List of works by Diego Velázquez

This is a list of paintings and drawings by the 17th-century Spanish artist Diego Velázquez. Velázquez was not prolific; he 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)
PaintingTítleDateDimensions (cm)CollectionNotesCatalog numbers: Morán–Sánchez/López-Rey
Tres músicos 1617–1618 87 × 110 Staatliche Museen, Berlín 1/1
The Lunch c. 1618 108.5 × 102 Hermitage, Saint Petersburg 2/3
La mulata c. 1620 55 × 118 National Gallery of Ireland, Dublin The dates proposed by critics range from 1617 to 1622. 3/17
Old Woman Cooking Eggs 1618 100.5 × 119.5 National Gallery of Scotland, Edinburgh Dated in the lower right corner. 5/6
Christ in the House of Martha and Mary 1618 60 × 103.5 National Gallery of London Dated. 6/7
Dos jóvenes a la mesa 1622 65.3 × 104 Apsley House, London 9/24
Saint Thomas 1619–1620 95 × 73 Musée des Beaux-Arts d'Orléans, Orléans 10/10
Immaculate Conception 1619 135 × 101.6 National Gallery of London 11/11
San Juan en Patmos 1619 135.5 × 102.2 National Gallery of London 12/12
Adoration of the Magi 1619 204 × 126.5 Museo del Prado, Madrid Dated in the stone under the foot of the Virgin. 13/13
San Pablo 1619–1620 99 × 78 Museu Nacional d'Art de Catalunya, Barcelona 14/14
Cabeza de apóstol 1622 38 × 29 Museo del Prado, Madrid 15/15
The Waterseller of Seville 1620 106.7 × 81 Apsley House, London 16/16
Don Cristóbal Suárez de Ribera 1620 207 × 148 Museum of Fine Arts of Seville Signed 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 Fuente 1620 162 × 107 Museo del Prado, Madrid Signed 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 Fuente 1620 162.5 × 105 Colección Fernández Araoz, Madrid Signed 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 Ildefonso 1620–1623 166 × 120 Municipality of Seville In poor condition with significant loss of paint. 20/22
Retrato de caballero/Francisco Pacheco 1620–1622 40 × 36 Museo del Prado, Madrid 21/23

Madrid (1622–29)
PaintingTítleDateDimensions (cm)CollectionNotesCatalog numbers: Morán–Sánchez/López-Rey
Portrait of Don Luis de Góngora 1622 50.3 × 40.5 Museum of Fine Arts, Boston 22/25
Retrato de hombre 1623–1624 55.5 × 38 Museo del Prado, Madrid Allende-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 IV 1623–1624 61.6 × 48.2 Meadows Museum, Dallas Brown believes that this may be a portrait of the king,[7] an hypothesis rejected by López-Rey.[8] 25/28
Retrato de dama 1625 32 × 24 Once 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 venado 1626–1628 58 × 44.5 Museo del Prado, Madrid Dating 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 cristiana 1626–1628 165 × 206.4 National Gallery of London 32/35
Felipe IV 1623–1628 198 × 101.5 Museo del Prado, Madrid 33/36
Portrait of the Infante Don Carlos 1626–1628 209 × 12 Museo del Prado, Madrid 34/37
Portrait of Philip IV in Armour c. 1628 57 × 44.5 Museo del Prado, Madrid This 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 geógrafo 1628–1629 101 × 81 Musée des Beaux-Arts de Rouen Head 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 Bacchus 1628–1629 165.5 × 227.5 Museo del Prado, Madrid 38/41
La cena de Emaús 1628–1629 123.2 × 132.7 Metropolitan Museum of Art, New York Proposed dates range from 1619 (Lafuente Ferrari) to a time immediately after the first trip to Italy (Marias).[15] 39/42

First trip to Italy (1629–30)
PaintingTítleDateDimensions (cm)CollectionNotesCatalog numbers: Morán–Sánchez/López-Rey
Portrait of Maria Anna 1630 59.5 × 45.5 Museo del Prado, Madrid 40/48
Joseph's Tunic 1630 223 × 250 El Escorial, San Lorenzo de El Escorial 41/43
Apollo in the Forge of Vulcan 1630 222 × 290 Museo del Prado, Madrid 42/44
Cabeza de Apolo 1630 36 × 25 Private collection, New York Considered a study for Apollo in the Forge of Vulcan.[16] 43/45
El Pabellón de Cleopatra-Ariadna 1630 44.5 × 38.5 Museo del Prado, Madrid The 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 1630 48.5 × 43 Museo del Prado, Madrid 45/47

