List of works by Diego Velázquez

This is a list of paintings and drawings by the 17th-century Spanish artist Diego Velázquez. Velázquez is estimated to have produced between only 110 and 120 known canvases. Among these paintings, however, are many widely known and influential works.

All paintings are in oil on canvas unless noted.

Seville (until 1622) Painting Title Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-ReyThree Musicians1617–161887 × 110Staatliche Museen, Berlin 1/1The Lunchc. 1618108.5 × 102Hermitage, Saint Petersburg2/3La mulatac. 162055 × 118National Gallery of Ireland, DublinThe dates proposed by critics range from 1617 to 1622.3/17Old Woman Cooking Eggs1618100.5 × 119.5National Gallery of Scotland, EdinburghDated in the lower right corner.5/6Christ in the House of Martha and Mary 161860 × 103.5National Gallery of LondonDated.6/7Dos jóvenes a la mesa1622 65.3 × 104Apsley House, London9/24Saint Thomas1619–162095 × 73Musée des Beaux-Arts d'Orléans, Orléans10/10Immaculate Conception1619135 × 101.6National Gallery of London11/11San Juan en Patmos1619135.5 × 102.2National Gallery of London12/12Adoration of the Magi 1619204 × 126.5Museo del Prado, MadridDated in the stone under the foot of the Virgin.13/13Saint Paul1619–162099 × 78Museu Nacional d'Art de Catalunya, Barcelona14/14Cabeza de apóstol162238 × 29Museo del Prado, Madrid 15/15The Waterseller of Seville1620106.7 × 81Apsley House, London16/16Don Cristóbal Suárez de Ribera1620207 × 148Museum of Fine Arts of SevilleSigned and dated in a fold of clothing difficult to read.López-Rey, p. 46. This would be a posthumous portrait, as the sitter died in 1618, although Mayer thought that monogram and date could be apocryphal.Morán Turina and Sánchez Quevedo, p. 50. 17/19La venerable madre Jerónima de la Fuente1620162 × 107Museo del Prado, MadridSigned 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.López-Rey, p. 48. 18/20La venerable madre Jerónima de la Fuente1620162.5 × 105Colección Fernández Araoz, MadridSigned and dated "Diego Velazquez f. 1620". Added at a later date under the hand of others.Garrido Pérez, pp. 94–95.19/21Imposición de la casulla a San Ildefonso1620–1623166 × 120Municipality of SevilleIn poor condition with significant loss of paint.20/22Retrato de caballero/Francisco Pacheco1620–162240 × 36Museo del Prado, Madrid21/23

Madrid (1622–1629) Painting Title Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-ReyPortrait of Don Luis de Góngora162250.3 × 40.5Museum of Fine Arts, Boston22/25Retrato de hombre1623–162455.5 × 38Museo del Prado, MadridAllende-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.Morán Turina and Sánchez Quevedo, p. 64. 24/27Felipe IV1623–162461.6 × 48.2Meadows Museum, DallasBrown believes that this may be a portrait of the king,Brown, Velázquez, pintor y cortesano, pp. 45–46. a hypothesis rejected by López-Rey.López-Rey, p. 64. 25/28Retrato de dama162532 × 24Once 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.Morán Turina and Sánchez Quevedo, p. 7228/31Cabeza de venado1626–162858 × 44.5Museo del Prado, MadridDating is controversial. Most critics suggest 1635.Morán Turina and Sánchez Quevedo, p. 78 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".López-Rey, p. 76. A technical study by Carmen Garrido placed the date between 1626 and 1628.Garrido Pérez, p. 155.31/33Cristo contemplado por el alma cristiana1626–1628165 × 206.4National Gallery of London32/35Felipe IV1623–1628198 × 101.5Museo del Prado, Madrid33/36Portrait of the Infante Don Carlos1626–1628209 × 12Museo del Prado, Madrid34/37Portrait of Philip IV in Armourc. 162857 × 44.5Museo del Prado, MadridThis is considered a fragment of a larger work painted in two stages, reforming the dress and adding the red band in the second.Morán Turina and Sánchez Quevedo, p. 8635/38Demócrito/El geógrafo1628–1629101 × 81Musée des Beaux-Arts de RouenHead and hand repainted around 1640. Radiography shows the left hand formerly contained a drink, as it appears in two copies preserved.Morán Turina and Sánchez Quevedo, p. 9037/40The Triumph of Bacchus1628–1629165.5 × 227.5Museo del Prado, Madrid38/41La cena de Emaús1628–1629 123.2 × 132.7Metropolitan Museum of Art, New York CityProposed dates range from 1619 (Lafuente Ferrari) to a time immediately after the first trip to Italy (Marias).Morán Turina and Sánchez Quevedo, p. 94 39/42

