List of works by Diego Velázquez explained

This is a list of paintings and drawings by the 17th-century Spanish artist Diego Velázquez. Velázquez is estimated to have produced between only 110 and 120 known canvases.[1] Among these paintings, however, are many widely known and influential works.

All paintings are in oil on canvas unless noted.

Seville (until 1622)

Painting Title Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
Three Musicians1617–161887 × 110Staatliche Museen, Berlin1/1
The Lunchc. 1618108.5 × 102Hermitage, Saint Petersburg2/3
La mulatac. 162055 × 118National Gallery of Ireland, DublinThe dates proposed by critics range from 1617 to 1622.3/17
Old Woman Cooking Eggs1618100.5 × 119.5National Gallery of Scotland, EdinburghDated in the lower right corner.5/6
Christ in the House of Martha and Mary 161860 × 103.5National Gallery of LondonDated.6/7
Dos jóvenes a la mesa1622 65.3 × 104Apsley House, London9/24
Saint Thomas1619–162095 × 73Musée des Beaux-Arts d'Orléans, Orléans10/10
Immaculate Conception1619135 × 101.6National Gallery of London11/11
San Juan en Patmos1619135.5 × 102.2National Gallery of London12/12
Adoration of the Magi 1619204 × 126.5Museo del Prado, MadridDated in the stone under the foot of the Virgin.13/13
Saint Paul1619–162099 × 78Museu Nacional d'Art de Catalunya, Barcelona14/14
Cabeza de apóstol162238 × 29Museo del Prado, Madrid 15/15
The Waterseller of Seville1620106.7 × 81Apsley House, London16/16
Don Cristóbal Suárez de Ribera1620207 × 148Museum of Fine Arts of SevilleSigned and dated in a fold of clothing difficult to read.[2] This would be a posthumous portrait, as the sitter died in 1618, although Mayer thought that monogram and date could be apocryphal.[3] 17/19
La venerable madre Jerónima de la Fuente1620162 × 107Museo del Prado, MadridSigned and dated "Diego Velazquez f. 1620". The phylactery around the cross with its inscription, now illegible, was erased in 1944, after entering at the Museum, for having believed apocryphal.[4] 18/20
La venerable madre Jerónima de la Fuente1620162.5 × 105Colección Fernández Araoz, MadridSigned and dated "Diego Velazquez f. 1620". Added at a later date under the hand of others.[5] 19/21
Imposición de la casulla a San Ildefonso1620–1623166 × 120Municipality of SevilleIn poor condition with significant loss of paint.20/22
Retrato de caballero/Francisco Pacheco1620–162240 × 36Museo del Prado, Madrid21/23

Madrid (1622–1629)

Painting Title Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
Portrait of Don Luis de Góngora162250.3 × 40.5Museum of Fine Arts, Boston22/25
Retrato de hombre1623–162455.5 × 38Museo del Prado, MadridAllende-Salazar (1925), Mayer (1936) and Camón Aznar estimate that this could be a self-portrait. López-Rey and Brown think that the subject could be the artist's brother Juan, also a painter.[6] 24/27
Felipe IV1623–162461.6 × 48.2Meadows Museum, DallasBrown believes that this may be a portrait of the king,[7] a hypothesis rejected by López-Rey.[8] 25/28
Retrato de dama162532 × 24Once in the Royal Palace of Madrid. Current whereabouts unknown (stolen from Greenville Art Museum in South Carolina on July 8, 2010)This is a fragment of a larger portrait probably damaged in the fire of Alcazar.[9] 28/31
Cabeza de venado1626–162858 × 44.5Museo del Prado, MadridDating is controversial. Most critics suggest 1635.[10] López-Rey gives 1626, based on 1637 information from a picture of a deer antler painted by Velázquez bearing the inscription "Le mató el Rey nuestro Sr. Phe. quarto el year 1626".[11] A technical study by Carmen Garrido placed the date between 1626 and 1628.[12] 31/33
Cristo contemplado por el alma cristiana1626–1628165 × 206.4National Gallery of London32/35
Felipe IV1623–1628198 × 101.5Museo del Prado, Madrid33/36
Portrait of the Infante Don Carlos1626–1628209 × 12Museo del Prado, Madrid34/37
Portrait of Philip IV in Armourc. 162857 × 44.5Museo del Prado, MadridThis is considered a fragment of a larger work painted in two stages, reforming the dress and adding the red band in the second.[13] 35/38
Demócrito/El geógrafo1628–1629101 × 81Musée des Beaux-Arts de RouenHead and hand repainted around 1640. Radiography shows the left hand formerly contained a drink, as it appears in two copies preserved.[14] 37/40
The Triumph of Bacchus1628–1629165.5 × 227.5Museo del Prado, Madrid38/41
La cena de Emaús1628–1629 123.2 × 132.7Metropolitan Museum of Art, New York CityProposed dates range from 1619 (Lafuente Ferrari) to a time immediately after the first trip to Italy (Marias).[15] 39/42