Madrid (1631–48)
PaintingTítleDateDimensions (cm)CollectionNotesCatalog numbers: Morán–Sánchez/López-Rey
A Sybil (Juana Pacheco?) 1630–1631 62 × 50 Museo del Prado, Madrid 46/49
Retrato de hombre joven 1630–1631 89.2 × 69.5 Alte Pinakothek, Munich Appears 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. Thomas 1631–1632 244 × 203 Museum of the Orihuela Cathedral, Orihuela 48/130
Prince Balthasar Charles With a Dwarf 1631 128.1 × 102 Museum of Fine Arts, Boston 49/51
Philip IV in Brown and Silver 1631–1632 199.5 × 113 National Gallery of London 50/52
Isabel de Borbón 1631–1632 207 × 119 Private collection, New York 51/53
Don Diego del Corral y Arellano 1631–1632 205 × 116 Museo del Prado, Madrid 52/55
Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis 1631–1632 205 × 115 Museo del Prado, Madrid Brown 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 hombre 1630 27 × 24 Unknown; previously Royal Palace of Madrid 54/56
Don Pedro de Barberana y Aparregui 1631–1632 198.2 × 111.8 Kimbell Art Museum, Fort Worth, Texas 55/57
Don Juan Mateos 1632 108 × 90 Dresden Gallery, Dresden The 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 1632 250 × 170 Museo del Prado, Madrid 57/59
Retrato del príncipe Baltasar Carlos 1632 117.8 × 95.9 Wallace Collection, London 58/60
Felipe IV 1632 127.5 × 86.5 Kunsthistorisches Museum, Vienna Generally 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 Borbón 1632 132 × 101.5 Kunsthistorisches Museum, Vienna 60/62
The Jester Named Don John of Austria 1632–1633 210 × 124.5 Museo del Prado, Madrid 61/65
Equestrian Portrait of the Count-Duke of Olivares 1634 314 × 240 Museo del Prado, Madrid 62/66
Caballo blanco 1634–1635 310 × 245 Royal Palace of Madrid 63/67
Equestrian Portrait of Philip III 1634–1635 305 × 320 Museo del Prado, Madrid 64/68
Equestrian Portrait of Margarita of Austria 1634–1635 302 × 311.5 Museo del Prado, Madrid Velazquez and workshop. 65/69
Equestrian Portrait of Elisabeth of France 1634–1635 304.5 × 317.5 Museo del Prado, Madrid Velazquez and workshop.[23] 66/70
Equestrian Portrait of Philip IV 1634–1635 305.5 × 317.5 Museo del Prado, Madrid 67/71
Equestrian Portrait of Prince Balthasar Charles 1634–1635 209.5 × 174 Museo del Prado, Madrid 68/72
The Surrender of Breda 1634–1635 307.5 × 370.5 Museo del Prado, Madrid 69/73
Portrait of Juan Martínez Montañés 1635–1636 110.5 × 87.5 Museo del Prado, Madrid 70/76
Felipe IV cazador 1632–1633 189 × 124.5 Museo del Prado, Madrid 71/63
El cardenal infante don Fernando de Austria cazador 1632–1633 191.5 × 108 Museo del Prado, Madrid 72/64
Prince Balthasar Charles as a Hunter 1635–1636 191 × 102 Museo del Prado, Madrid 73/77
El príncipe Baltasar Carlos en el picadero (Prince Baltasar Carlos in the Riding School) 1636 144 × 96.5 Duke of Westminster Collection, London 74/78
The Lady with a Fan 1635 95 × 70 Wallace Collection, London 75/79
The Needlewoman 1635–1643 74 × 60 National Gallery of Art, Washington D.C. Unfinished and of uncertain date. 77/81
Portrait of Pablo de Valladolid 1636–1637 213.5 × 125 Museo del Prado, Madrid 78/82
The Jester Calabacillas 1637–1639 105.5 × 82.5 Museo del Prado, Madrid 79/83
The Jester Barbarroja 1637–1640 200 × 121.5 Museo del Prado, Madrid 80/84
San Antonio Abad y san Pablo ermityear 1635–1638 261 × 192 Museo del Prado, Madrid 81/85
Portrait of the Count-Duke of Olivares 1638 67 × 54 Hermitage Museum, Saint Petersburg 82/87
Francesco I d’Este 1638 68 × 51 Galleria Estense, Modena 84/89
El príncipe Baltasar Carlos 1639 128.5 × 99 Kunsthistorisches Museum, Vienna Velázquez and workshop.[24] 86/90
Retrato de hombre 1635–1645 76 × 64.8 Apsley House, London 87/91
Aesop 1639–1641 179.5 × 94 Museo del Prado, Madrid Inscription at top right: "AESOPVS". 88/92
Menipo 1639–1641 178.5 × 93.5 Museo del Prado, Madrid Inscription at top left: "MOENIPVS". 89/93
Mars Resting 1639–1641 181 × 99 Museo del Prado, Madrid 90/94
Self-Portrait 1640 45.8 × 38 Museu de Belles Arts de València 91/96
Retrato de niña 1640 51.5 × 41 Hispanic Society of America, New York Unfinished 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 1643–1645 107.5 × 83.5 Museo del Prado, Madrid 93/99
Portrait of Philip IV in Fraga 1644 129.8 × 99.4 Frick Collection, New York 94/100
The Jester Don Diego de Acedo 1645 106 × 82.5 Museo del Prado, Madrid 96/102
Portrait of Sebastián de Morra 1645 106 × 81.5 Museo del Prado, Madrid 97/103
Coronation of the Virgin 1645 178.5 × 134.5 Museo del Prado, Madrid 98/105
Rokeby Venus 122.5 × 177 National Gallery of London 100/106
Female Figure 1644-1648 64 × 58 Meadows Museum, Dallas 101/108
La infanta María Teresa 1648 48 × 37 Metropolitan Museum of Art, New York 102/109
Un caballero de la Orden de Santiago 1645–1650 67 × 56 Gemäldegalerie Alte Meister, Dresden 103/110

