#Lucas Velázquez

[historyguide]

Arab Caravans Arriving at the Coast by Eugenio Lucas Velázquez.

Explore visual guides about art.

[mysterious-secret-garden]

Eugenio Lucas Velázquez - Exorcism.

[aperint]

Un suceso pocas veces contado

Un suceso pocas veces contado #aperturaintelectual #palabrasbajollave @tmoralesgarcia1 Thelma Morales García

[dumbbitchhour]

Eugenio Lucas Velázquez, La suerte de varas, 1855 x

[hzaidan]

01 Work, The Art of War, Eugenio Lucas Velázquez's The Ambush, with footnotes

Eugenio Lucas Velázquez (1817–1870)The Ambush, c.1850–1870Oil on metalH 35.5 x W 50.8 cmBirmingham Museums Trust The theme of travellers waylaid by bandits was a common one in the eighteenth and early nineteenth century painting as the Napoleonic wars brought chaos and lawlessness to many parts of Europe. Criminals, deserters and the remnants of defeated armies often turned to highway robbery as…

[theoutcastrogue]

The THIEF's song (La Cançó del Lladre)

Manuel Cabral y Aguado Bejarano. Escena de una venta. 1855. | Eugenio Lucas Velázquez. Bandoleros. circa 1860. | Manuel Barrón y Carrillo. Emboscada a unos bandoleros en la cueva del Gato. 1869. [x]

"La Cançó del Lladre is a popular 18th century Catalan melody, from a tradition known as Canciones de Bandoleros: bandit songs. The bandoleros at that time were people who challenged the established social, political, and economic order, engaging in banditry in an era when divisions between social classes were very pronounced. They stole from the upper classes sometimes to give to the poor, and sometimes simply to protest against the system, which precluded social mobility and did not allow people to escape poverty and labour exploitation.

This song's lyrics are told in the first person by a thief who is sentenced to death after a lifetime of robbery and crime. Through each stanza he recounts his misdeeds, every robbery he committed, and despite everything, this song is in a major key. And in a way it is joyful. With the lyrics starting from the thief's childhood, it broadcasts that despite all he went through, he lived his life fully and he was happy. The chorus, which says "Adéu, clavell morenet, Adéu, estrella del dia", meaning "Goodbye, dark-coloured carnation, goodbye, star of the day", is a kind of farewell to life, and to that energy that made him feel alive."

— Paola Hermosín

The Thief's Song

(translation from lyricstranslate.com)

When I was a little boy I was boastful and presumptuous; White espadrilles on my feet And a handkerchief in my pocket.

Goodbye, golden carnation! Goodbye, day star!

And now that I am all grown up, I have chosen an evil path! I have started to rob people: (This is) my daily job.

Goodbye, golden carnation! Goodbye, day star!

I robbed a merchant Who was returning from the town fair; I stole all of his money And the sample he was carrying.

Goodbye, golden carnation! Goodbye, day star!

Once I had enough money I have kidnapped a young maiden: I have taken her with lies, Promising that I'd marry her!

Goodbye, golden carnation! Goodbye, day star!

The law has imprisoned me And it has dragged me to a dark jail. The law has imprisoned me And it shall make me pay with my life!

Goodbye, golden carnation! Goodbye, day star!

Original Catalan lyrics after the cut:

La Cançó del Lladre

Quan jo n'era petitet festejava i presumia, espardenya blanca al peu i mocador a la falsia.

Adéu, clavell morenet! Adéu, estrella del dia!

I ara, que ne sóc grandet, m'he posat a mala vida! En sóc posat, a robar: ofici de cada dia.

Adéu, clavell morenet! Adéu, estrella del dia!

Vaig trobar un traginer qui venia de la fira: li prenguí tots els diners i la mostra que duïa.

Adéu, clavell morenet! Adéu, estrella del dia!

Quan he tingut prou diners, n'hi he robat també una nina: l'he robada amb falsedat, dient que m'hi casaria!

Adéu, clavell morenet! Adéu, estrella del dia!

La justícia m'ha pres i a presó fosca em duïa. La justícia m'ha pres i em farà pagar amb la vida!

Adéu, clavell morenet! Adéu, estrella del dia!

[fashionbooksmilano]

High Society

Johnatan Bilker

Rijksmuseum, Amsterdam 2018, 136 pages, 22x30cm, ISBN 9789462084261

euro 60,00

email if you want to buy booksinprogressmilano@yahoo.it

Exceptional life-size portraiture by great masters such as Claude Monet, Edvard Munch, Rembrandt and Velázquez

The Rijksmuseum is celebrating the completed restoration of Rembrandt's magnificent portraits of the exuberantly dressed Marten Soolmans and Oopjen Coppit with a comprehensive publication (and accompanying exhibition) dedicated to life-size portraiture. Over the centuries, powerful monarchs, eccentric aristocrats and rich burghers commissioned portraits of themselves arrayed in all their finery and preferably life-size, from the world's most famous painters. This book presents exceptional life-size portraits by great masters, including Lucas Cranach the Elder, Anthony van Dyck, Frans Hals, Claude Monet, Edvard Munch, Rembrandt and Velázquez. In an essay, Rijksmuseum curator Jonathan Bikker describes the history, form and function of these portraits and recounts biographical details and lots of juicy gossip about the sitters. Also included are the splendid portraits of Marten Soolmans and Oopjen Coppit that were recently acquired by the Rijksmuseum and the Louvre.