First trip to Italy (1629–1630) Painting Title Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-ReyPortrait of Maria Anna163059.5 × 45.5Museo del Prado, Madrid40/48Joseph's Tunic1630223 × 250El Escorial, San Lorenzo de El Escorial41/43Apollo in the Forge of Vulcan1630222 × 290Museo del Prado, Madrid42/44Cabeza de Apolo163036 × 25Private collection, New York CityConsidered a study for Apollo in the Forge of Vulcan.Morán Turina and Sánchez Quevedo, p. 102.43/45El Pabellón de Cleopatra-Ariadna 163044.5 × 38.5Museo del Prado, MadridThe 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.Morán Turina and Sánchez Quevedo, p. 104.44/46View of the Garden of the Villa Medici 163048.5 × 43Museo del Prado, Madrid45/47

Madrid (1631–1648) Painting Title Date Dimensions (cm) Collection Notes Catalog numbers: Morán–Sánchez/López-ReyA Sybil (Juana Pacheco?) 1630–1631 62 × 50Museo del Prado, Madrid46/49Retrato de hombre joven1630–163189.2 × 69.5Alte Pinakothek, MunichAppears 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.López-Rey, p. 120.47/50Temptation of St. Thomas1631–1632244 × 203Museum of the Orihuela Cathedral, Orihuela48/130Prince Balthasar Charles With a Dwarf1631128.1 × 102Museum of Fine Arts, Boston49/51Philip IV in Brown and Silver1631–1632199.5 × 113National Gallery of London50/52Isabel de Borbón1631–1632207 × 119Private collection, New York City51/53Don Diego del Corral y Arellano1631–1632205 × 116Museo del Prado, Madrid52/55Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis1631–1632205 × 115Museo del Prado, MadridBrown 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.Brown, Velázquez, pintor y cortesano, pp. 140–141.López-Rey, p. 134.53/54Mano de hombre163027 × 24Unknown; previously Royal Palace of Madrid54/56Don Pedro de Barberana y Aparregui 1631–1632198.2 × 111.8Kimbell Art Museum, Fort Worth, Texas55/57Don Juan Mateos1632108 × 90Dresden Gallery, DresdenThe hands are only outlined, but with a touch of white light which suggests that Velázquez considered the work finished in that state.56/58Christ Crucified 1632250 × 170Museo del Prado, Madrid57/59Retrato del príncipe Baltasar Carlos1632117.8 × 95.9Wallace Collection, London58/60Felipe IV1632127.5 × 86.5Kunsthistorisches Museum, ViennaGenerally considered the work of Velázquez and his workshop.Morán Turina and Sánchez Quevedo, p. 134 For López-Rey only the head and some small details could be considered by Velazquez.López-Rey, Velázquez, p. 18159/61Isabel de Borbón1632132 × 101.5Kunsthistorisches Museum, Vienna60/62The Jester Named Don John of Austria 1632–1633210 × 124.5Museo del Prado, Madrid61/65Equestrian Portrait of the Count-Duke of Olivares1634314 × 240Museo del Prado, Madrid62/66White Horse1634–1638310 × 245Royal Collections Gallery, Madrid63/67Equestrian Portrait of Philip III1634–1635305 × 320Museo del Prado, Madrid64/68Equestrian Portrait of Margarita of Austria1634–1635302 × 311.5Museo del Prado, MadridVelazquez and workshop.65/69Equestrian Portrait of