Second trip to Italy (1649–51)
PaintingTítleDateDimensions (cm)CollectionNotesCatalog numbers: Morán–Sánchez/López-Rey
Portrait of Juan de Pareja 1649–1650 81.3 × 69.9 Metropolitan Museum of Art, New York 104/112
Ferdinando Brandani 1650 50.5 × 47 Museo del Prado, Madrid 105/113
Portrait of Innocent X 1650 140 × 120 Doria Pamphilj Gallery, Rome Signature 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 1650 82 × 71.5 Apsley House, London 107/115
Camillo Massimi 1650 73.6 × 58.5 Kingston Lacy, Dorset 108/116
El cardenal Astalli 1650–1651 61 × 48.5 Hispanic Society of America, New York 109/117

Madrid (1651–60)
PaintingTítleDateDimensions (cm)CollectionNotesCatalog numbers: Morán–Sánchez/López-Rey
María Teresa, infanta de España 1651–1652 34.3 × 40 Metropolitan Museum of Art, New York The 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 Spain 1651–1653 127 × 98.5 Kunsthistorisches Museum, Vienna 111/119
Felipe IV 1653–1655 69 × 56 Museo del Prado, Madrid 112/120
Portrait of Mariana of Austria 1652–1653 234 × 131.5 Museo del Prado, Madrid Painted 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 Margarita 1653 128.5 × 100 Kunsthistorisches Museum, Vienna 114/122
La infanta Margarita 1656 105 × 88 Kunsthistorisches Museum, Vienna 115/123
Las Meninas 1656–1657 318 × 276 Museo del Prado, Madrid 116/124
Las Hilanderas or The Fable of Arachne c. 1657 167 × 252 Museo del Prado, Madrid The 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 Austria 1655–1656 46.5 × 43 Meadows Museum, Dallas Probably an unfinished study.[31] 118/125
Mercurio y Argos 1659 128 × 250 Museo del Prado, Madrid Painted 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 1659 127 × 107 Kunsthistorisches Museum, Vienna 121/128
Portrait of Prince Philip Prospero 1659 128.5 × 99.5 Kunsthistorisches Museum, Vienna 122/129

