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White, Jon Manchip (1969). Diego Velázquez: Painter and Courtier. London: Hamish Hamilton Ltd. ISBN 978-0-241-01624-4. a b c Records of 1735 show that the original frame was lost during the painting's rescue from the fire. The appraisal of 1747–48 makes reference to the painting having been "lately restored". [16]

The Innovation for Cleaner Safer Vehicles (ICSV) is focused on improving the safety of mining vehicles and reducing their undesirable diesel emissions.Gaggi, Silvio (1989). Modern/Postmodern: A Study in Twentieth-century Arts and Ideas. Philadelphia: University of Pennsylvania Press. ISBN 978-0-8122-1384-3. Snyder proposes it is "a mirror of majesty" or an allusion to the mirror for princes. While it is a literal reflection of the king and queen, Snyder writes "it is the image of exemplary monarchs, a reflection of ideal character". [58] Later he focuses his attention on the princess, writing that Velázquez's portrait is "the painted equivalent of a manual for the education of the princess—a mirror of the princess". [59] For rebinding keys (remaps). These remaps should then be saved by selecting Save Game ( Core) Remap File. The work was evacuated to Geneva by the Republican Government, together with much of the Prado's collection, during the last months of the Spanish Civil War, where it hung in an exhibition of Spanish paintings in 1939. [20] Raphael: Portrait of a Cardinal – Christ Falling on the Way to Calvary – Madonna of the Rose – Visitation – La Perla (with Romano)

Dans un sens RECALBOX, HAPPI Etc.... Ne sont'il pas tous une copie de l'originale ? (RETROPIE, LAKKA). Miller, Jonathan (1998). On Reflection. London: National Gallery Publications Limited. ISBN 978-0-300-07713-1. Clark suggests that the work comprises a scene where the ladies-in-waiting are attempting to cajole the Infanta Doña Margarita to pose with her mother and father. In his 1960 book " Looking at Pictures", Clark writes: Onscreen Notifications - It controls wether or not overrides notifications (?) will be displayed. If set to OFF, no overrides notification ? will be displayed.Stone, Harriet (1996). The Classical Model: Literature and Knowledge in Seventeenth-Century France. Ithaca: Cornell University Press. ISBN 978-0-8014-3212-5. Many aspects of Las Meninas relate to earlier works by Velázquez in which he plays with conventions of representation. In the Rokeby Venus—his only surviving nude—the face of the subject is visible, blurred beyond any realism, in a mirror. The angle of the mirror is such that although "often described as looking at herself, [she] is more disconcertingly looking at us". [71] In the early Christ in the House of Martha and Mary of 1618, [j] Christ and his companions are seen only through a serving hatch to a room behind, according to the National Gallery (London), who are clear that this is the intention, although before restoration many art historians regarded this scene as either a painting hanging on the wall in the main scene, or a reflection in a mirror, and the debate has continued. [k] [l] The dress worn in the two scenes also differs: the main scene is in contemporary dress, while the scene with Christ uses conventional iconographic biblical dress. [l] Snyder, Joel (June 1985). " Las Meninas and the Mirror of Prices". Critical Inquiry. The University of Chicago Press. 11 (4): 539–572. doi: 10.1086/448307. JSTOR 1343417. S2CID 162111194. There is no documentation as to the dates or reasons for the trimming. López-Rey states that the truncation is more notable on the right. [15] a b Dambe, Sira (December 2006). "Enslaved sovereign: aesthetics of power in Foucault, Velázquez and Ovid". Journal of Literary Studies. 22 (3–4): 229–256. doi: 10.1080/02564710608530402. S2CID 143516350. Archived from the original on 24 March 2021 . Retrieved 17 March 2021.