{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-572d6a42.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-f4d0de30.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Golden age painter and his court portraits' data-url='/boclips/videos/5c54bd57d8eafeecae1336c8' data-video-url='/boclips/videos/5c54bd57d8eafeecae1336c8' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nGolden age painter and his court portraits\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003e1. Various of \"The Family of the Painter\" by Diego Velazquez, c.16632. Wide of people looking at exhibits3. Mid of people looking at paintings 4. SOUNDBITE: (Spanish) Javier Portus, Head conservationist of Spanish paintings until 1700,...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003e1. Various of \"The Family of the Painter\" by Diego Velazquez, c.1663\u003cbr/\u003e2. Wide of people looking at exhibits\u003cbr/\u003e3. Mid of people looking at paintings \u003cbr/\u003e4. SOUNDBITE: (Spanish) Javier Portus, Head conservationist of Spanish paintings until 1700, Prado Museum:\u003cbr/\u003e\"In the exhibit (the visitor) will find the story of court portrait painting from 1650 to 1680. This is a very particular moment in the development of portrait painting, but also a very particular moment for our history. What the visitor will see are the last 11 years of Velazquez as a portrait painter and the continuation of this by his son in law Martinez del Mazo and Juan Carreno de Miranda.\"\u003cbr/\u003e5. Mid of \"Las Meninas de Kingston Lacy\" Juan Bautista Martinez del Mazo, c. 1660\u003cbr/\u003e6. Close-up of portrait of Diego Velazquez within \"Las Meninas de Kingston Lacy\" Juan Bautista Martinez del Mazo, c. 1660\u003cbr/\u003e7. Close-up of detail \"Las Meninas de Kingston Lacy\" Juan Bautista Martinez del Mazo, c. 1660\u003cbr/\u003e8. Wide of women looking at \"Las Meninas de Kingston Lacy\" Juan Bautista Martinez del Mazo, c. 1660\u003cbr/\u003e9. SOUNDBITE: (Spanish) Javier Portus, Head conservationist of Spanish paintings until 1700, Prado Museum:\u003cbr/\u003e\"One of the things that I think is interesting about the exhibition is that we have created the right sort of frame so that the visitor can reach an opinion on who is the author of certain works whose artist has been in doubt and has been debated. One of these works is the copy of the \"Las Meninas\" of Martinez de Mazo which is now in Kingston Lacy (a country estate in Dorset, England). A work that left Spain over 200 years ago attributed to Velazquez, but has not been seen since in Spain.\"\u003cbr/\u003e10. Close-up of detail \"Las Meninas de Kingston Lacy\" Juan Bautista Martinez del Mazo, c. 1660\u003cbr/\u003e11. Wide of \"Mariana de Austria\" Diego Velazquez, c. 1653-1656\u003cbr/\u003e12. Close-up of detail \"Mariana de Austria\" Diego Velazquez, c. 1653-1656\u003cbr/\u003e13. Close-up of dog in \"Mariana de Austria\" Diego Velazquez, c. 1653-1656\u003cbr/\u003e14. Close-up of dog's face in \"Mariana de Austria\" Diego Velazquez, c. 1653-1656\u003cbr/\u003e15. Tilt up of \"Carlos II in the mirror room,\" Juan Carreno de Miranda c.1675\u003cbr/\u003e16. Close-up of detail \"Carlos II in the mirror room,\" Juan Carreno de Miranda c.1675\u003cbr/\u003e17. Wide of \"Carlos II in the mirror room,\" Juan Carreno de Miranda c.1675\u003cbr/\u003e18. SOUNDBITE: (Spanish) Francisco Calvo Serrallar, Art Critic for El Pais, daily Spanish newspaper:\u003cbr/\u003e\"Any exhibition on the work of Velazquez is important for many reasons, because he only has a few works in total. The Prado, logically has the main number of works, but there are things missing which are outside (Spain). And in this intimate vision of the family of the King, I think that it is the first time that there is an exhibition on this theme and with so many numbers of works that have not been brought together I think ever before.\"\u003cbr/\u003e19. Mid of \"Felipe Prospero\" Diego Velazquez, c.1659\u003cbr/\u003e20. Close-up of dog in \"Felipe Prospero\" Diego Velazquez, c.1659\u003cbr/\u003e21. SOUNDBITE: (Spanish) Francisco Calvo Serrallar, Art Critic for El Pais, daily Spanish newspaper:\u003cbr/\u003e\"This is an event of international importance, it is difficult to put together something like this anywhere in the world of this level and depth. It is not particularly big, but the exhibitions don't have to be measured by the fact that they have 200 works. There are a number of Velazquez's (works) brought together here of top quality, which are not usually seen together and there is also an attempt to solve the debate (on the works of) Velazquez or his son-in-law Martinez del Mazo which is very interesting.\"\u003cbr/\u003e22. Close-up of \"Camillo Massimo\" Diego Velazquez, 1650\u003cbr/\u003e23. Mid of \"Camillo Massimo\" Diego Velazquez, 1650\u003cbr/\u003e24. Tilt-up of \"Pope Innocence X\" Diego Velazquez, 1650\u003cbr/\u003e25. Wide of \"Pope Innocence X\" Diego Velazquez, 1650\u003cbr/\u003e26. Wide of people looking at exhibits \u003cbr/\u003e27. Wide of Prado Museum exterior\u003cbr/\u003e28. Mid of giant poster advertising Velazquez exhibition\u003cbr/\u003e29. Close-up of giant poster advertising Velazquez exhibition\u003cbr/\u003e30. Mid of visitors by museum entrance\u003cbr/\u003eAn exhibition exploring the court paintings of Golden Age artist Diego Velazquez is about to open to the public.