About This Artwork

Diego Rodríguez de Velázquez
Spanish, 1599-1660

Kitchen Scene, 1618/20

Oil on canvas
21 7/8 x 41 1/8 in. (55.9 x 104.2 cm)

Robert Waller Memorial Fund, 1935.380

Exhibition, Publication and Ownership Histories

Exhibition History

Amsterdam, Rijksmuseum, Tentoonstelling van Oude Kunst door de Vereeniging van Handelaren in Oude Kunst in Nederland, 1929, no. 151.

Columbus, Ohio, Columbus Gallery of Fine Arts, Spanish Paintings, Textiles, Furniture, Arms and Pottery, 1936, no cat.

Hartford, Connecticut, Wadsworth Atheneum, The Painters of Still Life, 25 January–15 February 1938, cat. 42.

Toledo, Ohio, Toledo Museum of Art, Spanish Painting, 16 March - 27 April, 1941, no. 59.

Seattle, Washington, Seattle Art Museum, Caravaggio and the Tenebrosi, 8 April – 30 May 1954, no. 23.

Pittsburgh, Carnegie Institute, Pictures of Everyday Life: Genre Painting in Europe 1500-1900, 14 October – 12 December 1954, no. 27.

Denver, Colorado, The Denver Art Museum, Baroque Art, 3 October – 15 November 1971, p. 106, ill.

Edinburgh, National Gallery of Scotland, Velázquez in Seville, 8 August – 20 October, 1996, no. 23.

Museo de Bellas Artes de Bilbao, El Bodegón Español [De Zurbarán a Picasso], 13 December 1999 - 19 April 2000, no. 17.

Seville, Hospital de los Venerables, De Herrera a Velazquez: El primer naturalismo en Sevilla, 29 November 2005 - 28 February 2006; traveled to Bilbao, Museo de Belles Artes de Bilbao, 20 March - 28 May 2006, no. 36.

London, The National Gallery, Velázquez, 18 October 2006 - 21 January 2007, no. 6.

Boston,, Museum of Fine Arts, El Greco to Velázquez, Art during the Reign of Philip III, 20 April - 27 July 2008, traveled to Durham, North Carolina, Nasher Museum of Art at Duke University, 21 August - 9 November 2008, no. 60.

Publication History

August L. Mayer, “Das Original der ‘Küchenmagd’ von Velázquez,” Der Cicerone 19 (1927), pp. 562-63, ill.

[J. Goudstikker], Catalogue des nouvelles acquisitions de la collection Goudstikker exposées à Amsterdam, Heerengracht 458, no. 33 (Amsterdam, 1927), p. 127, no. 129.

Columbus Gallery of Fine Arts, Bulletin 7, 1 (October 1936), pp. 2-3.

August L. Mayer, Velázquez: A Catalogue Raisonné of the Pictures and Drawings (London, 1936), p. 24, no. 105, pl. 39.

“Fifteen New Acquisitions at Chicago,” The Art News 35, 13 (December 26, 1936), p. 9, ill.

Daniel Catton Rich, “An El Greco and a Velázquez,” Bulletin of the Art Institute of Chicago 31 (1937), pp. 2–5, ill.

Enrique Lafuente, Velazquez (London and New York, 1943), pp. 10, 11, , 17, under no. III, pl. 3.

Martin S. Soria, “An Unknown Early Painting by Velázquez,” Burlington Magazine 91 (1949), pp. 124, 127, 128, fig. 4.

Dorothy Grafly, “On the Subject of Man. A Report on the Carnegie Institute’s ‘Genre’ Show and the Arensberg Collection at the Philadelphia Museum of Art,” American Artist 18, 9 (December 1954), p. 38 (ill.).

Bernardino de Pantorba, La vida y la obra del Velázquez (Madrid, 1955), p. 65, no. 5 (ill.).

Charles Sterling, La Nature Morte de l’antiquité à nos jours (Paris, 1952), no. 62, pp. 67, 132.

Carl Justi, Velázquez y su siglo (Madrid, 1953), rev. ed. with appendix by Juan Antonio Gaya Nuño, pp. 818, 830, fig. 228.

Juan Antonio Gaya Nuño, La Pintura Española fuera de España (Historia y Catálogo) (Madrid, 1958), p. 318, no. 2815.

Art Institute of Chicago, Paintings in the Art Institute of Chicago. A Catalogue of the Picture Collection (Chicago, 1961), pp. 459-60, ill. p. 99.

Juan Antonio Gaya Nuño, Diego Velázquez (Madrid, 1962), p. 10.

José López-Rey, Velázquez: A Catalogue Raisonné of His Oeuvre (London, 1963), p. 156, no. 99, pl. 24.

Leo Steinberg, review of José López-Rey, Velázquez: A Catalogue Raisonné of His Oeuvre in The Art Bulletin, 47 (1965), pp. 278, 279, 281.

José López-Rey, Velázquez' Work and World (London, 1968), pl. 21.

P. M. Bardi, L’Opera completa di Velázquez (Milan, 1969), cat. 5A (ill.).

John Maxon, The Art Institute of Chicago (London, 1970), pp. 258, ill., 288.

