniform. The Spaniards have similar hairstyles, mustaches, expressions of sophisticated faces. They form an organized system, standing closely, as a single cohesive mass. And Diego skillfully weakens this tense spot with the croup of the horse, thereby preserving the harmonic structure of the picture. The Spanish soldiers are so closely packed that people block each other, and those behind are depicted as standing taller.
The group of Dutchmen on the left side of the picture is placed more freely and naturally, the disorganization and spontaneity of which is conveyed by a variety of clothes, poses. Each defender of the city is individual: despite the significance of the moment (handover of the keys), the Dutch do not observe the military order: one stands with his back to the viewer, the other sideways, a young man in white is talking to a comrade in arms, putting a hat on his musket. Yes, and other Dutch hold weapons arbitrarily. The interpretation of the theme was also innovative: the defeated Dutch, concentrated on the left side of the picture, are presented with the same sense of dignity as the winners - the Spaniards, grouped in a denser mass on the right side of the composition, against the backdrop of rows of mines. The faces of the militias of the garrison do not bear the stamp of fear and admiration - on the contrary, they are filled with some kind of internal ebullient activity, people are keenly interested in what is happening. And although their spears and banners bowed before the enemy, the expression of independence of spirit dominates in free poses and open faces. No, the Dutch are not defeated, having been defeated, they do not lose heart. This is noticeable in their postures, the nature of their movements. New fight ahead! And again, the ephemerality of the victory of the Spaniards is felt - the future already belongs to people of a new formation, professing new values and ideals. The painter makes the viewer think about the clash of the old and the new, while the internal flow in the picture is not immediately noticeable, and it seems that the painter does not take the position of either side. And only a true master is capable of this.
Velazquez strives for the most truthful transfer of characters, the master carefully peers into the faces of his opponents, his genuine interest in each person is felt. All “highlighted” faces are unique and at the same time similar to each other. The artist creates the most magnificent portraits of military leaders and ordinary soldiers, and you understand that personalities are growing in front of us, with their thoughts, dreams and hopes for the best, but Diego Velasquez does not imitate the baroque masters, does not seek to throw out a sea of feelings on the canvas - the artist conveys only natural, realistic movements of the souls and bodies of people located on different sides of the main action. And again in the picture there is a motive of equality, the denial of the superiority of one over the other. In addition to the striking portrait resemblance, there is a noticeable commonality that forms a kind of “body unity” of the Spanish army. In a completely natural way, it came out through a smooth transition from the middle plan to the foreground and filled the historical stage with itself. Spinola also took a step towards his army, stepping back from the front line of the historical ramp, and thereby gained physical, moral and spiritual unity with his soldiers. Velasquez masterfully used the antithesis technique at the level of the following categories: movement-rest, volume-flatness, warm-cold colors, giving preference to the Netherlands in some way, which betrays in the artist the gift of a seer who saw the future power of Holland. It is the defeated Justin de Nassau who is depicted in action - he is heavy and slow, but he advances, while Spinola is standing. The figures of the Dutch are voluminous and materially tangible, they actively advance thanks to the light and warm colors (accents of yellow-gold, white and green) and literally move into the real space of the viewer (the figure in yellow on the edge of the picture). In addition, they are psychologically active, which is expressed both in the individualization of each reaction to events, and in a direct appeal to the viewer (the look of a man with a musket in green). At the same time, the ranks of the Spanish army are deployed in depth, and, as it were, retreat from the picture plane, gradually flattening and merging with the planar graphics of the pattern of spears and the blueness of the sky. This impression is also facilitated by the visual "retreat" of the dark and refined cold tones of blue and pearl pink. Before our eyes, real people turn into the past of a fresco, the myth of spears recedes before the reality of a tightly tailored halberd and a musket that is completely ineffective only in appearance, victory turns into defeat.
In the painting by Diego Velasquez, the composition is extremely clear and tactile. In the center is the main event - the handover of the keys. At the same time, it is formed by the movement of two key figures, the contrast of which in relation to those around them is so active that the artist (in order not to destroy the integrity of the composition) “stopped” them with the rhythm of the copies and the rump of the horse on the right side of the picture. The center - the "key" is surrounded by double wings: with the help of the figures of generals and soldiers (the trend of classicism), there is an emphasis on this epic event. Thanks to this, a special harmony of all elements of the picture is achieved. But compositionally, the picture is divided into two more parts: the upper one is free, the lower one is occupied by figures.
There is also a rhythm of symmetrical groups in the picture. On the left is the Dutch army, on the right is the Spanish, in the center is an empty space, a pause. Moreover, the nature of the rhythm within the symmetrical groups on the left and right is different. The right group - the army of victors - has a rhythm that creates the impression of solidity, its strength. This impression is emphasized by the nature of the spears and the turning of the horse in the foreground. The nature of the rhythm of the defeated troops on the left creates the impression of greater fragmentation, the figures, which are closer to the foreground than on the right, do not allow many figures to be depicted. This creates the impression of a small number and weakness of the troops.
It is amazing how the artist managed to create a moment of unity, despite the fact that the armies are still quite different. The moment of generalization is achieved precisely with the help of bands of rhythms that encircle the central part and ensure the interconnection of all parts of the picture.
