El contexto e influencia socio-musical en la obra de Velázquez

Abstract

Diego Rodríguez de Silva y Velázquez (1599-1660) fue un pintor barroco español considerado uno de los máximos exponentes de la pintura española y maestro de la pintura universal. Su catálogo consta aproximadamente de 130 obras caracterizadas por su versatilidad, en las que abordó una amplia gama de temas, destacando la capacidad para capturar la esencia de sus personajes y su genialidad para realizar retratos. Habiéndose formado desde una edad muy temprana en al taller de su suegro, Francisco Pacheco (1564-1644), figura muy vinculada a los escenarios eclesiásticos e intelectuales de Sevilla, es probable que Velázquez hubiese contactado desde temprana edad con músicos destacados y ambientes musicales de diversa índole. A pesar de ello, la impronta de temas musicales que Velázquez ha trasladado a sus cuadros destaca por la escasez de obras destinadas a ensalzar la música popular, profana o religiosa. Por ello, a lo largo de este artículo se va a proceder al seguimiento de las distintas etapas y ambientes pictóricos de Velázquez para dilucidar qué música percibió y lo acompañó durante toda su vida

Diego Rodríguez de Silva y Velázquez was a Spanish Baroque painter considered one of the greatest exponents of Spanish painting and a master of universal painting. His catalogue consists of approximately 130 works characterised by his versatility in which he tackled a wide range of themes in his works, highlighting his ability to capture the essence of his characters and especially his genius for masterful portraits. Having trained from a very early age in the workshop of Francisco Pacheco, who was linked to the ecclesiastical and intellectual scenes of Seville, it is likely that Velázquez would have been in contact with prominent musicians and musical circles of various kinds from an early age. Despite this, Velázquez's imprint of musical themes in his paintings is notable for the scarcity of works intended to praise either popular, secular or religious music. Therefore, throughout this article we will proceed to follow the different stages and pictorial environments of Velázquez to elucidate what music he perceived and accompanied him throughout his life.