Paintings between 1651 and 1660
by VELÁZQUEZ

Velázquez enjoyed a triumph in Rome due to the portraits painted there, but Philip IV wanted his favourite court painter to come back to court as soon as possible to paint his second wife, Queen Mariana. In his last years Velázquez painted other portraits of the royal family, examples are the portraits of Philip IV, Infanta María Teresa, Infanta Margarita, and Infante Felipe Próspero.

Preview Picture Data Info
Infanta María Teresa
1651-52
Oil on canvas, 34,3 x 40 cm
Metropolitan Museum of Art, New York


Portrait of Philip IV
1652-53
Oil on canvas, 47 x 37,5 cm
Kunsthistorisches Museum, Vienna


Queen Doña Mariana of Austria
1652-53
Oil on canvas, 231 x 131 cm
Museo del Prado, Madrid


Queen Doña Mariana of Austria (detail)
1652-53
Oil on canvas
Museo del Prado, Madrid


María Teresa
1652-53
Oil on canvas, 127 x 98,5 cm
Kunsthistorisches Museum, Vienna


Infanta Margarita
c. 1654
Oil on canvas, 128,5 x 100 cm
Kunsthistorisches Museum, Vienna


Infanta Margarita (detail)
c. 1654
Oil on canvas
Kunsthistorisches Museum, Vienna


Infanta Margarita
1654-55
Oil on canvas, 70 x 59 cm
Musée du Louvre, Paris


Philip IV
c. 1655
Oil on canvas, 69 x 56 cm
Museo del Prado, Madrid


Portrait of Mariana of Austria, Queen of Spain
1655-57
Oil on canvas, 66 x 56 cm
Fundación Colección Thyssen-Bornemisza, Pedralbes


Portrait of Philip IV (fragment)
1657-60
Oil on canvas, 40,5 X 32,5 cm
Museo de Bellas Artes, Bilbao


Mercury and Argus
c. 1659
Oil on canvas, 127 x 248 cm
Museo del Prado, Madrid


Infante Felipe Próspero
c. 1660
Oil on canvas, 128,5 x 99,5 cm
Kunsthistorisches Museum, Vienna


Infante Felipe Próspero (detail)
c. 1660
Oil on canvas
Kunsthistorisches Museum, Vienna


The Infanta Doña Margarita de Austria
c. 1660
Oil on canvas, 212 x 147 cm
Museo del Prado, Madrid



Summary of paintings by Velázquez
until 1620 | 1621-1630 | 1631-1635
Surrender of Breda | Equestrian portraits
Las Meninas | Las Hilanderas
1636-1640 | 1641-1650 | 1651-1660



© Web Gallery of Art, created by Emil Krén and Daniel Marx.