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On one significant level, the work provides a self-portrait of the 57-year-old artist four years before his death in 1600, after he had spent more than three decades as court painter to King Philip IV of Spain. Palette in hand on the left side of the painting, Velázquez’s life-size selfie stares our way as if we were the very subject that he is busy capturing on an enormous canvas that rises in front of him – a painting-within-a-painting whose imaginary surface we cannot see.
A dizzying retinal riddle of a painting, Las Meninas plays tug of war with our mind. On the one hand, the canvas’s perspective lines converge to a vanishing point within the open doorway, pulling our gaze through the work. On the other hand, the rebounding glare of the mirror bounces our attention back out of the painting to ponder the plausible position of royal spectres whose vague visages haunt the work. We are constantly dragged into and out of the painting as the here-and-now of the shadowy chamber depicted by Velázquez becomes a strangely elastic dimension that is both transient and eternal – a realm at once palpably real and mistily imaginary.