First trip to Italy (1629–1630)

Painting Title Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
Portrait of Maria Anna163059.5 × 45.5Museo del Prado, Madrid40/48
Joseph's Tunic1630223 × 250El Escorial, San Lorenzo de El Escorial41/43
Apollo in the Forge of Vulcan1630222 × 290Museo del Prado, Madrid42/44
Cabeza de Apolo163036 × 25Private collection, New York CityConsidered a study for Apollo in the Forge of Vulcan.[16] 43/45
El Pabellón de Cleopatra-Ariadna 163044.5 × 38.5Museo del Prado, MadridThe dating of this painting and the next has been controversial. Most critics date it during the second trip to Italy, but technical studies by in the Prado confirm the 1630 date proposed by López-Rey.[17] 44/46
View of the Garden of the Villa Medici 163048.5 × 43Museo del Prado, Madrid45/47

Madrid (1631–1648)

Painting Title Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
A Sybil (Juana Pacheco?) 1630–1631 62 × 50Museo del Prado, Madrid46/49
Retrato de hombre joven1630–163189.2 × 69.5Alte Pinakothek, MunichAppears unfinished, with the hands just sketched, although López-Rey suggests that Velázquez may have intended this as a finished work, highlighting the essential features of the portrait.[18] 47/50
Temptation of St. Thomas1631–1632244 × 203Museum of the Orihuela Cathedral, Orihuela48/130
Prince Balthasar Charles With a Dwarf1631128.1 × 102Museum of Fine Arts, Boston49/51
Philip IV in Brown and Silver1631–1632199.5 × 113National Gallery of London50/52
Isabel de Borbón1631–1632207 × 119Private collection, New York City51/53
Don Diego del Corral y Arellano1631–1632205 × 116Museo del Prado, Madrid52/55
Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis1631–1632205 × 115Museo del Prado, MadridBrown suggestions that a contemporary workshop was involved in the painting of lady's costume and the figure of the child; changes once thought to be later additions, but denied by radiography.[19] [20] 53/54
Mano de hombre163027 × 24Unknown; previously Royal Palace of Madrid54/56
Don Pedro de Barberana y Aparregui 1631–1632198.2 × 111.8Kimbell Art Museum, Fort Worth, Texas55/57
Don Juan Mateos1632108 × 90Dresden Gallery, DresdenThe hands are only outlined, but with a touch of white light which suggests that Velázquez considered the work finished in that state.56/58
Christ Crucified 1632250 × 170Museo del Prado, Madrid57/59
Retrato del príncipe Baltasar Carlos1632117.8 × 95.9Wallace Collection, London58/60
Felipe IV1632127.5 × 86.5Kunsthistorisches Museum, ViennaGenerally considered the work of Velázquez and his workshop.[21] For López-Rey only the head and some small details could be considered by Velazquez.[22] 59/61
Isabel de Borbón1632132 × 101.5Kunsthistorisches Museum, Vienna60/62
The Jester Named Don John of Austria 1632–1633210 × 124.5Museo del Prado, Madrid61/65
Equestrian Portrait of the Count-Duke of Olivares1634314 × 240Museo del Prado, Madrid62/66
White Horse1634–1638310 × 245Royal Collections Gallery, Madrid63/67
Equestrian Portrait of Philip III1634–1635305 × 320Museo del Prado, Madrid64/68
Equestrian Portrait of Margarita of Austria1634–1635302 × 311.5Museo del Prado, MadridVelazquez and workshop.65/69
Equestrian Portrait of Elisabeth of France1634–1635304.5 × 317.5Museo del Prado, MadridVelazquez and workshop.[23] 66/70
Equestrian Portrait of Philip IV1634–1635305.5 × 317.5Museo del Prado, Madrid67/71