Elisabeth of France1634–1635304.5 × 317.5Museo del Prado, MadridVelazquez and workshop.Garrido Pérez, pp. 367–383.66/70Equestrian Portrait of Philip IV1634–1635305.5 × 317.5Museo del Prado, Madrid67/71Equestrian Portrait of Prince Balthasar Charles1634–1635209.5 × 174Museo del Prado, Madrid68/72The Surrender of Breda1634–1635307.5 × 370.5Museo del Prado, Madrid69/73Portrait of Juan Martínez Montañés1635–1636110.5 × 87.5Museo del Prado, Madrid70/76Felipe IV cazador1632–1633189 × 124.5Museo del Prado, Madrid71/63El cardenal infante don Fernando de Austria cazador1632–1633191.5 × 108Museo del Prado, Madrid72/64Prince Balthasar Charles as a Hunter 1635–1636191 × 102Museo del Prado, Madrid73/77El príncipe Baltasar Carlos en el picadero (Prince Baltasar Carlos in the Riding School)1636144 × 96.5Duke of Westminster Collection, London74/78The Lady with a Fan 163595 × 70Wallace Collection, London75/79The Needlewoman 1635–164374 × 60National Gallery of Art, Washington D.C.Unfinished and of uncertain date.77/81Portrait of Pablo de Valladolid 1636–1637213.5 × 125Museo del Prado, Madrid78/82The Jester Calabacillas1637–1639105.5 × 82.5Museo del Prado, Madrid79/83The Jester Barbarroja1637–1640200 × 121.5Museo del Prado, Madrid80/84San Antonio Abad y san Pablo ermityear1635–1638261 × 192Museo del Prado, Madrid81/85Portrait of the Count-Duke of Olivares163867 × 54Hermitage Museum, Saint Petersburg82/87Francesco I d’Este163868 × 51Galleria Estense, Modena 84/89El príncipe Baltasar Carlos 1639128.5 × 99Kunsthistorisches Museum, ViennaVelázquez and workshop.Morán Turina and Sánchez Quevedo, p. 188.86/90Retrato de hombre1635–164576 × 64.8Apsley House, London87/91Aesop 1639–1641179.5 × 94Museo del Prado, MadridInscription at top right: "AESOPVS".88/92Menipo 1639–1641178.5 × 93.5Museo del Prado, MadridInscription at top left: "MOENIPPVS".89/93Mars Resting 1639–1641181 × 99Museo del Prado, Madrid90/94Self-Portrait1640 45.8 × 38Museu de Belles Arts de València91/96Retrato de niña164051.5 × 41Hispanic Society of America, New York CityUnfinished according to López-Rey, highlighting the vigorous brushstrokes in the garment,López-Rey, p. 236. and "one of the most captivating female portraits by Velazquez," according to Brown.Brown, Velázquez, pintor y cortesano, p. 156.92/97Portrait of Francisco Lezcano 1643–1645107.5 × 83.5Museo del Prado, Madrid93/99Portrait of Philip IV in Fraga 1644129.8 × 99.4Frick Collection, New York City94/100The Jester Don Diego de Acedo 1645106 × 82.5Museo del Prado, Madrid96/102Portrait of Sebastián de Morra 1645106 × 81.5Museo del Prado, Madrid97/103Coronation of the Virgin 1645178.5 × 134.5Museo del Prado, Madrid98/105Rokeby Venus 122.5 × 177National Gallery of London100/106Female Figure 1644-164864 × 58Meadows Museum, Dallas101/108La infanta María Teresa 164848 × 37Metropolitan Museum of Art, New York City102/109Un caballero de la Orden de Santiago 1645–1650 67 × 56Gemäldegalerie Alte Meister, Dresden103/110

Second trip to Italy (1649–1651)