Las Meninas
1656 · El Prado, Madrid
The Infanta and her maids fill the room, but Velázquez has put himself at his easel and the king and queen in a mirror behind.
★ 9.8
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1650s
1650 – 1659
Showing 10 artworks from the 1650s
Ecstasy of Saint Teresa
1652 · Church of Santa Maria della Vittoria, Rome
Bernini staged the saint's own account of her vision as theater, lit from a window he hid above and watched by marble spectators in boxes.
★ 9.4
Portrait of Pope Innocent X
1650 · Galleria Doria Pamphilj, Rome
Velázquez caught every wary line in the pope's face, and Innocent reportedly said it was troppo vero, too true. Francis Bacon reworked it for years.
★ 8.8
Portrait of Juan de Pareja
1650 · Metropolitan Museum of Art, New York City
Pareja was Velázquez's enslaved assistant, freed soon after this was painted in Rome as a warm-up before the pope sat for him.
★ 7.8
Self-Portrait (Rembrandt, 1658)
1658 · The Frick Collection, New York City
Rembrandt painted himself enthroned like a monarch, staff across his lap, in the same year bankruptcy took his house and everything in it.
★ 7.5
The Polish Rider
1655 · The Frick Collection, New York City
A young horseman rides into the dusk armed and alert, and nobody has ever agreed who he is or where he is going.
★ 7.5
The Newborn Child
1650 · Musee des Beaux-Arts de Rennes, Rennes
No halo, no manger, just a candle shielded by a hand and a swaddled baby, and it still reads as a nativity.
★ 7.4
Self-Portrait (Poussin)
1650 · Private collection
Poussin stands in front of his own blank stretched canvases with a portfolio under his arm, presenting himself as a thinker rather than a craftsman.
★ 6.5
Young Woman Sleeping
1654 · British Museum, London
A few sweeps of brush and brown ink, most of the paper left bare, and the whole weight of a sleeping head is there.
★ 5.2
The Sermon on the Mount (Lorrain)
1656 · The Frick Collection, New York City
Christ preaches from a hilltop and is almost too small to find. Claude was really painting the hills, the water and the distance.
★ 5.2