MADRID.- In a significant addition to its collection, the Prado Museum in Madrid has acquired a portrait of the Count-Duke of Olivares, donated by Sir John Elliott. The portrait is linked to the workshop of Diego Velázquez, one of Spain's most revered painters, and offers a rare opportunity to further enrich the museum's collection with another work connected to the Sevillian master. More importantly, it enhances the iconography of one of the most influential figures of 17th-century Spain.

This portrait is part of a group of six paintings derived from an original work housed at the Hermitage Museum in Saint Petersburg, Russia. Of the known copies, the newly acquired piece is considered the highest in quality, featuring a more spontaneous and vibrant brushstroke style. The painting, accepted by the Prado in October 2015 as a donation from Sir John Elliott, had been held under usufruct until this year. Sir Elliott, a former Honorary Trustee of the Prado’s Royal Board of Trustees, has long been recognized for his groundbreaking work on early modern Spanish history, with a particular focus on the life and influence of the Count-Duke of Olivares.

The Count-Duke of Olivares, or Gaspar de Guzmán y Pimentel, was one of the most powerful statesmen of his time, serving as the chief minister to King Philip IV of Spain. His political career, while marked by moments of brilliance, was also riddled with controversies that eventually led to his downfall. His association with the Spanish court during the reign of Philip IV is one of the key themes in Velázquez's body of work, as the artist served as the court’s official painter. This particular portrait, depicting the Count-Duke in bust form, is a powerful reminder of the close ties between art, politics, and personal ambition during Spain’s Golden Age.

A Piece of History

The portrait is part of a larger group of works that scholars believe to be derived from the same original portrait at the Hermitage. Among the six known versions, this one stands out for both its exceptional quality and its fidelity to Velázquez's original composition. Its painterly execution reflects the spontaneity and vigor that characterize Velázquez’s courtly portraits, even though it was most likely produced by his workshop rather than by the master himself.

During Velázquez’s time as a court painter, it was common practice to create multiple copies of royal portraits to meet the high demand for images of the monarchy and its leading figures. These paintings were distributed not only to various palaces and governmental offices within Spain but also sent to other European courts to affirm Spain’s political and cultural influence. As the king’s favorite and one of the most powerful men in Spain, Olivares was a key figure in these artistic endeavors. His image, like that of the king, needed to be tightly controlled to maintain decorum and convey the appropriate grandeur and dignity.

Velázquez's workshop played a crucial role in replicating these portraits, ensuring both the technical excellence and the symbolic authority of each image. While Velázquez himself may have only directly painted a few of these portraits, his supervision over the workshop ensured that each version met the court’s rigorous standards. This particular portrait of Olivares is an example of how the workshop's output adhered to those high standards while also allowing for the flourishing of a more spontaneous and dynamic style that is often associated with the master himself.

The Legacy of Sir John Elliott

Sir John Elliott, one of the most respected historians of early modern Spain, has long had a close connection with both the Prado Museum and the subject of this portrait, the Count-Duke of Olivares. His magnum opus, The Count-Duke of Olivares: The Statesman in an Age of Decline, remains a foundational text in the study of Spanish history, offering insights into Olivares’s political strategies and his ultimate failure to reverse Spain’s economic and political decline in the 17th century.

Elliott’s donation of this portrait is a testament to his deep appreciation of Spain’s cultural history, and his long-standing relationship with the Prado reflects his desire to ensure that Spain’s artistic heritage remains accessible to the public. His contribution of this work is also deeply symbolic, as Olivares was the driving force behind the construction of the Salón de Reinos, part of the Buen Retiro Palace, which now forms part of the Prado Museum’s campus. The Salón de Reinos was originally conceived as a grandiose statement of Spanish power and imperial dominance, and its walls were adorned with paintings by Velázquez and other great artists of the era. By donating a portrait of the man responsible for this cultural project, Elliott helps complete a historical circle that spans both art and politics.

Enhancing the Prado’s Velázquez Collection

The addition of this portrait to the Prado’s collection is a significant milestone in the museum’s ongoing efforts to complete its holdings of works connected to Diego Velázquez. The Prado already boasts the world’s most comprehensive collection of Velázquez’s paintings, including masterpieces such as Las Meninas and The Surrender of Breda. This new acquisition complements other portraits of Olivares in the museum’s collection, providing a richer understanding of the man who wielded immense power at the Spanish court.

Moreover, this portrait offers a glimpse into the working practices of Velázquez’s studio, where the demands of the court required the production of numerous high-quality replicas of original works. It also highlights the challenges of controlling one’s public image in a time when art was a primary means of political communication. Through these portraits, Olivares sought to project an image of strength, authority, and loyalty to the crown—qualities that were central to his political identity, even as his career was ultimately marked by his failure to maintain Spain’s dominance in Europe.

A Continuing Dialogue Between Art and History

The Prado’s acquisition of this portrait is not just a celebration of Spanish art but also a reminder of the intricate connections between art, power, and historical memory. As Velázquez immortalized the figures of the Spanish court, he also contributed to shaping how these individuals would be remembered by future generations. The Count-Duke of Olivares, both in life and in art, embodies the complexities of Spain’s Golden Age—a period of great artistic achievement but also political and economic decline.

With this portrait now part of the Prado’s permanent collection, visitors can continue to explore these rich historical narratives, and scholars can further examine the intricate relationship between Velázquez, his workshop, and the political figures of his time. For the Prado Museum, the addition of this painting is another step toward completing its representation of one of Spain’s most fascinating periods, and for Sir John Elliott, it is a fitting tribute to a lifetime of scholarly dedication to understanding Spain’s past.