1650, Diego Velazquez, Portrait of Camillo Astalli -- Metropolitan Museum of Art (New York)
From the museum label: Pope Innocent X granted Astalli the title of "cardinal-nephew," a peculiar and powerful station that ensured the transfer of power given that a pope could not have legitimate children. Velázquez painted this portrait in the short period between Astalli's appointment as cardinal on September 19, 1650, announced by his brilliant red mozzetta and cap, and the artist's excursion from Rome to Modena on December 12. In the wake of Velázquez's Portrait of Innocent X (a version of which hangs nearby), sitting for the artist could help an individual garner alliances and favor in the politically charged papal court. Executed with great economy of means, this portrait is a stunning study in red and white, both brilliantly juxtaposed on Astalli's garment and subtly integrated in his face.
1650, Diego Velazquez, Portrait of Camillo Astalli -- Metropolitan Museum of Art (New York)
From the museum label: Pope Innocent X granted Astalli the title of "cardinal-nephew," a peculiar and powerful station that ensured the transfer of power given that a pope could not have legitimate children. Velázquez painted this portrait in the short period between Astalli's appointment as cardinal on September 19, 1650, announced by his brilliant red mozzetta and cap, and the artist's excursion from Rome to Modena on December 12. In the wake of Velázquez's Portrait of Innocent X (a version of which hangs nearby), sitting for the artist could help an individual garner alliances and favor in the politically charged papal court. Executed with great economy of means, this portrait is a stunning study in red and white, both brilliantly juxtaposed on Astalli's garment and subtly integrated in his face.