_Velazquez_ (Spanish: 1599-1660). _See 197._
This celebrated picture--commonly called "Venus and Cupid," but known
in Spain as the "Venus del Espejo"--is one of the master's rare studies
of the nude, and it is characteristic of his genius. The subject is
professedly mythological, but Velazquez seeks no adventitious interest
from legendary association or idealistic grace. Here, as everywhere,
his standpoint is frankly realistic, whilst the work is saved from
commonness by purity of colour and sincerity of artistic purpose. It
has been truly said that the flesh-painting here makes many another
picture in the Gallery look lifeless and unreal. The face of "Venus" in
the mirror--with broad features enframed in plainly dressed hair--does
not realise the promise of the pretty outline of the head with the
brown hair tied in a knot; and it has been suggested (by Dr. Justi)
that "perhaps the damsel did not wish to be recognised." However
this may be, the very plainness of the face emphasises the artist's
intention. The picturesqueness of the outline and modulations of the
back in a youthful female figure was the artistic effect which he set
himself to render.
The history of the picture is well authenticated.[258] It was painted
about 1650, and passed into the possession of the Duke of Alba on his
marriage in 1688 with Doña Catalina de Haro of Guzmom, Condessa-Duquesa
de Olivares, the picture forming part of her dowry. It is mentioned in
an inventory of the paintings belonging to her family as "a Venus of
life size reclining nude with a child who holds up for her a mirror
into which she gazes. This picture is an original work by Don Diego
Velazquez." In an account of the Duke of Alba's palace in 1776 it is
described as "the very celebrated Venus depicted from the back, in the
reclining posture, with her face reflected in a mirror towards which
she directs her gaze." Subsequently the picture became the property of
the Spanish statesmen, Godoy. In 1808 it was sold and brought to this
country; and purchased through Mr. Buchanan for the sum of £500, by Mr.
Morritt, the friend of Sir Walter Scott. It became an heirloom in Mr.
Morritt's family at Rokeby Hall, Teesdale. "Twice," says Dr. Justi in
his life of Velazquez, "in 1879 and 1885 I had the privilege of seeing
it there and convincing myself of its faultless preservation and the
original brilliancy and freshness of its colour." It was exhibited
in 1857 among the "Art Treasures" at Manchester and in 1890 at the
"Old Masters." It was ultimately sold under an order of the Court of
Chancery, the price obtained being £30,500. It passed into the hands
of Messrs. Agnew, and its sale out of this country was believed to be
imminent when the National Art Collections Fund came to the rescue and
raised by subscription the amount now necessary for its purchase.
The sum paid was £45,000,[259] and the picture was presented by the
Fund to the nation.