Equestrian Portrait of Prince Balthasar Charles1634–1635209.5 × 174Museo del Prado, Madrid68/72
The Surrender of Breda1634–1635307.5 × 370.5Museo del Prado, Madrid69/73
Portrait of Juan Martínez Montañés1635–1636110.5 × 87.5Museo del Prado, Madrid70/76
Felipe IV cazador1632–1633189 × 124.5Museo del Prado, Madrid71/63
El cardenal infante don Fernando de Austria cazador1632–1633191.5 × 108Museo del Prado, Madrid72/64
Prince Balthasar Charles as a Hunter 1635–1636191 × 102Museo del Prado, Madrid73/77
El príncipe Baltasar Carlos en el picadero (Prince Baltasar Carlos in the Riding School)1636144 × 96.5Duke of Westminster Collection, London74/78
The Lady with a Fan 163595 × 70Wallace Collection, London75/79
The Needlewoman 1635–164374 × 60National Gallery of Art, Washington D.C.Unfinished and of uncertain date.77/81
Portrait of Pablo de Valladolid 1636–1637213.5 × 125Museo del Prado, Madrid78/82
The Jester Calabacillas1637–1639105.5 × 82.5Museo del Prado, Madrid79/83
The Jester Barbarroja1637–1640200 × 121.5Museo del Prado, Madrid80/84
San Antonio Abad y san Pablo ermityear1635–1638261 × 192Museo del Prado, Madrid81/85
Portrait of the Count-Duke of Olivares163867 × 54Hermitage Museum, Saint Petersburg82/87
Francesco I d’Este163868 × 51Galleria Estense, Modena84/89
El príncipe Baltasar Carlos 1639128.5 × 99Kunsthistorisches Museum, ViennaVelázquez and workshop.[24] 86/90
Retrato de hombre1635–164576 × 64.8Apsley House, London87/91
Aesop 1639–1641179.5 × 94Museo del Prado, MadridInscription at top right: "AESOPVS".88/92
Menipo 1639–1641178.5 × 93.5Museo del Prado, MadridInscription at top left: "MOENIPVS".89/93
Mars Resting 1639–1641181 × 99Museo del Prado, Madrid90/94
Self-Portrait1640 45.8 × 38Museu de Belles Arts de València91/96
Retrato de niña164051.5 × 41Hispanic Society of America, New York CityUnfinished according to López-Rey, highlighting the vigorous brushstrokes in the garment,[25] and "one of the most captivating female portraits by Velazquez," according to Brown.[26] 92/97
Portrait of Francisco Lezcano 1643–1645107.5 × 83.5Museo del Prado, Madrid93/99
Portrait of Philip IV in Fraga 1644129.8 × 99.4Frick Collection, New York City94/100
The Jester Don Diego de Acedo 1645106 × 82.5Museo del Prado, Madrid96/102
Portrait of Sebastián de Morra 1645106 × 81.5Museo del Prado, Madrid97/103
Coronation of the Virgin 1645178.5 × 134.5Museo del Prado, Madrid98/105
Rokeby Venus 122.5 × 177National Gallery of London100/106
Female Figure 1644-164864 × 58Meadows Museum, Dallas101/108
La infanta María Teresa 164848 × 37Metropolitan Museum of Art, New York City102/109
Un caballero de la Orden de Santiago 1645–165067 × 56Gemäldegalerie Alte Meister, Dresden103/110

Second trip to Italy (1649–1651)

Painting Title Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
Portrait of Juan de Pareja 1649–165081.3 × 69.9Metropolitan Museum of Art, New York City104/112
Ferdinando Brandani 165050.5 × 47Museo del Prado, Madrid105/113
Portrait of Innocent X 1650140 × 120Doria Pamphilj Gallery, RomeSignature on the role held by the pope: "Alla santa di Nro Sigre / Innocencio Xº / Per / Diego de Silva / Velázquez dela Ca / mera di S. Mte Cattca"106/114
Innocent X 165082 × 71.5Apsley House, London107/115
Camillo Massimi 165073.6 × 58.5Kingston Lacy, Dorset108/116
El cardenal Astalli1650–165161 × 48.5Hispanic Society of America, New York City109/117

Madrid (1651–1660)

