Conde duque de Olivares; Salón de Reinos; Madrid; Palacio del Retiro; Buen Retiro; Felipe IV; Historia Militar; Breda; Velázquez; Spínola; picas; Breda; siglo XVII; Museo del Prado - History Lab https://historylab.es Thu, 19 May 2022 15:17:10 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://historylab.es/wp-content/uploads/2021/06/cropped-icono-historylab-32x32.jpg Conde duque de Olivares; Salón de Reinos; Madrid; Palacio del Retiro; Buen Retiro; Felipe IV; Historia Militar; Breda; Velázquez; Spínola; picas; Breda; siglo XVII; Museo del Prado - History Lab https://historylab.es 32 32 The surrender of Breda https://historylab.es/the-surrender-of-breda/?utm_source=rss&utm_medium=rss&utm_campaign=the-surrender-of-breda Sat, 19 Feb 2022 16:30:57 +0000 https://historylab.es/2022/02/19/la-rendicion-de-breda/ Representation of the Surrender of Breda, a work that forms part, along with others, of the commemoration of a series of land and naval victories that were won by the armies of the Hispanic Monarchy during the first period of the Thirty Years' War (1621-30). These canvases were intended for the Salón de Reinos at the Buen Retiro Palace.

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]]> The Surrender of Breda, a work by Velázquez, is incorrectly known as “The Spears”, when in fact halberds are depicted on the left-hand margin corresponding to the rebel provinces, while the tercio carries pikes. On 5 June 1625 the governor of Breda, Justino de Nassau, handed the keys of the city to the Genoese general in command of the tercios, Ambrosio Spinola. This victory was one of the most important ones, which is why the Sevillian master, the most prestigious painter at the Court, was called upon to decorate the Salón de Reinos. Numerous scholars have pointed out that this is not a typical war painting in which a victory is recreated, as there are neither triumphant generals nor humiliated armies. The victorious general, Spinola, affectionately receives the key from the defeated enemy, in a gesture that is almost more an announcement of the beginning of peace than of the end of the war, where the vanishing point of the composition is precisely the exchange of the key.

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