Category:Dwarf with a Dog, formerly denominated Antonio el Inglés (Circle of Velázquez - Museo del Prado)

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Dwarf with a Dog, formerly denominated Antonio el Inglés (Circle of Velázquez - Museo del Prado)
Dwarf with a Dog, formerly denominated Antonio el Inglés  wikidata:Q3870152 reasonator:Q3870152
Workshop of Diego Velázquez  (1599–1660)  wikidata:Q297 q:en:Diego Velázquez
Workshop of Diego Velázquez
Description Spanish painter and artist
Date of birth/death 6 June 1599 Edit this at Wikidata 6 August 1660 Edit this at Wikidata
Location of birth/death Seville Madrid
Work location
Seville (1611–1622); Naples (1630–1631); Rome (1636–1637); Rome (1629–1630); Madrid (1622–1660); Italy (1649–1651); Venice (1629) Edit this at Wikidata
Authority file
creator QS:P170,Q4233718,P1774,Q297
 Edit this at Wikidata
image of artwork listed in title parameter on this page
label QS:Len,"Dwarf with a Dog, formerly denominated Antonio el Inglés"
Object type painting Edit this at Wikidata
Genre portrait Edit this at Wikidata
English: The custom of placing the principal figure in a portrait alongside another being that was physically or socially inferior was common practice among artists who portrayed figures from the Spanish court in the sixteenth and seventeenth centuries. Kings, queens, princes and princesses all appeared accompanied by dwarfs, children or animals in a revealing play of hierarchies. This convention exalted the central figure through the comparison of relative sizes and ranks, and was extended to portraits of dwarfs and jesters, who were at times depicted alongside dogs. The implicit comparison in these latter cases, however, has less to do with the idea of hierarchical difference than a device by which the artists -measuring their subjects on an animal scale- could demonstrate the real size of the sitter. In this particular case, a man with long hair, ostentatiously dressed in the French style, poses next to a dog. The artist has made the comparison more extreme: the dog reveals the size of the man, but the sumptuousness of his clothing serves also as a wink -perhaps a cruel one- at the tradition of juxtaposing a sitter of royal stock with an inferior. Until the early decades of the twentieth century, scholars considered this work to be by Diego Velázquez, placing it on the same level as Velázquez´s known portraits of court jesters. In fact, this painting has been published frequently in monographs devoted to the painter from Seville and in general histories of Spanish painting. In 1925, Allende-Salazar called attention to the notable differences between this work and Velázquez´s jesters in the construction of space and in the depiction of the subject. He proposed Juan Carreño de Miranda as the artist responsible for the painting, an opinion shared by subsequent historians such as Alfonso Pérez Sánchez. Others, like Gerstenberg, thought it might be the work of Juan Bautista Martínez del Mazo. In the 1950s, José López-Rey found convincing reasons to reject both attributions and argued instead that it was by an anonymous imitator of Velázquez, a painter who admired the master´s free brushwork, the structural solidity of his works and the verisimilitude he achieved, but who, in attempting to emulate Velázquez, produced a work that is compositionally weaker. The painting presents several details that allow us to situate it in a precise chronological and artistic context. The sitter´s costume, as Carmen Bernis Madrazo has pointed out, dates from the reign of Louis XIII of France, which ended in 1643. The presence of the same dog in Mazo´s The stag hunt at Aranjuez (P02571) implies that this painting could be dated to the last years of the 1630s or the early 1640s, when Mazo executed his work. In that canvas, the dog appears in the lower right-hand side, next to another dwarf and, curiously, showing only the front half of its body -exactly the same view in the anonymous painting here. Such a close dependency on Mazo´s work would suggest that the artist had access to the Royal Collections, in which Mazo´s painting is mentioned for the first time in the eighteenth century (Text from Portús, J.: Portrait of Spain. Masterpieces from the Prado, Queensland Art Gallery-Art Exhibitions Australia, 2012, p. 108).
Español: «Enano ataviado con ricas vestiduras y con espada, que le confieren un cierto aire nobiliario, el personaje aparece sujetando una perra de raza mastín con la mano izquierda mientras sostiene el sombrero con la derecha. Varias han sido las identificaciones propuestas para este retrato. Durante mucho tiempo se consideró que se trataba de Antonio el Inglés, bufón de palacio, muerto en 1617, que dio nombre por mucho tiempo a la pintura. Esta identidad está hoy descartada. Durante el siglo XIX y parte del XX estuvo atribuido a Velázquez, y fue uno de los cuadros de bufones más comentados y reproducidos. Un estudio atento de su factura obligó a rechazar esa atribución, y a considerarla obra anónima de los años cuarenta del siglo XVII, realizada en el entorno cortesano. Aparece citado en el Palacio Real durante el siglo XVIII». (Museo del Prado) «Con respecto al personaje representado, Pedro de Madrazo lo identificó como don Antonio "el Inglés", bufón regalado a Felipe III por el duque de Windsor (?), fallecido antes de 1617 por lo que resultaba difícil esta posibilidad. Se barajaron entonces los nombres de Nicolás Hodson o Antonio Mascareli». (Artehistoria)
Date circa  Edit this at Wikidata
Medium oil on canvas Edit this at Wikidata
Dimensions height: 142 cm (55.9 in) Edit this at Wikidata; width: 107 cm (42.1 in) Edit this at Wikidata
dimensions QS:P2048,+142U174728
dimensions QS:P2049,+107U174728
institution QS:P195,Q160112
Accession number
P001203 (Museo del Prado) Edit this at Wikidata
Place of creation Spain Edit this at Wikidata
Object history


Royal Collection (New Royal Palace, Madrid, retrete del rey, 1772, n. 501; Royal Palace, Madrid, "dormitorio de príncipes-pieza primera", 1814-1818, n. 501).
Exhibition history
<nowiki>Nano con cane; Nain avec un chien; Dwarf with a Dog, formerly denominated Antonio el Inglés; Enano con un perro; Korr ha ki; Zwerg mit Hund; cuadro de anónimo; tableau de Diego Vélasquez; pintura de anónimu; quadre de anònim; Gemälde von Anonymus; pintura de desconhecido; painting by anonymous; maleri af anonym; pictură de anonim; obraz nieznanego autora; pintura de anonim; maleri av anonym; målning av anonym; måleri av anonym; картина невідомого художника; schilderij van Diego Velázquez; painting by circle of Velázquez; pikturo da anonymous; anonymus festménye; dipinto di autore ignoto; pintura de anónimo; pentraĵo de anonima aŭtoro; taolenn dizanv; pintura di anonymous; Retrato de bufón con perro; Retrato de bufon con perro; Nano (Diego Velazquez); Nano con cane (Diego Velazquez); Nano con cane (Velazquez); Nano con cane (Velázquez)</nowiki>
Dwarf with a Dog, formerly denominated Antonio el Inglés 
painting by circle of Velázquez
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Instance of
man, dwarfism, dog, standing, brown hair, waist-length hair, moustache, hat, Spanish Mastiff, sword and soul patch
Made from material
Country of origin
Owned by
Inventory number
  • c. 1645
  • 107 cm
  • 142 cm
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Media in category "Dwarf with a Dog, formerly denominated Antonio el Inglés (Circle of Velázquez - Museo del Prado)"

The following 8 files are in this category, out of 8 total.