Painting Title Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
María Teresa, infanta de España 1651–165234.3 × 40Metropolitan Museum of Art, New York CityThe work has been cut.[27] Critics have unanimously considered it by Velázquez. Brown (1986) believes that it could be a study used as a model for later portraits.[28] 110/118
Portrait of the Infanta Maria Theresa of Spain1651–1653127 × 98.5Kunsthistorisches Museum, Vienna111/119
Felipe IV1653–165569 × 56 Museo del Prado, Madrid112/120
Portrait of Mariana of Austria1652–1653234 × 131.5Museo del Prado, MadridPainted on a portrait of the king, perhaps only sketched. López-Rey said, confirmed in the technical study conducted at the Museo del Prado, that the top of the curtain was painted by another hand on a piece of fabric added to the original composition, in order to match the canvas with Philip IV with a lion, the Museo del Prado, the work of the workshop.[29] [30] 113/121
La infanta Margarita1653128.5 × 100Kunsthistorisches Museum, Vienna114/122
La infanta Margarita 1656105 × 88Kunsthistorisches Museum, Vienna115/123
Las Meninas1656–1657318 × 276 Museo del Prado, Madrid116/124
Las Hilanderas or The Fable of Arachnec. 1657167 × 252 Museo del Prado, MadridThe addition of a new section to the upper portion of the canvas was probably the result of repair after the fire at the Alcázar in 1734.117/107
La reina Mariana de Austria1655–165646.5 × 43 Meadows Museum, DallasProbably an unfinished study.[31] 118/125
Mercurio y Argos1659128 × 250 Museo del Prado, MadridPainted for the Hall of Mirrors in the Alcazar with three other paintings of mythological subjects missing in the fire of 1734.120/127
Infanta Margarita Teresa in a Blue Dress 1659127 × 107Kunsthistorisches Museum, Vienna121/128
Portrait of Prince Philip Prospero1659128.5 × 99.5Kunsthistorisches Museum, Vienna122/129

