Gisele Yamamoto

10.4.2024
Spanish Art and Architecture

Las Meninas
An analysis of the representations of an iconic painting by Diego Velazquez and Pablo Picasso

Las Meninas Variation No. 1

Pablo Picasso

1957

Las Meninas

Diego Velazquez

1656
Introduction

“Las Meninas” by Diego Velazquez and the series of reinterpretations by Pablo Picasso

are iconic representations of Spanish art, spanning centuries and showcasing the evolution of

artistic styles and techniques. Despite being created over three centuries apart, both works

captivate audiences with their unique perspectives, complex compositions, and profound

reflections on art, perception, and representation.

In 1656, Velazquez finished the original painting, titled “La Familia de Felipe IV” before

being renamed "Las Meninas" in1843 (Stanska) As an artist for the royal Habsburg family,

Velazquez, not only depicted the powerful Spanish empire, but also iconographic items taken

from the Americas, such as silver, cocoa, and fabrics. This painting represents the dedication of

Velazquez to the imperial court while also immortalizing the painter.

Three centuries later, in 1957, Pablo Picasso painted a series of 58 works titled “Las

Meninas," which were inspired by the work of Velazquez. However, as an artist of the Cubism

period, Picasso’s paintings appear dramatically different, using geometric shapes and harsh lines

to "paint forms as [he thought] them, not as [he saw] them" (Jones). This interpretation of art led

Picasso to distort faces, bodies, and objects alike to incorporate the passage of time in Variation

No. 1 of "Las Meninas."

“Las Meninas” by both artists takes place in the chambers of the Spanish royal court. The

paintings depict a scene where the Infanta Margarita Teresa is attended by her ladies-in-waiting,

while Velazquez stands at his easel, seemingly painting the scene. The composition is rich with

layers of depth. For example, in the foreground is a dog and Velazquez’s easel. Additionally, we

have Infanta Margarita, two of her ladies-in-waiting, and two other members of the court. In the

middle ground, we see Velazquez, a nun, and a man. Finally, in the background, we see a mirror
reflecting the King and Queen and an open door with a different man. This essay will describe

the differences and similarities between these two paintings, focusing on composition, light,

color, volume, and depth, ultimately using these concepts to analyze each painting in its unique

historical context.

Composition

While the compositions of both paintings are similar, the size of different objects and

figures varies. Velazquez, as a product of his time, sought to accurately depict each figure

compared to one another. This idea is demonstrated in the realistic sizes of each figure and the

objects in the room. However, in the version by Picasso, the scale of various figures is skewed.

For example, the image of Velazquez is significantly larger, with the body of the painter

extending from the top to the bottom of the canvas. He also seems to be on the same visual plane

as La Infanta; his spacing, in conjunction with his size, which monopolizes the painting, could

indicate his greater importance. One could interpret this as Picasso’s criticism of Velazquez

inserting himself into a royal painting and his general alliance with the monarchy.

Additionally, Picasso uses levels of detail to create a hierarchy of importance within the

painting. Velazquez, who used movement to determine detail and a hierarchy of visual

importance, depicted figures such as La Infanta, her ladies-in-waiting, and himself more clearly

as if they were standing perfectly still, while blurring the court dwarfs and the two figures behind

La Infanta, indicating they were in movement. However, Picasso chooses to vary the levels of

detail to indicate the importance of a given figure. For example, Velazquez is depicted with the

most detail with complex geometric shapes comprising his face and body, while La Infanta and

her two ladies-in-waiting are depicted with less complexity. Finally, the two dwarves, the two
figures behind La Infanta, and the dog in the foreground are depicted with minimal detail and

appear almost unfinished.

Light

In both versions of “Las Meninas,” the use of light is incredibly important. Firstly, in

Velazquez’s painting, the use of light is more indirect, with the window in the foreground not

being fully shown but rather the natural light illuminating La Infanta Margarita. This light

centralizes La Infanta and her two ladies-in-waiting while casting a shadow on the other figures

in the painting. Additionally, the second window in the background casts a slight light on the

mirror, reflecting King Philip IV and the queen, hanging on the back wall. Finally, a tertiary light

source comes from the open door in the background, which creates backlighting on the man in

the doorway, obscuring his figure slightly but not completely.

