![\"Velasquez,](\"http:\/\/www.treeshark.com\/NewBlogPosts\/NewHistory\/Pope\/ItalyL.jpg\")
<\/a><\/p>\nA few details, painted about 1650 and 141in by 119in. The Pope was apparently suspicious of painters in general and Velasquez in particular and reluctant to be painted. He got Velasquez to paint his barber first to check him out. I suspect he was mainly concerned how any picture might reflect on his perception by others. In the event the picture was kept private by the subject in his own lifetime. There are two other versions that are probably studies. We don\u2019t know but presumably these were done from life. There is an amazing consistency between all three in the likeness. Here are the other two:<\/p>\n
This one is just a head study and is in the Washington Met.<\/p>\n This is a head and shoulders and is in Apsley House in London<\/p>\n Though the studies are wonderful they don\u2019t have quite the impact of the Rome picture. This is perhaps because of Velasquez brilliant structuring of the larger picture. Side to side the figure only just fits, indeed the paper held by the Pontif which holds the artist\u2019s signature is cropped by the frame. The gilt work frame of the chair is broken by the Innocent\u2019s head which both places the head in 3d space and anchors it in two dimensions. The background is an indeterminate russet then the chair fabric is a tad redder and then finally the Pope\u2019s vestments a brighter red still. This progression pushes the figure towards us. All three reds are much the same in general hue which in turn gives harmony and subtlety.<\/p>\n The white of the rest of the vestments is where I feel Velasquez has had to work hard, I suspect they got painted and repainted a fair few times. The brief crisp shadow of the red papal fanon on the white makes the pope\u2019s upper torso appear the float. The clever shadow of the right hand and the arm of the chair fixes the casually posed\u00a0hand in space. There is the merest hint of lace to suggest opulence but not excess.<\/p>\n The hands describe a man who is relaxed. We cannot somehow imagine them fidgeting. They rest imperturbably on the fore-square arms of the gilded but rather severely formed chair.<\/p>\n So to the head. Innocent was a lawyer and had been a representative abroad to both France and Spain for previous pontiffs. Here is a face that has seen much and would be hard to surprise. Worldly, he had a mistress, but not prone to any excesses although occasionally cruel and capricious he was a politician through and through. \u00a0He\u00a0was not I suspect much of an art fan. Although Bernini was closely associated with Innocent\u2019s enemies the Barberini he was left in charge of the works in St Peters and did a fine bust of Innocent. So although\u00a0reportedly paranoid and suspicious, a calculating, worldly and pragmatic man. Velasquez catches this by having the head held forward little, not tense but wary. The eyes consider us with, if we can believe the mouth, a wry edge of amusement.<\/p>\n There is tremendous control of the edges. The hat is sharp and cuts across the forehead except as it approaches the ear where it is softened by hair. To the right of the brow there is a darkening of the gilt of the chair to pull the head forward. The line of the cheek is softened and wonderfully subtle. The shape\u00a0of the chin is hidden by the Pope\u2019s wispy beard. The collar cuts the neck sharply tone wise but the drawing indicates it is softly turned. The ear is strongly lit and describes the very slight turn of the head towards us. Velasquez has arranged it so the the eyes are turned further still which gives animation to the\u00a0 square on pose of the body.<\/p>\n The features in themselves are ordinary, the fleshy nose the wispy beard, Velasquez has made no attempt to flatter. There is no real record of the Pope\u2019s reaction to the painting, though rumour has it he commented, \u201cIt is all too true.\u201d In any case the picture was hung in his family home where it still is today.<\/p>\n Finally a detail of the Washington study.<\/p>\n Many layers of refinement are visible but the whole remains fresh. He decides what should be clear and what obscure what marks of making should appear and which blended.<\/p>\n For the sake of interest here is Bernini\u2019s bust of Innocent.<\/p>\n He is given a more youthful air, Bernini hopes to flatter I suspect. This bust also stayed in the Palazzo and was not for public consumption.<\/p>\n Another by Alessandro Algardi who was Innocent\u2019s favoured artist:<\/p>\n This image was I suspect more how Innocent preferred to imagine himself, more in the mode of an apostle weighed down by his office.<\/p>\n Algardi also got to do the official sculpture:<\/p>\n Now this one was definitely for public consumption!<\/p>\n<\/a><\/p>\n<\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\nShare this:<\/h3>