Paintings of debated attribution

Painting Title Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-Rey
Education of the Virgin1617-1618Yale University Art Gallery, New HavenThought to have been given to Yale in 1925, the painting has previously been attributed to the 17th-century Spanish school. Some scholars are prepared to attribute the painting to Velázquez, though the Prado Museum in Madrid is reserving judgment. The work will be restored by conservators at Yale.[32] [33]
La mulata1620 55 × 104.5Art Institute of Chicago, ChicagoBrown and others cannot rule out the work of a copyist.[34] 4/18
Cabeza de hombre joven de perfil1618–161939.5 × 35.8Hermitage Museum, Saint Petersburg7/8
The Farmers' Lunch1618–161996 × 112Museum of Fine Arts, Budapest8/9
La Immaculada1618–1620142 × 98.5Centro de Investigación Diego Velázquez, Fundación Focus-Abengoa SevillaPresented in Paris in 1990 as the work of Velazquez's circle. Sotheby's auction in London (1994) with attribution to Velazquez relying on the favorable opinion of José López-Rey and Jonathan Brown.[35] [36] This is rejected by Alfonso E. Perez Sanchez, who assigns it to Alonso Cano.[37]
Las lágrimas de San Pedro1618–1619132 × 98.5Colección Villar-Mir, Madrid
San Juan Bautista en el desierto1620175.3 × 152.5Art Institute of Chicago
Retrato de un clérigo1622–162366.5 × 51Colección Payá, MadridInscription "AETATIS SVAE. 40-". Presented by Mayer in 1936, López-Rey admits as Velázquez, noting its poor condition, and thinks that the portrait could be of Francisco de Rioja.[38] For Brown, only "possibly Velázquez".[39] 23/26
A gentleman (Juan de Fonseca?)162352 × 40Detroit Institute of Arts, Detroit
El venerable padre fray Simón de Rojas difunto1624101 × 121Colección de los duques del Infantado, MadridInscriptions: "AVE MARIA" and at top right, "El RºP.M. Fr. Simon D. Roxas". Antonio Palomino notes that Velazquez painted a portrait of Simon de Rojas "being dead".[40] Identified by Pérez Sánchez in a Madrid private collection, attributed to Francisco de Zurbarán.[41]
Felipe IV1624200 × 102.9Metropolitan Museum of Art, New York City26/29
Portrait of the Count-Duke of Olivares1624201.2 × 111.1São Paulo Museum of Art, São Paulo27/30
El conde-duque de Olivares1624–1626216 × 192.5Hispanic Society of America, New York CityInscriptions: "el Conde Duque" and a barely legible "A 25".29/32
El conde-duque de Olivares1624–1625209 × 111Colección Várez Fisa, MadridIn poor condition; the surface is badly damaged except for the head. Excluded from the catalog by López-Rey and Brown, among others.30/–
Retrato de hombre1626–1628104 × 79Museo Soumaya, Mexico CityProblematic for López-Rey, because of the poor condition.[42] For Brown, "possibly by Velazquez".[43] –/34
Felipe IV con jubón amarillo1628205 × 117John and Mable Ringling Museum of Art, Sarasota, FloridaRejected by López-Rey and Brown, but defended by Julian Gallego when exhibited in 1990 at the Museo del Prado.[44]
El bufón Calabacillas1626–1632175.5 × 106.5 Cleveland Museum of Art, ClevelandRejected by Brown.[45] 36/39
Portrait of a Clergyman (Self-portrait?)163067 × 50Capitoline Museums, Rome
Riña entre soldados ante la embajada de España / "La rissa"163028.9 × 39.6Colección Pallavicini, RomeOil on copper. Attributed to Velazquez by Roberto Longhi, noting similarities with The Forge and Joseph's Tunic, a thesis defended by Marini and Salort, who noted the exceptional technical quality.[46]
Santa Rufina1632–163477 × 64Centro de Investigaciones Diego Velázquez, Fundación Focus-Abengoa, Seville
Portrait of a Man 163068.6 × 55.2Metropolitan Museum of Art, New York CityPosited by Mayer in 1917 as a self-portrait, relating to one of the characters in The Surrender of Breda. Cataloged in the museum as a work of the workshop, after exclusion by López-Rey, but has again been attributed to Velazquez with the support of Jonathan Brown after cleaning in 2009.[47]
Portrait of a Man 1630Otto Naumann, New York CityRediscovered in 2010, sold at an auction in London for $4.7 million in 2011 to New York dealer Otto Naumann.[48]
Cristo en la cruz1631100 × 57Museo del Prado, MadridSigned "Do. Velazquez fa. 1631", which may or may not be a later addition to the painting.
Dama joven163598 × 49 Collection of the Duke of Devonshire, Chatsworth, Derbyshire, United Kingdom76/80
San Antonio Abad1635–163855.8 × 40Private collection, New York City
La tela real1636–1638182 × 302National Gallery of London85/-
El conde-duque de Olivares163810 × 8Palacio Real de Madrid, MadridOil on copper. Some documents show that Velázquez painted portraits in miniature on copper, including some members of the royal family.83/88
Don Francisco Bandrés de Abarca1638–164664 × 53Private collection, SwitzerlandSupported by López-Rey, while noting the poor condition (possibly a fragment half-length portrait) and lack of resemblance to other portraits of the same period.[49]
Retrato ecuestre de Felipe IV1645393 × 267Uffizi, Florence95/101
El bufón don Sebastián de Morra 1645106 × 84.5Private collection, Switzerland
Juan Francisco Pimentel, conde de Benavente 1648109.5 × 88.5Museo del Prado, MadridExhibited at the museum as "attributed" to Velazquez and excluded by López-Rey and Brown, but supported by Gallego in the exhibition of 1990, Marias (1996) and Bottineau (1998). 99/-
La gallega 1645–165060 × 46.5Private collection, Switzerland? Unfinished. Rejected by Brown.[50]
Cristoforo Segni 1650–1651114 × 92Private collectionThought to have been conceived entirely by Velázquez who also painted at least the head. The rest of the painting was done by Pietro Martire Neri.[51]
La infanta Margarita1653115 × 91Collection of the Dukes of Alba, Madrid
Felipe IV 1656–165764 × 53.75National Gallery of London123/-
La reina Mariana de Austria1656–165764.7 × 54.6 Thyssen-Bornemisza Museum, MadridExcluded by Brown.119/126

Drawings

Drawing Title Date Medium Dimensions (cm)s Collection Notes Catalog numbers: Brown/López-Rey
Busto de muchacha1618Charcoal on paper20 × 13.5Biblioteca Nacional de España, MadridFor Brown this and the following are "possibly Velázquez."DQ6/4
Cabeza de muchacha1618Charcoal on paper15 × 11.7Biblioteca Nacional de España, MadridDQ1/5
Study for Cristo contemplado por el alma cristiana 1626–1628Earlier in the Jovellanos Institute, GijónDestroyed in 1936. DQ5/35b
Study for The Surrender of Breda1634–1635Black pencil on paper26.2 × 16.8 Biblioteca Nacional de España, MadridD2a/74
Study for the figure of General Spinola in The Surrender of Breda1634–1635Black pencil on paper26.2 × 16.8 Biblioteca Nacional de España, MadridDrawn on the back of the former.D2b/75
Retrato de don Gaspar de Borja y Velasco 1643–1645Black pencil on paper18.6 × 11.6 Real Academia de Bellas Artes de San Fernando, MadridStudy for a lost portrait.D1/98

