The Surrender of Breda by Diego Velazquez
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The Surrender of Breda by Diego Velazquez
The Surrender of Breda has interesting physical attributes that one can appreciate easily. Entire worlds of compositional elements that appear complex radiate outwards, expanding and changing as if one were not looking at the painting directly, but into a kaleidoscope. One is able to scan, seek, and study the different areas of the painting as it changes like as if one had turned a kaleidoscope. Each unique view of the picture possesses its own miniature world, which fits perfectly into the large scheme. The whole effect in the entire painting is magical.
Among the compositional elements is a horse without a rider. On the right of The Surrender of Breda, there is a meshed cluster of other figures. The horse stands magnificently beside the Italian men. The entire view of the horse body is shown. Viewed from its rear side, it has an enormous, rounded mound of tail. The saddle as well as the head is displayed to the viewers. The horse face is the only part of its body that is not visible, though white markings are evident on the jaws. The unseen face is displaced slightly but reappears on the left side of the picture.
Many history paintings trying to feature a large group of figures face the problem of handling the crowd scenes. However, Velázquez is able to tackle the difficulty. He achieves this by dividing the plane of the painting into different levels: there is a lower area, which the viewer can see the harbor and city of Breda, and an area above it with a sea of action, where the principal event unfolds as on a stage. In a bid to emphasize the stage-like situation further, a number of foreground elements have been presented. Through its coloring - the red and blue garments worn by the soldiers as well as the reddish brown masses of the war horses- the viewer appreciates the influence of Venetian artwork, in particular that which Tintoretto did.
The ability of the painting to seize many essential features and have them fixed on canvas using a few broad but sure strokes is appalling. The men and women in the picture seem to breathe, and the dogs, which are not obvious to a viewer who is not keen, are full of life. The horses, though riderless, seem to be full of action. The background is not homogenous and has its vibrancy recovered. Its production using subtle gradations of light enlivens the figure because the light gradations produce depth. The painting color, space, mass, rhythm of line, and light merge in such a way that all possess equal value.
Velázquez’s pictorial expression and calculated control of paint secure the exact intended effect: evoking the desired feelings and sensations. Line and shape move the eye effectively across the composition of the painting while the depth with value contrast is able to control the motion into and out of the composition. The additional direction, into and out of the composition, effectively creates complex motion. It takes time before the viewer comprehend this movement fully. To relate the elements such as overlapping, linear perspective, size change, as well as value contrast, the eye takes a long time. Perception of spatial relationships between all these elements is not easy. In addition, the time one takes to understand the partial order changes its feeling while creating a slower composition. The illusion of depth can be seen to create a space that can provide a visual dwelling for the viewer.
The painter has sought to mould an illusion depicting deep pictorial space. Consequently, the painting sustains the eye longer, helping to evoke the feelings and sensations the painter had at the time of production of the work. Notably, the portrait couples the figures with their environment rather than possessing a flat or an empty background. This illustrates a complete comprehension of a person’s character. At the same time, it evokes a more subtle feeling compared with the one whose background is flat or empty.
There is a large group of men gathered in an expansive vista. To represent this vista, there is the depiction of deep space meant to entice the viewer to take his or her time to admire. Detailed information is obtainable from the figures in the center of the picture while numerous overlapping elements, which recede into the attractive background, add onto the overall captivity of the picture. The viewer can learn a lot from mere observation of the painting. In addition, he or she can admire the skill of the artist while piecing the narrative in an attempt to understand the importance of the depicted scene. All these features make it easier for the painter to evoke the type of feelings he wants. Among these is a sensation of dynamism and liveliness, which he achieved through judiciously distributing the different levels of finish and vibrations of light. Together with the impression that the painting conveys, the finish distribution and light vibrations support the attribution to the painter. Lastly, the fact that Velázquez depicts his subjects clearly and with decorum, but without the airs of mannerism, evokes a feeling of victory and power over a common rival.
The Surrender of Breda was painted between the years 1634 and 1635. In its background, it captures the reality of war effectively: the arson on the city of Breda, which was the subject in the title of the painting. It was among thirteen other examples of mural painting put in a hall in the palace called Buen Retiro. In the wake of Spanish victory, there was the need to depict a rare moment of triumph. The Spanish Baroque painting was a gift to Ambrogio Spinola for conquering the city of Breda in the year 1625. The victories whose commemoration the painting depicts were those of Phillip IV. The exchange of keys is at the central position of the picture as it is the main reason behind the painting. It occurred exactly three days when the capitulation of the Netherlands and Spain had been achieved. The focus of the painting being the key exchanged was meant to be present at the center and middle of the picture both literally and figuratively (Prado 25).
The protagonists, the two military leaders, are immediately recognizable. The beaten Breda commandant is seen handing over the fortress keys to Spinola, the Spanish commander. Ambrogio Spinola, the commander of the Spanish forces, does not want to humiliate the Dutch even after he captures the city of Breda. He considers it wise to express mercy rather than severity. Velázquez depicts Spinola’s consoling hand placed on Justin's shoulder as the latter turns over the only key to the largest fortress in the captured city. The viewer appreciates the two military men enjoying an atmosphere characterized by mutual respect. The view behind them opens up towards the otherwise concealed background, a fact that makes the protagonists obvious. To the left and right, the respective war entourage groups up like a stage extra. Notably, Velázquez does not portray these soldiers as anonymous. The viewer is able to make out numerous expressions of exhaustion amongst the group of the defeated soldiers. Conversely, amongst the entourage of the victorious Spanish soldiers, the viewer is shown happy figures brandishing their lances (Gottlieb 100).
