Velázquez, Los Borrachos (The Drunks), 1628-1629

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Velázquez, Los Borrachos (The Drunks), 1628-1629발음듣기

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(jazzy music) Male: We're in the Prado in Madrid and we're looking at a great early Velazquez, The Triumph of Bacchus.발음듣기

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The painting is unnervingly vivid, almost more than photographic.발음듣기

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Female: Bacchus, the god of wine, looks beautiful and he's sort of bathed in light.발음듣기

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Male: That young central figure.발음듣기

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Female: He's sitting on a jug of wine.발음듣기

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Male: (chuckles) Yes, appropriately.발음듣기

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Female: He's the god of wine.발음듣기

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Male: He's got grape leaves in his hair.발음듣기

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Female: He's come down to earth to bring men wine, which relieves life's sufferings.발음듣기

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And relieving it, it is!발음듣기

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Everyone's having a really good time.발음듣기

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There's a figure kneeling down, one of Bacchus' followers.발음듣기

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He's having a crown placed on his head.발음듣기

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There's a feeling of revelry and partying and fun.발음듣기

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Bacchus looks away, but that other figure just to the right.발음듣기

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Male: With the hat.발음듣기

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Female: He feels like someone we've all seen in a bar somewhere.발음듣기

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Male: Exactly right.발음듣기

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He's got this bowl of wine that he's about to bring to his lips, which, I don't' know about for you, but to me, I feel as if I can just feel the coolness of that liquid.발음듣기

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It is so transparent, I can feel it sort of waft.발음듣기

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Female: The glistening surface.발음듣기

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Male: The glistening surface, I can feel it sort of edge side to side.발음듣기

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I can see his anticipation, but he's looked up at us.발음듣기

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So it's not just the vividness of the contrast of light and shadow across his face, but it's the way in which he smiles directly at us so that we are there.발음듣기

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We are right there ready to partake.발음듣기

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Female: Yeah, I think that's what sort of uncomfortable about it.발음듣기

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He's a kind of seedy character.발음듣기

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Male: Yes, he is.발음듣기

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Female: I mean, he looks sort of like he's lived a hard life, and the figures around him, too; a kind of leathery skin and clothing that looks very poor.발음듣기

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Male: Especially in contrast to the god.발음듣기

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Female: When he looks out at us, it sort of implies that we're like him.발음듣기

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I've sort of become a rowdy reveler in a half-drunken state, sort of partying it up and not feeling life's pain anymore.발음듣기

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Male: There is a kind of guilt by association.발음듣기

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I think that that's exactly right.발음듣기

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We are drawn in.발음듣기

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It's interesting that we're drawn in not only because of the scale of the figures and the sense of proximity, but we're drawn in by a kind of almost moral equivalency.발음듣기

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Female: There is kind of lovely frieze of the figures.발음듣기

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They're all very much close to the foreground in a kind of very Baroque way, and occupy all kind of the same plane across that foreground, taking up much of the space of the painting.발음듣기

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There's a real directness about the figures.발음듣기

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They're very much in our space.발음듣기

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Male: There's also a really interesting set of contrasts.발음듣기

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You have the, as you described, the very beautiful body, and young and sort of perfect body, of Bacchus.발음듣기

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You've then got this hater just over his shoulder.발음듣기

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Those two mythological figures, and perhaps the third crouching down in the foreground in the shadow, are so contrasted against the figures of our reality who are on the right.발음듣기

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One of the things that I think makes this painting feel so vivid and so engaging is the variation in sort of degrees of focus that Velasquez brings to the canvas.발음듣기

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In other words, look at the background.발음듣기

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It couldn't be sort of more unfinished.발음듣기

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The figure in the foreground in the lower left that we mentioned in shadow feels almost incomplete.발음듣기

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So that really draws our eye right to those center figures.발음듣기

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There is something very interesting about the contrast, again.발음듣기

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You mentioned it before, between the directness of the man with a hat and the way in which Bacchus himself looks off to the side, so that our eye has to go to the man that we don't want to go to, in a sense.발음듣기

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Female: There's a kind of realism that Velasquez is bringing to a mythological subject and intentionally not representing it in a kind of Classical manner.발음듣기

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Male: He gives us a few handles, actually quite literally.발음듣기

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If you look at the jugs down at the bottom, in the center, there is a kind of vividness there.발음듣기

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We feel as if we can literally reach in and grab one of those an it will be poured full of wine for us.발음듣기

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There are these sort of points of entrance and these points of physical reality that give us access to the mythological in a way that I don't think we're used to.발음듣기

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Female: It's very much like the way that Caravaggio would paint religious subjects in Italy, with that kind of immediacy and realism and physicality and the down-to-earthiness of the figures and the way that everything is happening very close to us.발음듣기

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I think what we're seeing is a kind of Caravaggio-inspired approach applied to a mythological subject. (jazzy music)발음듣기

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