Diego Rodríguez de Silva y Velázquez was a Spanish painter, the leading artist in the court of King Philip IV, one of the most important painters of the Spanish Golden Age. He was an individualistic artist of the contemporary Baroque period, he began to paint in a precise tenebrist style developing a freer manner characterized by bold brushwork. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family and commoners, culminating in his masterpiece Las Meninas. Velázquez's artwork became a model for 19th century impressionist painters. Since famous modern artists, including Pablo Picasso, Salvador Dalí and Francis Bacon, have paid tribute to Velázquez by recreating several of his most famous works. Velázquez was born in Seville, the first child of João Rodrigues de Silva, a notary, Jerónima Velázquez, he was baptized at the church of St. Peter in Seville on Sunday, June 6, 1599; the baptism most occurred a few days or weeks after his birth.
His paternal grandparents, Diogo da Silva and Maria Rodrigues, were Portuguese and had moved to Seville decades earlier. When Velázquez was offered knighthood in 1658 he claimed descent from the lesser nobility in order to qualify; as was customary in Andalusia, Velázquez used his mother's surname. Raised in modest circumstances, he showed an early gift for art, was apprenticed to Francisco Pacheco, an artist and teacher in Seville. An early-18th-century biographer, Antonio Palomino, said Velázquez studied for a short time under Francisco de Herrera before beginning his apprenticeship under Pacheco, but this is undocumented. A contract signed on September 17, 1611, formalized a six-year apprenticeship with Pacheco backdated to December 1610, it has been suggested that Herrera may have substituted for a traveling Pacheco between December 1610 and September 1611. Though considered a dull and undistinguished painter, Pacheco sometimes expressed a simple, direct realism although his work remained Mannerist.
As a teacher, he was learned and encouraged his students' intellectual development. In Pacheco's school Velázquez studied the classics, was trained in proportion and perspective, witnessed the trends in the literary and artistic circles of Seville. On April 23, 1618, Velázquez married the daughter of his teacher, she had two daughters. The elder, Francisca de Silva Velázquez y Pacheco, married painter Juan Bautista Martínez del Mazo at the Church of Santiago in Madrid on August 21, 1633. Velázquez's earliest works are bodegones, he was one of the first Spanish artists to paint such scenes, his Old Woman Frying Eggs demonstrates the young artist's unusual skill in realistic depiction. The realism and dramatic lighting of this work may have been influenced by Caravaggio's work—which Velázquez could have seen second-hand, in copies—and by the polychrome sculpture in Sevillian churches. Two of his bodegones, Kitchen Scene with Christ in the House of Martha and Kitchen Scene with Christ at Emmaus, feature religious scenes in the background, painted in a way that creates ambiguity as to whether the religious scene is a painting on the wall, a representation of the thoughts of the kitchen maid in the foreground, or an actual incident seen through a window.
The Virgin of the Immaculate Conception follows a formula used by Pacheco, but replaces the idealized facial type and smoothly finished surfaces of his teacher with the face of a local girl and varied brushwork. His other religious works include The Adoration of the Magi and Saint John the Evangelist on the Island of Patmos, both of which begin to express his more pointed and careful realism. From this period are the portrait of Sor Jerónima de la Fuente – Velázquez's first full-length portrait – and the genre The Water Seller of Seville; the Water Seller of Seville has been termed "the peak of Velázquez's bodegones" and is admired for its virtuoso rendering of volumes and textures as well as for its enigmatic gravitas. Velázquez had established his reputation in Seville by the early 1620s, he traveled to Madrid in April 1622, with letters of introduction to Don Juan de Fonseca, chaplain to the King. Velázquez was not allowed to paint the new king, Philip IV, but portrayed the poet Luis de Góngora at the request of Pacheco.
The portrait showed Góngora crowned with a laurel wreath, which Velázquez painted over. He remained there until August. In December 1622, Rodrigo de Villandrando, the king's favorite court painter, died. Velázquez received a command to come to the court from the Count-Duke of Olivares, the powerful minister of Philip IV, he was offered 50 ducats to defray his expenses, he was accompanied by his father-in-law. Fonseca lodged the young painter in his home and sat for a portrait, when completed, was conveyed to the royal palace. A portrait of the king was commissioned, on August 30, 1623, Philip IV sat for Velázquez; the portrait pleased the king, Olivares commanded Velázquez to move to Madrid, promising that no other painter would paint Philip's portrait and all other portraits of the king would be withdrawn from circulation. In the following year, 1624, he received 300 ducats from the king to pay the cost of moving his family to Madrid, which became his home for the remainder of his life. Velázquez secured admission to the royal service with a sa
The 1961 Campeonato Argentino de Rugby was won by Mar del Plata who defeated Rosario in the final. There were several changes in this tournament: The selection of Provincia and Capital merged in the selection of Buenos Aires The teams were divided in four zones with a round-robin pool. For the first time success went to a team outside the direct control of the U. A. R. For the second time a foreigner was called to referee some matches of the championship: James Taylor of Scotland, invited for a one-month educational visit for Argentine referees. Argentina won the third edition of South American Rugby Championship; the Buenos Aires Championship was won by C. A. S. I; the Cordoba Province Championship was won by La Tablada. The North-East Championship was won by Nat. Y Gimnasia and Tucumán RC. Ranking: 1. Rosario, 2. Buenos Aires, 3. Santa Fe Ranking: 1. Mar del Plata, 2. Sur, 3. Rio Negro y Neuquén Ranking: 1. Norte, 2. Valle del Lerma 3. Cordoba Mar del Plata: Sastre O. Beverino G. Prieto L. Mollo A. Marenco C.
Tiribelli H. Meyer R. Larosa R. Ferrari E. Ferrari L. Olivera C. Boublath R. Arroyo O. Esnaola M. Vial S. Rosario:: Caballero J. Mauro R. Puccio A. Dimaje J. Abalos R. Orengo J. Conti R. Villar W. Cerfoglio R. Paillole C. Paquez E. Ferraro M. Esmendi R. Carosini A. Gómez Kenney J. Rugby Archive Memorias de la UAR 1961 XVII Campeonato Argentino
Leknes Airport is a regional airport serving the town of Leknes and the surrounding areas in the Lofoten archipelago in Nordland county, Norway. The airport is located just outside Leknes in Vestvågøy municipality; the European route E10 highway passes along the east side of the airport. In 2014, Leknes Airport had 101,757 passengers, it is operated by Avinor. The airport is served by Widerøe with Dash 8 aircraft connecting the community to Bodø and other communities in Nordland; the routes are operated on public service obligation with the Norwegian Ministry of Transportation and Communication. Flights to Oslo via Bodø take about 3 hours with connecting routes Widerøe/Scandinavian Airlines; the airport is located 1 kilometre from the town center. There are no buses. Avinor is planning building a new primary airport to serve Lofoten and also Vesterålen; the region wants to be more attractive on the conference market which would create more job opportunities outside the tourist season, there is a need to adopt airports to modern aircraft types.
Two locations have been put forward, Hadselsanden. The former could replace Leknes Airport and Svolvær Airport, the latter could replace Stokmarknes Airport; as both alternatives imply direct services to Oslo, the leakage to Evenes would be reduced. However weather recordings has shown that Gimsøy, located at the big ocean, is too windy and foggy for an airport. Therefore, the main option now is to extend the runway and terminal of Leknes airport, considering that Svolvær airport has no room for runway extension