Editing Diego Velázquez (section)

===Final years===
[[File:Velazquez figurando.jpg|thumb|Detail of {{Lang|es|[[Las Meninas]]}} (Velázquez's self-portrait)]]
[[File:Diego Rodriguez de Silva y Velázquez - Infanta Margarita Teresa in a Blue Dress - Google Art Project.jpg|thumb|Portrait of the eight-year-old ''Infanta Margarita Teresa in a Blue Dress'' (1659)]]
There were essentially only two patrons of art in Spain—the church and the art-loving king and court. [[Bartolomé Esteban Murillo]], who toiled for a rich and powerful church, left little means to pay for his burial, while Velázquez lived and died in the enjoyment of a good salary and pension.

One of his final works was [[Las Hilanderas (Velázquez)|''Las hilanderas'' (''The Spinners'')]], painted circa 1657, a depiction of Ovid's Fable of [[Arachne]].<ref name="Sánchez_Grove"/> The tapestry in the background is based on [[Titian]]'s ''[[The Rape of Europa (Titian)|The Rape of Europa]]'', or, more probably, the copy that [[Peter Paul Rubens|Rubens]] painted in Madrid.<ref>Bird, Wendy. [http://apollo-magazine.co.uk/november-2007/319986/the-bobbin-and-the-distaff.thtml "The Bobbin and the Distaff"] {{webarchive |url=https://web.archive.org/web/20110811150919/http://apollo-magazine.co.uk/november-2007/319986/the-bobbin-and-the-distaff.thtml |date=11 August 2011}}, ''[[Apollo (magazine)|Apollo]]'', 1 November 2007. Retrieved on 28 May 2009.</ref> It is full of light, air and movement, featuring vibrant colors and careful handling. [[Anton Raphael Mengs]] said this work seemed to have been painted not by the hand but by the pure force of will. It displays a concentration of all the art-knowledge Velázquez had gathered during his long artistic career of more than forty years. The scheme is simple—a confluence of varied and blended red, bluish-green, gray and black.

Velázquez's final portraits of the royal children are among his finest works and in the ''[[Infanta Margarita Teresa in a Blue Dress]]''<ref name="bilddatenbank.khm.at">Kunsthistorisches Museum, Wien [http://bilddatenbank.khm.at/images/500/GG_2130_HP.jpg "Infantin Margarita Teresa (1651–1673) in blauem Kleid | Diego Rodríguez de Silva y Velázquez | 1659 | Inv. No.: GG_2130"] {{webarchive |url=https://web.archive.org/web/20131101011349/http://bilddatenbank.khm.at/images/500/GG_2130_HP.jpg |date=1 November 2013}} Retrieved on 27 January 2014.</ref> the painter's personal style reached its high-point: shimmering spots of color on wide painting surfaces produce an almost impressionistic effect—the viewer must stand at a suitable distance to get the impression of complete, three-dimensional spatiality.

His only surviving portrait of the delicate and sickly Prince Felipe Prospero<ref name="Kunsthistorisches Museum 1661">Kunsthistorisches Museum, Wien [http://bilddatenbank.khm.at/images/500/GG_319_HP.jpg "Infant Philipp Prosper (1657–1661) | Diego Rodríguez de Silva y Velázquez | 1659 | Inv. No.: GG_319"] {{webarchive|url=https://web.archive.org/web/20141026115652/http://bilddatenbank.khm.at/images/500/GG_319_HP.jpg |date=26 October 2014 }} Retrieved on 27 January 2014.</ref> is remarkable for its combination of the sweet features of the child prince and his dog with a subtle sense of gloom. The hope that was placed at that time in the sole heir to the Spanish crown is reflected in the depiction: fresh red and white stand in contrast to late autumnal, morbid colors. A small dog with wide eyes looks at the viewer as if questioningly, and the largely pale background hints at a gloomy fate: the little prince was barely four years old when he died. As in all of the artist's late paintings, the handling of the colors is extraordinarily fluid and vibrant.

In 1660, a peace treaty between France and Spain was consummated by the marriage of [[Maria Theresa of Spain|Maria Theresa]] with [[Louis XIV of France|Louis XIV]], and the ceremony took place on the Island of Pheasants, a small swampy island in the [[Bidassoa]]. Velázquez was charged with the decoration of the Spanish pavilion and with the entire scenic display. He attracted much attention from the nobility of his bearing and the splendor of his costume. On 26 June he returned to Madrid, and on 31 July he was stricken with fever. Feeling his end approaching, he signed his will, appointing as his sole executors his wife and his firm friend named Fuensalida, keeper of the royal records. He died on 6 August 1660. He was buried in the Fuensalida vault of the church of [[Saint John the Baptist|San Juan Bautista]], and within eight days his wife Juana was buried beside him. This church was destroyed by the French around 1809, so his place of interment is now unknown.<ref>{{cite news| url=https://www.nytimes.com/1999/09/07/arts/arts-abroad-a-furor-for-velazquez-his-art-but-also-his-bones.html | work=The New York Times | first=Al | last=Goodman | title=ARTS ABROAD; A Furor for Velazquez: His Art but Also His Bones | date=7 September 1999}}</ref>

There was much difficulty in adjusting the tangled accounts outstanding between Velázquez and the treasury, and it was not until 1666, after the death of King Philip, that they were finally settled.