This is a composition of enormous representational impact. The Infanta Margarita stands proudly. Although she is the smallest, she is clearly the central figure; one of the maids is kneeling
her, and the other leaning towards her, so that the standing Infanta, with her broad hooped skirt, becomes the fulcrum of the movement. The dwarf, Maribarbola, is about the same size as the Infanta;
comparison Margarita seems very delicate.
the left
the painting, dark and calm, the painter can be seen standing
a vast canvas - it is one of the best self-portraits of Velázquez.
the head of the Infanta, the ruling couple is reflected
the mirror, possibly sitting for the painting Velázquez is creating in Las Meninas. A courtier and chamberlain to the queen, José Nieto de Velázquez, stands
the doorway
the back of the room.[3]
The point of view of the picture is
least approximately that of the royal couple. The spatial structure and positioning of the figures is such that the group of maids
the Infanta appears to be standing
"our" side, opposite Philip and his wife. Not only is the "performance" for their benefit, but the attention of the painter is also concentrated on them, for he appears to be working
their portrait. Although they can only be seen
the mirror reflection, the distant images of the king and queen occupy a central position, both in terms of composition and content.
As spectators, our position
relation to the painting is uncertain. Are we excluded from the scene, with the ruling couple in our place? In this interpretation, the painting is completely hermetic, a hermeticism further intensified
the fact that the painting in front of Velázquez is completely hidden from our view. Or are we standing
the royal couple, to the real king's (not the reflected one's) right? This would explain the spectator's not appearing in the mirror at the back, but also raises the possibility that the spectator is intimate, at least spatially, with royalty. In 17th century Spain, this would have been a provocative suggestion. The fact that three of the figures - Velázquez, the Infanta and the dwarf - appear to be looking directly
the spectator rather than to our left where, presumably, the royal couple is standing, lends weight
this interpretation.
In recent years attempts have been made to view the composition in allegorical terms, based
the portraits and mythological pictures occupying the background wall. Yet it seems most valid to accept
face value, in Michel Foucault's words, "the working painter
all his objective realism".
The painting has three focal points: the luminous Infanta Margarita, the self-portrait by Velázquez, and the half-length reflected images of King Philip IV and Queen Mariana.
them may be discerned contrasts between the child's charm and her regal bearing, the disparity between the artifice of painting and the nature of reality, and the distance between the ethereal images of a king and queen and their dispirited court.[4]
X-rays have shown that Velázquez made minor alterations in the figures as he worked;
first his head inclined to his right, rather than his left.[5] The painting
which the artist is working is not shown, and has thus invited speculation that he represented himself painting, variously, the Infanta Margarita, Las Meninas itself, or a portrait
the King and Queen. None of these theories is conclusive.[6]
(Text taken from Wikipedia)
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