Paintings of debated attribution
PaintingTítleDateDimensions (cm)CollectionNotesCatalog numbers: Morán–Sánchez/López-Rey
Education of the Virgin 1617-1618 Yale University Art Gallery, New Haven Thought 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 mulata 1620 55 × 104.5 Art Institute of Chicago, Chicago Brown and others cannot rule out the work of a copyist.[34] 4/18
Cabeza de hombre joven de perfil 1618–1619 39.5 × 35.8 Hermitage Museum, Saint Petersburg 7/8
The Farmers' Lunch 1618–1619 96 × 112 Museum of Fine Arts, Budapest 8/9
La Immaculada 1618–1620 142 × 98.5 Centro de Investigación Diego Velázquez, Fundación Focus-Abengoa Sevilla Presented 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 Pedro 1618–1619 132 × 98.5 Colección Villar-Mir, Madrid
San Juan Bautista en el desierto 1620 175.3 × 152.5 Art Institute of Chicago
Retrato de un clérigo 1622–1623 66.5 × 51 Colección Payá, Madrid Inscription "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?) 1623 52 × 40 Detroit Institute of Arts, Detroit
El venerable padre fray Simón de Rojas difunto 1624 101 × 121 Colección de los duques del Infantado, Madrid Inscriptions: "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 IV 1624 200 × 102.9 Metropolitan Museum of Art, New York 26/29
Portrait of the Count-Duke of Olivares 1624 201.2 × 111.1 São Paulo Museum of Art, São Paulo 27/30
El conde-duque de Olivares 1624–1626 216 × 192.5 Hispanic Society of America, New York Inscriptions: "el Conde Duque" and a barely legible "A 25". 29/32
El conde-duque de Olivares 1624–1625 209 × 111 Colección Várez Fisa, Madrid In 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 hombre 1626–1628 104 × 79 Museo Soumaya, Mexico City Problematic for López-Rey, because of the poor condition.[42] For Brown, "possibly by Velazquez".[43] –/34
Felipe IV con jubón amarillo 1628 205 × 117 John and Mable Ringling Museum of Art, Sarasota, Florida Rejected by López-Rey and Brown, but defended by Julian Gallego when exhibited in 1990 at the Museo del Prado.[44]
El bufón Calabacillas 1626–1632 175.5 × 106.5 Cleveland Museum of Art, Cleveland Rejected by Brown.[45] 36/39
Portrait of a Clergyman (Self-portrait?) 1630 67 × 50 Capitoline Museums, Rome
Riña entre soldados ante la embajada de España / "La rissa" 1630 28.9 × 39.6 Colección Pallavicini, Rome Oil 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 Rufina 1632–1634 77 × 64 Centro de Investigaciones Diego Velázquez, Fundación Focus-Abengoa, Seville
Portrait of a Man 1630 68.6 × 55.2 Metropolitan Museum of Art, New York Posited 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 1630 Otto Naumann, New York Rediscovered in 2010, sold at an auction in London for $4.7 million in 2011 to New York dealer Otto Naumann.[48]
Cristo en la cruz 1631 100 × 57 Museo del Prado, Madrid Signed "Do. Velazquez fa. 1631", which may or may not be a later addition to the painting.
Dama joven 1635 98 × 49 Collection of the Duke of Devonshire, Chatsworth, Derbyshire, England 76/80
San Antonio Abad 1635–1638 55.8 × 40 Private collection, New York -/86
La tela real 1636–1638 182 × 302 National Gallery of London 85/-
El conde-duque de Olivares 1638 10 × 8 Palacio Real de Madrid, Madrid Oil 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 Abarca 1638–1646 64 × 53 Current whereabouts unknown (stolen from Greenville Art Museum, South Carolina on July 8, 2010) Supported 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] -/95
Retrato ecuestre de Felipe IV 1645 393 × 267 Uffizi, Florence 95/101
El bufón don Sebastián de Morra 1645 106 × 84.5 Private collection, Switzerland -/104
Juan Francisco Pimentel, conde de Benavente 1648 109.5 × 88.5 Museo del Prado, Madrid Exhibited 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 1645–1650 60 × 46.5 Private collection, Switzerland? Unfinished. Rejected by Brown.[50] -/111
Cristoforo Segni 1650–1651 144 × 92 Kisters Collection, Kreuzlingen, Switzerland
La infanta Margarita 1653 115 × 91 Collection of the Dukes of Alba, Madrid
Felipe IV 1656–1657 64 × 53.75 National Gallery of London 123/-
La reina Mariana de Austria 1656–1657 64.7 × 54.6 Thyssen-Bornemisza Museum, Madrid Excluded by Brown. 119/126

