The Supper at Emmaus

1611–1622 · Workplace

Seville

April 1622

First journey to Madrid

With letters of introduction to the royal chaplain Juan de Fonseca, Velázquez went to Madrid. He was not allowed to paint the new king, Philip IV, but at Pacheco's request he portrayed the poet Luis de Góngora.

1622–1623

The Escorial: discovering Titian

Thanks to Juan de Fonseca, Velázquez saw the royal collection at the Escorial — Titian, Veronese, Tintoretto, Bassano. According to the historian Julián Gállego, studying it, Titian above all, decisively changed his style, from stern naturalism toward silvery greys and transparent blues.

1622–1660 · Workplace

Madrid

30 August 1623

Philip IV sits for Velázquez for the first time

After the death of the king's favourite court painter, Rodrigo de Villandrando, the Count-Duke of Olivares summoned Velázquez to court. The king sat for him, the portrait pleased, and Olivares ordered the painter to move to Madrid.

6 October 1623

Appointed court painter

Velázquez was appointed court painter in place of the late Villandrando at twenty ducats a month, plus fees for his pictures. The king repeated to him Alexander the Great's promise to Apelles: “No one but you shall paint me from now on.”