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The Feast of Bacchus (The Drunkards), by Velázquez
The six days of the week when the Prado art museum is open, thousands of visitors spend hours admiring the numerous masterpieces on display. The design of the art gallery itself might not be as grandiose as that of the Louvre in Paris, and space is also a problem since only 1,500 of the gallery's 8000 paintings are on display at any given time. Additionally has Picasso's "Guernica" found a home in a different art gallery in Madrid. Therefore it can be tempting to ask why it nevertheless is that the Prado is considered to be one of the foremost art galleries in the world. Just mentioning the names of El Greco, Goya and Velázquez should provide answers enough though. The latter painted what was to become the art gallery's most famous painting, "Las Meninas", and it has been said that many Spaniards would dive through the flames to save it if the Prado should ever happen to catch fire. Perhaps can it also be claimed that some also would make sure to save another masterpiece by the painter, namely "The Drunkards", which as a matter of fact happens to be displayed in the same room as "Las Meninas".
Diego Rodríguez de Silva y Velázquez was born in Seville in the last year of the 16th century, and showed an early interest for his future profession. Like many other masters of the time, the young Velázquez entered an apprentice with Francisco Pacheco, and would due to exceptional skill and talent grow up to become the king's painter resident in the palace. It was during his early stay at the palace he would paint "The Drunkards", this as his first mythological painting. Although there is not perfect agreement on the timing of the work, most tend to believe it was finished in 1629 after having been commenced the year before. As will soon be shown in an in-depth study of the famous masterpiece, the brilliant painter had at the time yet to fully perfect his technical skills, something he would later do through experience gained in Venice. Towards the end a few comments will be made on how Velázquez improved as a painter during his stay in Italy, but first an understanding of how Velázquez' unquestioned brilliance is so clearly reflected in "The Drunkards" has to be reached.
As a part of the royal collection at the king's court in Madrid, the work was traditionally refereed to as "Bacchus" or "Bacchus Crowning a Drunk". Being the son of Jupiter and Semele, Bacchus is in the world of mythology known as the god of wine, propagator of the grapevine and as a provider of joy. Alcohol was then as now a much beloved rescue for the common man in the street, and as Bacchus therefore was considered to brighten the lives of ordinary people, he was also considered to be the god closest to men. "The Drunkards", which is the name most commonly used today, was originally given to the masterpiece by neoclassists who considered Velázquez' painting to be a depiction of a farce. Some have argued that neoclassists simply did not understand mythology unless it was treated in ideal forms and with the most beautiful respect, and that Velázquez merely for that reason was accused of mocking the gods. Today contradicting opinions are held on issue, but fewer than before tend to side with the neoclassists, this as religious characters also in Christian works by Velázquez had a rather unidealised appearance. A stunning example of this is "Adoration of the Magi", which can also be viewed at the Prado. Yet, along with considering any possible imperfections from Velázquez' side, one should also consider how historic incidents have altered the painting.
Art historians have often criticised the colours of "The Drunkards" as being too dark, which is said to be a characteristic of Velázquez's early Seville paintings. Although the composition is that of nine life-size figures in an open-air daytime scene, visitors to the Prado will get the impression the artwork was painted later in the evening. The dark colours used by Velázquez during his initial stay in Seville must take some of the blame for this. Additionally it should be mentioned that Velázquez often took use of chiaroscuro to create the effects of light and shadow in the natural world, something he would leave behind him completely after going to Venice. For "The Drunkards" though, the usage of relatively subdued colours and chiaroscuro does not leave the impression that the scene took place in full daylight. Finally it is also clear that the painting was damaged in the fire that gutted the Royal Palace in 1734. In addition to the canvas having to be cut down on both sides, the composition is said to have darkened considerably, and that so in an unevenly manner. Specifically this is meant to have had a blurring effect on the vine-crowned man sitting in the left foreground, which consequently decreased the effect of the painting's implied lines.
"The Drunkards" contains several implied lines, and one can through close observation see how the intercrossing of diagonals underscores the heads of Bacchus and the hatted drinker as the painting's two focal points. In the picture's current state, this can best be seen by following the implied lines from the man being crowned and from the nude helper of Bacchus placed top left in the painting. The latter is clearly visually focusing on Bacchus, as is the brown clothed drinker in the right foreground. It is likely to think that the blurred out bottom left figure was meant to further emphasise the clear indication of Bacchus and the hatted drinker as the two focal points. Yet neither of the latter two is placed in the centre of the picture, nor is the picture especially well balanced as most of the visual weight clearly is on the right side. Perhaps surprisingly have the still-life elements of a pitcher and a plate been given the honour of being centred in the painting. Some art critiques have considered this to be a major flaw, and question why Ruben did not react against the "two-dimensional decals pasted onto the canvas without regard for the surrounding spatial construction". Others have contradicted this, and asserted that the earlier mentioned diagonals create a roomy area where Bacchus officiates, indirectly leading up to the standing beggar in the top right background. The latter, who is clearly identified by his open palm, was not in any way placed there by chance.