Drawings
DrawingTítleDateMediumDimensions (cm)sCollectionNotesCatalog numbers: Brown/López-Rey
Busto de muchacha 1618 Charcoal on paper 20 × 13.5 Biblioteca Nacional de España, Madrid For Brown this and the following are "possibly Velázquez." DQ6/4
Cabeza de muchacha 1618 Charcoal on paper 15 × 11.7 Biblioteca Nacional de España, Madrid DQ1/5
Study for Cristo contemplado por el alma cristiana 1626–1628 Earlier in the Jovellanos Institute, Gijón Destroyed in 1936. DQ5/35b
Study for The Surrender of Breda 1634–1635 Black pencil on paper 26.2 × 16.8 Biblioteca Nacional de España, Madrid D2a/74
Study for the figure of General Spinola in The Surrender of Breda 1634–1635 Black pencil on paper 26.2 × 16.8 Biblioteca Nacional de España, Madrid Drawn on the back of the former. D2b/75
Retrato de don Gaspar de Borja y Velasco 1643–1645 Black pencil on paper 18.6 × 11.6 Real Academia de Bellas Artes de San Fernando, Madrid Study for a lost portrait. D1/98

Notes
  1. Vogel, Carol (September 10, 2009). "An Old Spanish Master Emerges From Grime". The New York Times. Retrieved 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, p. 46.
  3. Morán Turina and Sánchez Quevedo, p. 50.
  4. López-Rey, p. 48.
  5. Garrido Pérez, pp. 94–95.
  6. Morán Turina and Sánchez Quevedo, p. 64.
  7. Brown, Velázquez, pintor y cortesano, pp. 45–46.
  8. López-Rey, p. 64.
  9. Morán Turina and Sánchez Quevedo, p. 72
  10. Morán Turina and Sánchez Quevedo, p. 78
  11. López-Rey, p. 76.
  12. Garrido Pérez, p. 155.
  13. Morán Turina and Sánchez Quevedo, p. 86
  14. Morán Turina and Sánchez Quevedo, p. 90
  15. Morán Turina and Sánchez Quevedo, p. 94
  16. Morán Turina and Sánchez Quevedo, p. 102.
  17. Morán Turina and Sánchez Quevedo, p. 104.
  18. López-Rey, p. 120.
  19. Brown, Velázquez, pintor y cortesano, pp. 140–141.
  20. López-Rey, p. 134.
  21. Morán Turina and Sánchez Quevedo, p. 134
  22. López-Rey, Velázquez, p. 181
  23. Garrido Pérez, pp. 367–383.
  24. Morán Turina and Sánchez Quevedo, p. 188.
  25. López-Rey, p. 236.
  26. Brown, Velázquez, pintor y cortesano, p. 156.
  27. Metmuseum, base de datos.
  28. Morán Turina and Sánchez Quevedo, p. 236.
  29. López-Rey, Velázquez, p. 185.
  30. Garrido Pérez, pp. 527–537.
  31. Morán Turina and Sánchez Quevedo, p. 252.
  32. Giles Tremlett in Madrid (July 1, 2010). "Yale basement yields Spanish treasure – a possible Velázquez masterpiece". The Guardian. UK. Retrieved December 22, 2010.
  33. "Yale uncovers Velazquez in basement storage". CBC News. July 3, 2010. Retrieved December 22, 2010.
  34. Brown, Velázquez, pintor y cortesano, p. 21.
  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, p. 60.
  39. Brown, Velázquez, pintor y cortesano, p. 282.
  40. Palomino, p. 233
  41. Pérez Sánchez, "Novedades velazqueñas", pp. 371–390.
  42. López-Rey, p. 80.
  43. Brown, Velázquez, pintor y cortesano, p. 47.
  44. "Catálogo de la exposición Velázquez" (1990), pp. 139–141.
  45. Brown (2008), Escritos completos sobre Velázquez, pp. 370–372.
  46. Salort, Velázquez en Italia, pp. 296–301.
  47. Metropolitan Museum of Art. Velázquez Rediscovered exhibit, New York, 2009, with text by Keith Christiansen, Michael Gallagher and Jonathan Brown.
  48. Bloomberg. Velazquez Portrait Sells for $4.7 Million at London Auction
  49. López-Rey, p. 232.
  50. Brown (2008), Escritos completos sobre Velázquez, pp. 411–414 and 376, note 28.

Sources
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  • Brown, Jonathan y Garrido, Carmen. Velázquez. La técnica del genio. Madrid: Ediciones Encuentro. ISBN 84-7490-487-0.
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