Also from this period his portrait of the court Jester Pablo de Valladolid, referred as a “pantaloon” by Justi and Heake (442). According Moreno Villa he served in the court of Philip IV from 1632 to 1648 and was an acclaimed “repentista” improvisation actor, and appears in this demeanor dressed in black court dressed. Even though Justi regards him just as a comedian, Moreno Villa categorizes him as “loco” fool. It´s not clear from the bibliography consulted to which of these categories he belonged to. Looking as a parody of the classic knight he appears with the Hand on his chest a classic gesture of nobility as seen in the painting of el Greco, and has got short beard of low nobility (hijos dalgo). This portrait is regarded the finest work of the whole buffon series for
the technical achievement of producing the perspective with such a sobriety of means, , just projecting the shadow of the character in a neutral background devoid of any spatial references, and has been interpreted as another negation of the Cartesian perspectival system just as it has been done in Calabacillas. Moreover, the “highly detailed and individualized form of the jester” can be read as a substantiation of the lower social levels.Manet in the 19th century referred of this work as the most incredible piece of painting ever painted, and took it as an inspiration for his “The fifer” (1866) in the D’orsay museum in Paris.
Melania Moscoso, 2009 ©
This obra by Representations of Disability in Spanish Baroque Portraiture:Velazquez´s jesters is licensed under a Creative Commons Reconocimiento 3.0 Estados Unidos License.
Based on a work at caperucitacoja.blogspot.com.
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