With Disturbing Details (Bridesmaids Chart)
The hero of our content is Diego Velázquez, who worked as a chief painter in the Spanish court in the 17th century.
After the works in which he portrayed the ordinary lives of ordinary people, the competition he attended brought him to the king’s bedside. Of course, this chance did not backfire, he painted dozens of paintings for the king. Among these paintings was his magnum opus, his masterpiece, Las Meninas. If we speak in Turkish, it was Bridesmaids, the title of this work and it had details that would make people tingle in the minds.
Let’s take a look at this table first.
An artist, possibly Velázquez, has taken a step back from his canvas and is looking straight ahead. He has a model where he is looking, but where is everyone else looking? Or if it is against the model, what does this table say? Let’s go on a journey in this work that left its mark on art history.
As people who look at the painting, we are in the place of those who are pictured. Take a close look at the mirror right behind you.
The people reflected in the mirror are models for Velázquez for the portraits of the king and queen of Spain. In other words, the subject of this painting is the royal family in Velázquez’s studio.
When we look at the canvas on the left in the original dimensions of the painting, we can think that Velázquez actually took a step back, perhaps to put the finishing touches, soon he will take a few steps and disappear behind the canvas.
Velázquez, who also represents himself, cannot actually see the painting he is painting because he is looking directly at us.
In other words, while we are looking at the painting, the painter is staring at us, because he is painting us. So, are we really those two people reflected in the mirror? If we answer no to this question, assuming that you are not from the Spanish royal family, the redundancy in this table is actually us as the viewers. We’re looking where we shouldn’t be looking.
This work has 3 separate focuses, the first is Velázquez, who made the drawing, the second focus is the royal family in the mirror, and the third is their daughter Margarita.
The respect he sees as a character symbolizing elegance in the work is obvious. In addition, these three focuses are not only related to the way we are interpreted, but the plays of light also show that the focus is more than one.
How Does? Let me tell.
The light from the right left a shadow on everyone’s faces except the ones in focus.
Margarita looks us in the eye with all the light, free from this shadow.
Also, when we see these three foci together, we see that we can feel both inside and outside of this picture at the same time. From the point of view of the king and queen, when we look at a different place while we are inside the painting, we are suddenly outside the painting.
It is precisely these details that placed Bridesmaids at the head of the art history, and they have been interpreted dozens of times. Picasso even painted more than one painting for Bridesmaids in 1957 as a tribute. So much so that all of the characters and details appeared in Picasso’s version.
In one of his speeches, Henri Rousseau said, ‘I am not painting, someone else is holding my hand.’ he said. It is very normal to be confused about the emergence of such mysterious works, while even painters are sometimes surprised!