30/04/24

[snacking-on-art-2022]

Lucas Velázquez  (1817–1870) 

Allegorical caprice. The Avarice

[1five1two]

'Allegorical caprice. The Avarice'. Eugenio Lucas Velázquez. 1852.

[macarraqui]

Una pinacoteca en la catedral

De mi paseo por Toledo el 15 de mayo de 2024. 

El cuadro central que aparece en la imagen que comparto es "El Expolio", y fue el primer trabajo por encargo que realizó El Greco en Toledo. La pintura fue restaurada hace una década en el Museo del Prado y devuelta a su lugar de origen en excelente estado.

El lienzo se encuentra situado en el Altar Mayor de la Sacristía de la Catedral de Toledo, en cuya bóveda también aparece un enorme fresco de Lucas Jordán. En la misma sala del altar podemos ver más trabajos de El Greco, como "San José y el Niño", "Cristo en la Cruz" o "San Francisco y el Hermano León" (mi preferido), además de otros cuadros de menor tamaño, como los dos que aparecen en la fotografía.

El resto de las obras de esta pinacoteca de la catedral se completa con pinturas de Velázquez, Goya, Tiziano, Rafael, Van Dyck y Caravaggio.

Como curiosidad, el retablo de la parte inferior de la fotografía es también una pieza escultórica del pintor cretense.

[felipeandletizia]

Felipe and Letizia retrospective: November 17th

2003: Opening of the Sefardi Museum in Toledo at Sinagoga del Transito in Toledo.

2004: Audience with the Board of Trustees of the Madrid 2012 Foundation & 50th anniversary of the Professional Economists Council at Economists College Office.

2009: 26th Francisco Cerecedo journalism award dinner.

2010: Audiences at la Zarzuela & “Francisco Cerecedo Awards 2010”.

2011: Visited the ship LHD “Juan Carlos I”

2013: Miami Book Fair International 2013 Inaugural event in Miami, Florida, USA.

2014: Velázquez Awards for the Fine Arts 2013 & Audience with Professor Rolf-Dieter Heuer, Director General of CERN

2015: National Sports Awards 2014 at El Pardo Palace in Madrid

2016: Opening of the twelfth legislature at the Spanish Parliament in Madrid (1, 2, 3) & Carles Ferrer Salat Awards and Foment del Treball Honor Medals.

2020: Work meeting with UNICEF Spain; COTEC Foundation’s board meeting & Audience with Luca de Meo, Renault’s CEO and José Vicente de los Mozos

2021: 14th Cotec Europa meeting

2022: Official Visit to Croatia, day 2

F&L Through the Years: 1085/??

[mysterious-secret-garden]

Eugenio Lucas y Velázquez - Allegory of life and death, 1856.

[thomerama]

The Chariot of Death," painted in 1848, is a haunting and evocative masterpiece by the Spanish artist Eugenio Lucas Velázquez. This chilling work of art depicts a macabre scene of a skeletal figure driving a chariot pulled by two black horses through a desolate, moonlit landscape. The painting is a powerful representation of mortality and the inexorable march of time, serving as a stark reminder of the fragility of human existence. Velázquez's meticulous attention to detail and use of dramatic lighting intensify the eerie atmosphere, making "The Chariot of Death" a mesmerizing exploration of life's transient nature and the eternal presence of death.

Details from The Chariot of Death, 1848 - oil on canvas. — Théophile Schuler (French, 1821-1878) aqua-regia009 art edits

[metagoles]

⚽️ #RegionalAmateur #GAFxJGB

Región Litoral Norte - Zona 6 - 1° fecha

Así forma @GuaraniAFranco

1- Carlos Franco

2- Facundo Gómez

3- Pablo Narváez

4- Agustín Vallejos

5- Sebastián Silva

6- Renzo Anzamendia

7- julián Vera

8- Matías Iglesias

9- Lucas Velázquez

10- Miguel Méndez

11- Joaquín Machado

Suplentes

12- Pablo Sequeira

13- Nicolás Vallejos

14- Denis Vallejos

15- René Villalba

16- Nahuel Bentos

17- Ian Barrios

18- Nicolás Golomba

DT: Osvaldo Young

[hzaidan]

The theme of travellers waylaid by bandits was a common one in the eighteenth and early nineteenth century painting as the Napoleonic wars brought chaos and lawlessness to many parts of Europe. Criminals, deserters and the remnants of defeated armies often turned to highway robbery as the social order collapsed…

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Eugenio Lucas Velázquez,Zaidan,Biography,Arthistory,Paintings,Artists,History,footnotes,fineart,War,

01 Work, The Art of War, Eugenio Lucas Velázquez's The Ambush, with footnotes