The Capitulation of Breda

Title: La rendición de Breda (The Surrender of Breda)
Artist: Diego Velázquez
Date: 1634-1635

On display from the Museo del Prado is Diego Velazquez's The Surrender of Breda (1634-1635). Velazquez, under commission for King Philip IV, commemorates the capture of Breda during the Eighty Years' War. Depicted is the Spanish general Spinola takes the keys to the city from the defeated Dutch general. Velazquez paints the Dutch general as bowing to Spinola, which highlights the victory of Spain. However many art historians believe that the Dutch do not look as though they have been painfully defeated. The Dutch are depicted as looking more well rested and healthy than the Spanish soldiers. The Dutch general may even wear a condescending expression as he may know one day the Dutch will take back the city of Breda, which was recaptured in 1637. Velazquez paid certain attention to the Spanish lances as he later went back and made the lances much taller than the Dutch's lances, which is why the Surrender of Breda is also known as The Lances. On the left, the Spanish army is depicted with longer and straighter lances which is to highlight the greater power and strength of the Spanish army. Even though the lances are a symbol for Spain's military prowess, the cordiality between Spinola and the Dutch general is meant to paint Spain in a good light. The Surrender of Breda shows Spain as capable of respect and forgiveness of those of whom they have defeated. Once again, Spain's military power has allowed Spain to capture new lands and rule over new people. However, sometimes Spain's power was not always enough. As the Dutch took back the city of Breda in 1637, the Spanish effort during the Eighty Years' War was wasted. In order to gain more power throughout Europe, occasionally Spain made wrong decisions that led to their own defeat. 

Source :

http://span2322finalproject.weebly.com/featured-art.html

Rocroi, the Last Tercio

Title: Rocroi, el último tercio (Rocroi, the last tercio)
Artist: Augusto Ferrer-Dalmau
Date: 2011

Rocroi, The Last Tercio (2011) by the contemporary artists Augusto Ferrer-Dalmau is on display from the Thyssen-Bornemisza Museum. Rocroi, The Last Tercio depicts the defeat of the Spanish army in the Battle of Rocroi against the French. The Battle of Rocroi occurred near the end of the Thirty Years' War and is an important battle in world history. The French defeat of the Spanish army marks the end to a century and a half of battles won by the Spanish army7.  Interestingly however, unlike in The Surrender of Breda by Velazquez, Ferrer-Dalmau only paints the Spanish army. The last tercio, or the last third of the Spanish army stands together proud and defiant as they await the French artillery. Even though Spain suffered a massive loss, within the painting, Spain can be seen as still having dignity. By only showing the bravery of the Spanish army and not the victorious French army, makes the viewer almost believe that Spain had won the Battle of Rocroi. The attention to detail as well as the long lances is very similar to Velazquez's representation of the surrender of the city of Breda. After waging wars and other military campaigns for around 150 years, Spain had finally abused their power and spread themselves too thin. Once the French had defeated the Spanish army, Spain would no longer live in a Golden Age.

Source :
http://span2322finalproject.weebly.com/featured-art.html

And When Did You Last See Your Father?

Title: And When Did You Last See Your Father?
Artist: William Frederick Yeames
Date: 1878

The oil-on-canvas picture, painted in 1878, depicts a scene in an imaginary Royalist household during the English Civil War. The Parliamentarians have taken over the house and question the son about his Royalist father (the man lounging on a chair in the centre of the scene is identifiable as a Roundhead officer by his military attire and his orange sash). Yeames was inspired to paint the picture to show the crises that could arise from the natural frankness of young children. Here, if the boy tells the truth he will endanger his father, but if he lies he will go against the ideal of honesty undoubtedly instilled in him by his parents.

The boy in the pictures is based on Thomas Gainsborough's painting 'The Blue Boy'. It was modelled by Yeames' nephew, James Lambe Yeames. Behind the boy, there is a girl, probably the daughter, waiting her turn to be questioned. The girl was based on Yeames' niece, Mary Yeames. At the back of the hall the mother and elder daughter wait anxiously on the boy's reply. The scene is neutral: while the innocence of the boy is emphasised by his blond hair, open expression and blue suit, the questioners are also treated sympathetically; the main interrogator has a friendly expression and the sergeant with the little girl has his arm on her shoulder as if comforting her. The painting is at the Walker Art Gallery, Liverpool, having been bought in 1878, just a year after the gallery opened in 1877. Madame Tussauds in London has a life-size waxwork tableau of the scene, faithfully reproduced from the painting.

Source :
https://en.wikipedia.org/wiki/William_Frederick_Yeames