America and the Return of Nazi Contraband: The Recovery of Europe’s Cultural Treasures

Description

The startling conclusion of
is that Diego Vel芍zquez painted two of his most famous works, The Spinners and Las Meninas, as theoretically informed manifestos of painterly brushwork. As a pair, Giles Knox argues, the two paintings form a learned retort to the prevailing critical disdain for the painterly. Knox presents a Vel芍zquez who was much more aware of the art theory of his era than previously acknowledged, leading him to reinterpret Las Meninas and The Spinners as representing together a polemically charged celebration of the “handedness” of painting. Knox removes Vel芍zquez from his Iberian isolation and seeks to recover his highly self-conscious attempt to carve out a place for himself within the history of European painting as a whole. The Late Paintings of Vel芍zquez presents an artist who, like Annibale Carracci, Poussin, Rembrandt, and Vermeer was not only aware of contemporary theoretical writings on art, but also able to translate that knowledge and understanding into a distinctive and personal theory of painting. In Las Meninas and The Spinners, Vel芍zquez propounded this theory with paint, not words. Knox’s rethinking of the dynamic relationship between text and image presents a case, not of writing influencing painting, or vice versa, but of the two realms being inextricably bound together. Painterly brushwork presented a challenge to writers on art not just because it was connected too intimately with the base actions of the hand; it was also devilishly hard to describe. By reading Vel芍zquez’s painterly performance as text, Knox deciphers how Vel芍zquez was able to craft theoretical arguments more compelling and more vivid than any written counterparts.