And in terms of composition, this work is a vivid example of the art of the New Age, and it can be safely attributed to the out-of-body line.
The color stand of the picture.
Diego Rodriguez de Silva Velasquez is one of the first masters of valere painting. The gray tones of his paintings shimmer with many shades, while the blacks are light and transparent. The bright warm tones of the Dutch clothes, the cold bluish-green of the Spaniards, are illuminated with an even silvery light, creating an atmosphere of early morning and forming a rich light and air environment. The virtuoso stroke is diverse: the ways of applying paint are interesting - from gentle imperceptible touches of the brush in the background to energetic strokes and free bravura strokes that form the shape and volume of people's clothes. The virtues of color are combined in Velazquez's painting with clarity and majestic simplicity of composition, a sense of proportion.
The impeccable fidelity and refined sophistication of Velasquez's eye, which knows how to enjoy both the richness and depth of the bright color chords of the foreground, is striking. And at the same time, we notice the subtlest reflections interacting with halftones and chiaroscuro, which enhances the transmission of materiality.
The painter turns to the problem of the formation of the air environment: deaf dark shadows disappear, sharp lines, silvery light and air literally envelop the figures. Pleasant gray tones muffle the brightness of individual colors of the picture. An unprecedented feeling of depth appears, the artist faithfully reproduces the state of the Dutch air, filled with the moisture of the near sea. Everything eloquently speaks of Velazquez's desire to convey reality more fully and reliably.
The color scheme is sparingly, but extraordinarily rich: it is built on a few tones - black, yellow, pink and green - united by gray of different strength, intensity and shade, from dark gray to pearl, and these various gray spots tie the individual elements of the picture into a single compositional whole.
Noble cold prevails in this canvas, from which only separate spots of yellow, black and light shades of white break out. The background is perceived as an invisible distance, lost in the morning haze of fog and fires, on which two camps stand out.
Let us note a peculiar “play” of tonal spots: the gaze goes from the dark armor of Spinola to the tail of the horse and further to the own shadow of the Dutch army.
It is impossible not to admire the accuracy and richness of Diego Velazquez's drawing. The artist carefully, with the help of a brush, models the faces, hands and clothes of the characters in the picture. The volume of the figures is formed due to color solutions in color and numerous natural reflexes characteristic of the natural environment.
The artist actively uses the line with which he conveys the movement of people. For example: the movement of the commandant enhances the transverse folds of his suit, as well as the position of the legs and the aspiration of the torso to the right plane of the picture.
The painter skillfully models the hands: they feel the natural movements of the two main characters towards each other. Velazquez depicts the characters anatomically correctly, although their bodies are hidden under clothing: Spinola stands slightly leaning on one of his legs and leaning towards the Dutchman.
Thanks to the rhythm of the lines, a smooth, lively movement is created, evoking the feeling that the artist managed to capture a brief moment, an episode from ordinary life.
The soft, airy contour of the painter not only outlines the edges of objects, but, gently curving, glides smoothly, and very often it simply disappears. This means that the master uses a “live line”, which enhances additional movements. For example, the Dutchman's marching suit is in the foreground.
The master also actively uses chiaroscuro, with its help he achieves an amazing “naturalness” of the figures and gives the picture depth. And this is the exclusivity of the talent of Diego Velasquez, who can convey the stunning effects of realistic vision. This once again confirms the fact that Diego, as an artist, has made a lot of innovation in the art of the New Age. It is also gratifying to see how solidly, correctly the figures of the characters are drawn, forming a bizarre but harmonious pattern.
Having examined the painting “Surrender of Breda”, it can be argued that in the work of Velazquez, the leftist line, which originated in modern times, was most fully expressed. Proceeding from the fact that Diego Velasquez in his work uses painting techniques that have a realistic orientation (air environment, chiaroscuro, characteristic of natural lighting, harmonious color solutions of soft morning lighting, composition, and so on), and most importantly - this canvas embodied the hopes of people Despite the fact that, despite the numerous problems of the new complex world that a person encounters, they can be destroyed by good natural relationships (one feels a connection with the Baroque), it can be said with confidence that this canvas is most fully identified with the art of the New Age: first of all with an off-line line, and partly with baroque and classicism.
As for artistic techniques, Velazquez uses them so competently and accurately (“sculpting” forms, harmonious close tones, natural movements and complexity of composition) that this painting is rightfully the first example of a new canvas - a canvas of historical realism. The purpose of which is to truthfully convey at the moment of some upheavals the complex feelings of a person who was “rediscovered” by the masters of the Renaissance.
It can be said without exaggeration that the work of Diego Velasquez is a true transfer of reality, which he masterfully embodied in The Surrender of Breda.
Bibliography
1.Alpatov M.V. "Hinted Legacy". Moscow: Education, 1990. ."Renaissance. Baroque. Classicism. Problems of Styles in Western European Art” Editor Viller. Moscow: Nauka, 1966 3."History of Foreign Art". Thought edited by M.T. Kuzmina, N.L. Maltseva, M.: 1980. .José Ortega y Gasset "Introduction to Velázquez" Trans. from Spanish Lysenko E.S. Petrov M.:, 1991.