Additionally to stretching out a hand, the mentioned beggar is also in the process of taking off his hat, thus expressing movement and his late arrival to the party. One can also observe how he is posed in a frontal position; thus being isolated from the three surrounding drinkers who are all posed in profile. On the other hand does the beggar not stand out because of simpler clothing, and why this is so will soon be studied when the painting's links to the picaresque novel is to be explained. Yet it is first essential to emphasise the importance of the beggar's isolation, this as it illustrates the fleeting effects of the bacchic gift and perhaps what can also be considered the subject matter. The drunkards enjoying the wine received from their favourite god do not suffer the hardships suffered by the beggar deprived of the alcoholic gift, this in contrast to the days they should all happen to be sober. Being satirical in the sense that he depicts the men's short-lived escape from their hardships, one can not help feeling sorry for the unlucky individuals Velázquez painted just before heading of to Venice.
The young Velázquez was fortunate enough to receive guidance and advice from a very successful and infamous Dutch tutor, Peter Paul Rubens. The latter was not only in the forefront when the initiative of sending Velázquez to Italy was taken; he also deeply influenced the art of the coming master. It has for instance been claimed that the head of Bacchus was inspired by engravings made by Hendrik Goltzius, and also that "The Drunkards" might contain references to either Dutch literary works or festivals. Yet, even though the influence of Rubens' painting style is evident, the feeling of the painting is nothing but Spanish. The drinkers are all what one in Spanish calls picaros, which roughly describes someone who keeps company with vagabonds and ruffians. As beggars first began appearing in mid-sixteenth-century Spain, this as there before this time did not exist many one could beg from, people known as picaro became the main figures in the novels we today categorise as picaresque novels. Finally the literary influence would also reach the world of Spanish art. The ragged and tattered figures depicted by Velázquez in "the Drunkards" fall straight into the group of picaros. One would perhaps as in the novels not expect their behaviour to always be moral, but likeable representatives of Spain they will seem to most viewers.
Finally it is clear that overlapping has been used to create some sense of depth on a two-dimensional surface. Impasto does additionally along with blotches of shadow emphasise the grimacing features of the four drinkers bunched together to the right, this isolating them even more from the standing beggar whose face is shadowed forth. Yet it should be mentioned when discussing space and the illusion of depth that Velázquez later would improve greatly in this aspect. This can be for instance be seen in his earlier mentioned masterpiece, "Las Meninas", where Velázquez gracefully conveys the space between the figures of the bodies by blurring the profiles and shading the colours of the figures placed further away. The figures do therefore appear to the viewer exactly how they would in reality, a fact that in many people's eyes contributes to making "Las Meninas" one of the best artistic achievements ever created.
Bacchus is in the painting draped in a classical tunic, and this in addition to the crystal glass held by his companion helps distinguish him from the mortal men celebrating around them. The god's cool naked skin does additionally form an actual line towards the dark background, this especially since the drinkers in addition to his helper are clad in shadow. Bacchus' counterpoise to the man in the shapeless hat further empathises this point, and does also make the composition more dynamic. In conclusion it can be mentioned that the theatrically of the Baroque well could be relatively subtle to Velázquez, but "The Drunkards" is clearly full of emotion, energy and movement. The painter would perhaps lighten and improve his use of colours later on in his career, but "The Drunkards" and its satirical charm nevertheless continues to charm thousands of visitors every day at the Museo Nacional del Prado.
Bibliography
Bell, Brian. Madrid. Singapore: APA Publications, 1998.
Diego Rodríguez de Silva y Velázquez was born in Seville in the last year of the 16th century, and showed an early interest for his future profession. Like many other masters of the time, the young Velázquez entered an apprentice with Francisco Pacheco, and would due to exceptional skill and talent grow up to become the king's painter resident in the palace. It was during his early stay at the palace he would paint "The Drunkards", this as his first mythological painting. Although there is not perfect agreement on the timing of the work, most tend to believe it was finished in 1629 after having been commenced the year before. As will soon be shown in an in-depth study of the famous masterpiece, the brilliant painter had at the time yet to fully perfect his technical skills, something he would later do through experience gained in Venice. Towards the end a few comments will be made on how Velázquez improved as a painter during his stay in Italy, but first an understanding of how Velázquez' unquestioned brilliance is so clearly reflected in "The Drunkards" has to be reached. 