In “Las Meninas” by Picasso, the light and its subsequent sources are much clearer.

Rather than imply the existence of windows, Picasso includes them as two-dimensional figures

on the canvas. Additionally, the direction of the light coming from the window is depicted as

stark white blocks on the canvas, with the subsequent shadows depicted with harsh lines of

contrast. Most jarringly, the light emanating from the door in the background is much more

prevalent in this rendition of “Las Meninas.” The light casts a shadow across the man in the

background, creating a silhouette of a man rather than an image of one. Additionally, if the

viewer follows the light, it illuminates the object in the right hand of La Infanta, possibly

indicating its significance.

Color

Although the colors in Velazquez’s painting are muted, they serve a significant purpose

in representing the wealth and global reach of the Habsburg dynasty. For example, although the
fabrics of the dress of La Infanta are essentially white and black, the different tones indicate an

elaborate stitched design. Additionally, the red curtains reflected in the mirror are most likely red

velvet curtains, which were very expensive and often used in paintings to demonstrate wealth

(Artuso). Finally, the red cross on the chest of Velazquez is symbolic of his membership in the

Order of the Knights, a status unknown to many painters of the time. While muted, the colors in

“Las Meninas” are crucial in signifying wealth and status.

On the other hand, Picasso’s painting only contains black and white tones. While this

eliminates color symbolism, Picasso uses different tones of black and white to create depth and

dimension. For example, different tones of black and white indicate different parts of the dresses

worn by the ladies-in-waiting.

Depth and Volume

While the depth of the two paintings is relatively similar, the volume varies dramatically.

In Velazquez’s painting, the room appears large, with high ceilings and small figures. Although

the canvas on which the artist is painting seems to extend to the ceiling, the figures themselves

only reach the midline of the painting. Additionally, since all but one of the figures is in the fore

and middle ground, it appears as if a large space exists between those figures and the door on the

back wall, creating an illusion of unknown space.

However, when analyzing Picasso’s painting, the illusion of volume and depth are

skewed. Specifically, the room appears to be much shorter than in the original due to the

elongated height of Velazquez’s body. Additionally, the increased size of the man on the back

wall decreases the implied space between him and the other figures. The size of the figures in

relation to other objects in the room disorients the viewer’s perception of depth and volume

within the painting.

Analysis

When analyzing these two works, while wildly different, it is crucial to consider the

unique historical contexts in which each artist was working. For example, as a painter for the

royal court of King Philip IV, it was the duty of Velazquez to paint the royal family, including

La Infanta Margarita. This painting intricately uses space to construct a sense of depth and

dimensionality. For example, Velazquez positions the viewer as if they are standing in the same

space as the figures within the painting, blurring the lines between reality and representation. The

use of mirrors in the background reflects not only the figures in the room but also the unseen

presence of the heads of the state, further demonstrating the omnipresent nature of the monarchy.

On the other hand, Picasso used “Las Meninas” to criticize the dictatorship of Francisco

Franco. Franco, the dictator of Spain from 1939 to 1975, upheld a regime that sought to emulate

the Golden Age of Spain and to bring Spain back to the absolutism that existed during the

Habsburg dynasty. Picasso’s reinterpretations of “Las Meninas” in 1957 are not mere copies or

imitations but rather radical reinterpretations that explore themes of perception, identity, and

artistic authority. By breaking down the traditional hierarchy of composition and distorting the

figures, Picasso challenges the viewer to reconsider their assumptions about the nature of

representation and the role of the artist. In conclusion, both paintings offer varying

interpretations of the structures of power that existed in Spain in their respective times. However,

the use of different elements of the painting, be it composition, color, light, depth, or volume, is

essential in creating meaning in the elaborate works of Velazquez and Picasso. Without carefully

considering those aspects, it would be impossible to understand either painting.

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