What counts decoratively from a distant view is the picturesque mass of the group of soldiers as a whole. For instance, the contrasting elements such as the wide prospect of smoking and the horse whose rare is shown, as well as the level country that glimpses over soldiers’ heads or between the pikes of the beaten Hollanders are evident. In addition, the rigid palisade of the victorious Spaniards’ lances can be seen. Packing The Surrender of Breda with vivid military detail and suggesting whole armies on an enormous canvas, which is over 10 feet high and 12 feet wide does more than adding onto the picturesque of the painting. In the atypical surrender scene, it shows the absence of either a vanquished military commander on his knees or a heroic victorious commander on horseback. Instead, the two rivals walk toward each other like equals. However, the loser bends forward when offering the fortress key and receives an unexpected chivalrous pat on the shoulder. All this serves merely as an expression of elaborate margin in the central feature. Some analysts have described this as a magnanimous victor who declines to humiliate a defeated foe, but instead greets him like an honored sibling in arms. This exceptional invention makes the painting extremely captivating and symbolic. One could imagine the effect of leaving out these two central figures, as well as the loss of the marginal features. The remaining space has to be covered for the extensive theme to become appropriate.
An inquiry into the artistic background of Velazquez shows a man doubtless in his chivalric courtesy in pictures he drew. Most of the figures in his paintings correspond to the personal estimate he accords them. This dispels the legend that he was a mere technician with a frigid character. According to recent analyses, a frigid individual could not imagine the meeting between the two foes namely Justin of Nassau and Marquis of Spinola (Prado 53).
From the last quarter of the eighteenth century, Velázquez's artwork became a model for the impressionist as well as the realist painters. Apart from The Surrender of Breda, which was a rendition of a scene of cultural and historical significance, Velázquez painted other portraits. These included those of the royal family in Spain, commoners, as well as other notable European figures. This culminated in the production of a masterpiece he called Los Borrachos. The painting compared significantly with The Surrender of Breda. The Los Borrachos is an oil painting produced in the 17th century. The painting was done in a way that seemed to be in harmony with the other pieces of war paintings in Buen Retiro. Like The Surrender of Breda, this painting has the completeness and dignity the scene depicted being apparent (Bailey 33). The Venetian way of composition that borrows from the illumination very closely reflects this. However, Los Borrachos diminishes the expense of its landscape because the figures have been pushed too far into the foreground. This makes the marbled sky achieve a canopy effect on the compositional elements.
The Portrait of the Infanta Maria Theresa of Spain is another artwork by Velázquez. Produced in 1653, the portrait also reflects a moment of happiness. A figure from the royal family is depicted, with a girl in a majestic pose. She is dressed in a light dress and illuminated against an extremely dark background. Unlike The Surrender of Breda, the watches the girl has on her hand add the formality and seriousness of the portrait. The painting compares to The Surrender of Breda because the handkerchief held in the girl’s left hand highlights the painting, like the white stripes on the horse face. When producing the portrait, Velázquez’s attention may have been focused on the foreground. This symbolizes the beginning of peace; he may have relegated battle scenes to the background, which is not very clear to the viewer. The artwork was intended to promote a political propaganda while emphasizing the clemency of the monarch. The painting depicts a gracious moment when Infanta Maria Theresa entered the Palace in the wake of the capture of the city of Breda.
Other works of art in the Buen Retiro Palace served the same purpose as those by Velazquez. Court paintings like the Portrait of the Cardinal Girolamo Agucchi by Domenichino and Casino Della Morte by Giovanni Lanfranco had roles that compared with those of The Surrender of Breda: to present, glorify, and preserve the image of the Spanish monarch. These artists offered evidence of the power Spain had to contemporary audiences. They also aid in commemoration of the success of King Philip VI and the posterity he helped Spain achieve. In a bid to achieve these objectives successfully, the artists played with the facts at times. Moreover, the artists were taking a significant risk by depicting these events, which had failed to withstand the test of time. In that case, the gamble in both is lost. As these portraits depict, the dominance of Spain in Europe did not last long. By the end of the nineteenth century, most of the victories she had achieved were reversed.
In conclusion, The Surrender of Breda bears a lot of relevance in its own time. Behind the painting lies, a rich story of the life of Velazquez, but the most important thing is the propaganda the art portrayed. It was meant to celebrate a rare victory by Spain in the Eighty Years' War. In the 21st century perspective, this portrait still has a lot of importance. It serves to give a detailed illustration of how the ceremony of surrender occurred. In fact, the way the surrender took place mesmerizes people in the current century. The two commanders never met face to face in the actual sense, and they did not embrace one another. Velázquez was trying to emphasize the great generosity shown by bringing the two commanders face to face on an equal footing. Today, the painting is recognized as the narrative masterpiece of Velázquez.