Salvador Salort-Pons, director of the Detroit Institute of Arts (DIA), announced the attribution of a newly discovered portrait to Diego Velázquez. The painting, titled The Count-Duke of Olivares in Armor (1626), was revealed in the current issue of ARS Magazine, published by the Museo Prado in Madrid. This portrait represents Gaspar de Guzmán y Pimental, known as the Count-Duke of Olivares, who was a prime minister of Spain from 1623 to 1643.
According to Salort-Pons, upon arriving at the Spanish court from Seville in 1626, Velázquez was commissioned to create two portraits: one of the Count-Duke and another of Francesco Barberini, an Italian cardinal. These portraits were meant for an exchange, yet contemporary sources indicate that neither met Barberini's approval. The portrait of Barberini remains lost, while the one attributed to Olivares is presented in this new finding.
Significance of the Newly Attributed Velázquez Painting
The newly attributed painting reflects Velázquez's early years as a court painter. The DIA is planning an exhibition titled “Velázquez & Olivares: Early Years at Court”, set to open in January 2027. This exhibition will explore Velázquez's transition from a young artist to the official court painter for King Philip IV. Salort-Pons's findings are based on the research of art historian Enriqueta Harris, who uncovered significant details about Velázquez's activities during this period.
Harris's research includes the existence of the two portraits, which had been unrecorded until now. The diaries of Cassiano dal Pozzo, Barberini's secretary, provide critical insights into the portraits' reception. Although dal Pozzo described the Barberini portrait as having a 'melancholy' and 'severe' air, he did not comment on the Olivares painting, which remained with Barberini until his death.
Historical Context and Details of the Olivares Portrait
Salort-Pons supports his findings with the inventories of Barberini's art holdings. A 1631 inventory lists a portrait of the Count-Duke with specific measurements that closely align with the newly discovered painting. The Olivares portrait is recorded as measuring 60 x 48 cm (23.6 x 18.9 inches), while historical references indicate that the dimensions historically referred to were approximately 62 x 47 cm (25.2 x 18.5 inches).
Alongside the newly attributed portrait, three other known versions of the Count-Duke of Olivares by Velázquez were painted between 1623 and 1626. These portraits aimed to reflect Olivares's influence at court and the new monarchy's reformist spirit. Each version depicts Olivares in black attire, with a cape and gold chain, highlighting the fashion of the time.
- 1624 version: Owned by the Museu de Arte de São Paulo, includes a key and gold spurs.
- 1625 versions: One owned by the Hispanic Society of America, the other by the Varez Fisa Collection, both feature the embroidered cross of the Orden de Alcántara.
Implications for Velázquez's Artistic Legacy
Salort-Pons suggests that the newly attributed painting showcases Velázquez's evolving style. The portrait presents a shift from a direct representation of power to a more nuanced portrayal, indicating Velázquez's growing sophistication as an artist. The positioning of Olivares in the later works reflects a semi-profile view, which contrasts with the imposing frontal pose of the 1624 portrait.
The upcoming exhibition at the DIA will not only highlight Velázquez's artistic journey but also contribute to the ongoing discourse surrounding the artist's legacy in the context of Spanish art history.
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