\u003cbr/\u003eThe Spanish painter died in 1660, but his influence continued in his studio through works by his own relatives. \u003cbr/\u003e\"Velazquez and the family of Felipe IV (1650-1680)\" is an important new exhibition at Madrid's Prado Museum.\u003cbr/\u003eA total of 29 works by Spanish painter Diego Velazquez, his son-in-law Juan Bautista Martinez de Mazo and painter Juan Carreno are on show here. \u003cbr/\u003eThe exhibition analyses Velazquez for the first time as a portrait painter during the last 11 years of his service to King Felipe IV.\u003cbr/\u003eIt also looks at the Seville born maestro's legacy and how his work and style continued after his death through works from his own studio by relatives. \u003cbr/\u003e\"In the exhibit (the visitor) will find the story of court portrait painting from 1650 to 1680. This is a very particular moment in the development of portrait painting, but also a very particular moment for our history,\" says Javier Portus, head conservationist of Spanish paintings until 1700 at Prado Museum.\u003cbr/\u003e\"What the visitor will see are the last 11 years of Velazquez as a portrait painter and the continuation of this by his son in law Martinez del Mazo and Juan Carreno de Miranda.\"\u003cbr/\u003eMany of the works on show at the Prado are portraits taken in the court of Felipe IV at the time Velazquez was creating his famous masterpiece \"Las Meninas.\"\u003cbr/\u003eA copy of \"Las Meninas\" which had been attributed to Velazquez and is now thought to be the work of Juan Bautista Martinez del Mazo is being displayed here in Spain for the first time in 200 years.\u003cbr/\u003eThe work is owned by the UK�s National Trust and has been on display at a country estate in south west England called Kingston Lacy.\u003cbr/\u003eThe change in attribution has been controversial as many experts who believe that the Kingston Lacy Meninas is in fact a \"modeletto\" or trail version of Las Meninas, but by the hand of Velazquez. \u003cbr/\u003e\"One of the things that I think is interesting about the exhibition is that we have created the right sort of frame so that the visitor can reach an opinion on who is the author of certain works whose creator has been in doubt and has been debated,\" says Portus.\u003cbr/\u003e\"One of these works is the copy of the \"Las Meninas\" of Martinez de Mazo which is now in Kingston Lacy. A work that left Spain over 200 years ago attributed to Velazquez, but has not been seen since in Spain.\" \u003cbr/\u003eVelazquez became Felipe IV's court painter in 1623 when he was just 24-years-old, he then continued in the role till his death in 1660 aged 61.\u003cbr/\u003eThe need for a constant flow of images of visitors to the court of Felipe IV meant that Velazquez had to create his own studio to keep up with the orders from the King and Queen Mariana de Austria. \u003cbr/\u003eIt was the Marriage of Mariana to Felipe IV that obliged Velazquez to return to Spain, putting an end to his time in Rome. \u003cbr/\u003eIt is at the time of this return to the austere court of Felipe IV from where the exhibition timeline begins - approximately 1651.\u003cbr/\u003eThe exhibition shows how Velazquez's protegees Martinez de Mazo and Carreno tried to maintain the style of Diego Velazquez. \u003cbr/\u003eAt the time, the authorship of all these works would have been attributed to Velazquez, but scholars now can distinguish the slight nuances between the three artists. \u003cbr/\u003eMuseums from across the globe have contributed works to the exhibition including Kunsthistorisches Museum in Vienna, London's National Gallery and The Louvre in Paris. \u003cbr/\u003eThe portrait of Pope Innocence X, for example, comes from the Wellington Museum, London, this is the first time it has been seen in Spain. \u003cbr/\u003e\"Any exhibition on the work of Velazquez is important for many reasons, because he only has a few works in total. The Prado, logically has the main number of works, but there are things missing which are outside (Spain). And in this intimate vision of the family of the King, I think that it is the first time that there is an exhibition on this theme and with so many numbers of works that have not been brought together I think never before,\" says Francisco Calvo Serrallar, Art Critic from Spanish daily El Pais.\u003cbr/\u003e\"There is also an attempt to solve the debate (on the works of) Velazquez or his son-in-law Martinez del Mazo which is very interesting,\" he adds.\u003cbr/\u003eThe exhibition runs until February 2014.\u003cbr/\u003eClients are reminded: \u003cbr/\u003e(i) to check the terms of their licence agreements for use of content outside news programming and that further advice and assistance can be obtained from the AP Archive on: Tel +44 (0) 20 7482 7482 Email: info@aparchive.com. \u003cbr/\u003e(ii) they should check with the applicable collecting society in their Territory regarding the clearance of any sound recording or performance included within the AP Television News service 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