Sources

Notes and References

  1. News: Vogel. Carol. An Old Spanish Master Emerges From Grime. The New York Times. September 10, 2009. September 11, 2009. Jonathan Brown, this country's leading Velázquez expert ... "Velázquez was a painter who measured out his genius in thimblefuls." His output was so small that, depending on who's counting, Mr. Brown estimates, there are only 110 to 120 known canvases by the artist..
  2. [#López-Rey|López-Rey]
  3. [#Moran|Morán Turina and Sánchez Quevedo]
  4. [#López-Rey|López-Rey]
  5. [#Garrido|Garrido Pérez]
  6. [#Moran|Morán Turina and Sánchez Quevedo]
  7. [#Brown|Brown]
  8. [#López-Rey|López-Rey]
  9. [#Moran|Morán Turina and Sánchez Quevedo]
  10. [#Moran|Morán Turina and Sánchez Quevedo]
  11. [#López-Rey|López-Rey]
  12. [#Garrido|Garrido Pérez]
  13. [#Moran|Morán Turina and Sánchez Quevedo]
  14. [#Moran|Morán Turina and Sánchez Quevedo]
  15. [#Moran|Morán Turina and Sánchez Quevedo]
  16. [#Moran|Morán Turina and Sánchez Quevedo]
  17. [#Moran|Morán Turina and Sánchez Quevedo]
  18. [#López-Rey|López-Rey]
  19. [#Brown|Brown]
  20. [#López-Rey|López-Rey]
  21. [#Moran|Morán Turina and Sánchez Quevedo]
  22. [#LopezVelazquez|López-Rey]
  23. [#Garrido|Garrido Pérez]
  24. [#Moran|Morán Turina and Sánchez Quevedo]
  25. [#López-Rey|López-Rey]
  26. [#Brown|Brown]
  27. http://www.metmuseum.org/works_of_art/collection_database/all/listview.aspx?page=1&sort=4&sortdir=desc&keyword=Diego%20Silva%20Velazquez%22&fp=1&dd1=0&dd2=0&lSort=4&vw=1 Metmuseum
  28. [#Moran|Morán Turina and Sánchez Quevedo]
  29. [#LopezVelazquez|López-Rey]
  30. [#Garrido|Garrido Pérez]
  31. [#Moran|Morán Turina and Sánchez Quevedo]
  32. Web site: Giles Tremlett in Madrid . Yale basement yields Spanish treasure – a possible Velázquez masterpiece. July 1, 2010 . The Guardian . UK . December 22, 2010.
  33. News: Yale uncovers Velazquez in basement storage. CBC News . July 3, 2010 . December 22, 2010.
  34. [#Brown|Brown]
  35. Marini, p. 39, note 1.
  36. Navarrete Prieto, Benito, "Velázquez y Sevilla: la Inmaculada del Deán López Cepero recuperada", Ars Magazine, July–September 2009, pp. 100–117.
  37. Pérez Sánchez, Novedades velazqueñas, pp. 386–390.
  38. [#López-Rey|López-Rey]
  39. [#Brown|Brown]
  40. Palomino, p. 233
  41. Pérez Sánchez, "Novedades velazqueñas", pp. 371–390.
  42. [#López-Rey|López-Rey]
  43. [#Brown|Brown]
  44. "Catálogo de la exposición Velázquez" (1990), pp. 139–141.
  45. Brown (2008), Escritos completos sobre Velázquez, pp. 370–372.
  46. [#Salort|Salort]
  47. http://www.metmuseum.org/works_of_art/collection_database/european_paintings/portrait_of_a_man_workshop_of_diego_rodriguez_de_silva_y_velazquez/objectview.aspx?collID=11&OID=110002327 Metropolitan Museum of Art
  48. https://www.bloomberg.com/news/2011-12-07/velazquez-portrait-sells-for-4-7-million-at-london-auction-of-old-masters.html Bloomberg
  49. [#López-Rey|López-Rey]
  50. Brown (2008), Escritos completos sobre Velázquez, pp. 411–414 and 376, note 28.
  51. Web site: Diego Rodríguez de Silva y Velázquez and Pietro Martire Neri . Sothebys . 12 July 2023.

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