The portrait of Pope Innocent X, created around 1650 by the outstanding Spanish artist Diego Velazquez, is considered one of the most famous depictions that carry the entire depth of the psychological image of the person depicted.
But how did the artist manage to create such a heartfelt masterpiece?
It is believed that the portrait was created during the artist's second trip to Italy, between early 1649 and mid-1651. Even documentary evidence has survived to this day that the Pope invited Velazquez to an audience in August 1650 (and most likely for a reason).
But why did the pontiff choose this particular Spanish painter to perpetuate his image?
Self-portrait of the artist, 1643.
Some historians believe that the artist and the future Pope met as early as 1625, during the visit of both to Madrid.
However, this version has no documentary confirmation and it is officially accepted that the talented artist was only recommended by one of the pontiff's close associates, as the most suitable master.
One of the virtues of Velazquez was that he was able to portray the entire inner world of a person and show even those aspects that are hidden in the very depths of the personality.
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Especially surprising is the fact that when creating the masterpiece, Velasquez only met with Innocent a couple of times, and most of the work was done solely from memory.
The impossibility of creating a traditional image added to the complexity of the image of the head of the Church, the character had too exclusive status.
The artist tried to convey through the painting the entire inner world of Innocent X, following the example of his beloved master - Titian, who portrayed Pope Paul III.
Portrait of Pope Paul III. Titian, 1543.
However, unlike Titian, Velazquez chose an extremely risky color spectrum - red on red.
Against the background of red drapery, the pontiff is depicted in red vestments sitting in a red armchair. However, all the abundance of red does not overwhelm the power of the image itself.
It is noteworthy that Velazquez does not idealize the Pope's face, giving it a pearlescent hue (as was often the case in Renaissance portraits), but again adds a red color that best matches the actual appearance of the pontiff.
It is believed that when Innocent saw the finished portrait, he was confused and exclaimed: Troppo vero! (too true!), as I was simply amazed at the quality of the work.