1650, Juan de Pareja (attributed), Portrait of Philip IV -- Metropolitan Museum of Art (New York) (special exhibition)
From the museum label: Circumstantial evidence suggests that this is Pareja's earliest known painting. In gratitude for a yearly gift from Spain's King Philip IV to Rome's largest basilica, Santa Maria Maggiore, its canons commissioned a series of portraits of Spanish dignitaries, including this one, for which a receipt is dated May 20, 1650. It is based on Velázquez's head study of Philip IV used in an earlier portrait (1644; The Frick Collection, New York), which he probably brought to Rome in case he received requests for copies of the king's likeness. Pareja was one of the few people who could have accessed the study, and this painting's linearity and buttery surface resemble another portrait of Philip IV signed by Pareja (undated; Columbia Museum of Art, South Carolina).
1650, Juan de Pareja (attributed), Portrait of Philip IV -- Metropolitan Museum of Art (New York) (special exhibition)
From the museum label: Circumstantial evidence suggests that this is Pareja's earliest known painting. In gratitude for a yearly gift from Spain's King Philip IV to Rome's largest basilica, Santa Maria Maggiore, its canons commissioned a series of portraits of Spanish dignitaries, including this one, for which a receipt is dated May 20, 1650. It is based on Velázquez's head study of Philip IV used in an earlier portrait (1644; The Frick Collection, New York), which he probably brought to Rome in case he received requests for copies of the king's likeness. Pareja was one of the few people who could have accessed the study, and this painting's linearity and buttery surface resemble another portrait of Philip IV signed by Pareja (undated; Columbia Museum of Art, South Carolina).