Jose Gudiol, Velázquez 1599-1660: Historia de su vida; Catalogo de su obra; estudio de la evolucion de su tecnica (Barcelona, 1973), p. 323, cat. 4, fig. 11.

Madlyn Millner Kahr, Velázquez: The Art of Painting (New York, 1976), p. 21.

José López-Rey, Velázquez. The Artist as a Maker with a Catalogue Raisonné of his extant Works (Lausanne-Paris, 1979), pp. 17, 218, no. 18, fig. 77.

John D. Morse, Old Master Paintings in North America (New York, 1979), p. 285.

Maurice Sérullaz, Velázquez (New York, 1981), p. 32, fig. 38.

Marianna Haraszti-Takács, Spanish Genre Painting in the Seventeenth Century (Budapest, 1983), pp. 223-24, no. 213, pl. 82.

William B. Jordan, Spanish Still Life in the Golden Age, 1600-1650, exhib. cat., Fort Worth, Kimbell Art Museum, 1985, pp. 76, 81, n. 15.

Charles Sterling, La nature morte de l'antiquité au XXe siècle (rev. ed., Paris, 1985), pp. 63 ill., 71-2, 137.

Jonathan Brown, Velázquez: Painter and Courtier (New Haven and London, 1986), p. 21, pl. 26.

Barry Wind, Velazquez's Bodegones: A Study in Seventeenth-Century Spanish Genre Painting (Fairfax, Virginia, 1987), fig. 8.

Rosemarie Mulcahy, Spanish Paintings in The National Gallery of Ireland (Dublin, 1988), pp. 79-82.

Adrian Le Harivel, Rosemarie Mulcahy, and Homan Potterton, National Gallery of Ireland: The Beit Collection (Dublin, 1988), p. 52, under no. 16.

Antonio Domínguez Ortiz, Alfonso E. Pérez Sánchez, Julián Gállego, Velázquez, exhib. cat., Madrid, Museo del Prado, 1990, pp. 58-61, under cat. 1, ill.

Odile Delenda, Velázquez: Peintre religieux (Geneva, 1993), p. 32, pl. 5.

Julián Gállego, Velázquez en Sevilla (Seville, 1994), pp. 101, 113-14, 180; reprinted in Julián Gállego, La realidad trascendida y otros estudios sobre Velázquez, ed. Francisco Calvo Serraller and Javier Portús (Madrid, 2011), pp. 188, 193, under no. 4.

José López-Rey, Velázquez. Catalogue Raisonné (Cologne, 1996), pp. 42-44, no. 18, ill. p. 45.

Yves Bottineau, Velázquez (Paris, 1998), p. 53, fig. 35.

Peter Cherry, Arte y Naturaleza: el bodegón español en el siglo de oro (Aranjuez, 1999), pp. 56, 62, 70 n. 88, pl. 26.

Gridley McKim-Smith, "La técnica Sevillana de Velázquez" in Velázquez y Sevilla, exhib. cat. Seville, Monasterio de la Cartuja de Santa María de las Cuevas, 1999, pp. 116, 119 ill.

Miguel Morán Turina and Isabel Sánchez Quevedo, Velázquez. Catálogo completo (Madrid, 1999), pp. 22, 24-25, ill., no. 4.

Felix Scheffler, Das spanische Stilleben des 17. Jahrhunderts: Theorie, Genese und Entfaltung einer neuen Bildgattung (Frankfurt am Main, 2000), p. 124, fig 19.

Gridley McKim-Smith, Inge Fiedler, Rhona Macbeth, Richard Newman, and Frank Zuccari, “Velázquez: Painting from Life” in Essays in Honor of John M. Brealey, Metropolitan Museum Journal, 40 (2005), pp. 79-91, figs. 1,3, 4.

Frank Zuccari, Zahira Véliz, and Inge Fiedler, “Saint John in the Wilderness: Observations on Technique, Style, and Authorship,” Art Institute of Chicago Museum Studies 31, 2 (2005), pp. 32, 32, 107, figs. 3, 8b.

Javier Portus, Velázquez’s Fables. Mythyology and Sacred History in the Golden Age, exhib. cat., Madrid, Museo Nacional del Prado, 2007, p. 306, under no. 3.

Peter Cherry, review of Velázquez, National Gallery, London in Burlington Magazine 149 (2007), pp. 50-52, figs. 57, 59.

Fernando Checa, Velázquez: The Complete Paintings, (Antwerp, 2008), p. 61, no. 5b ill.

Sarah Schroth, “A New Style of Grandeur: Politics and Patronage at the Court of Philip III” in El Greco to Velázquez, Art during the Reign of Philip III, exhib. cat., Boston, Museum of Fine Arts, 2008, p. 114.

Sarah Schroth and Ronni Baer, “Still Life and the Bodegón” in El Greco to Velázquez, Art during the Reign of Philip III, exhib. cat. Boston, Museum of Fine Arts, 2008, p. 271.

Ownership History

Private collection, Zurich [according to Mayer 1936]. Dr. L. von Buerkel, Munich [according to Mayer 1936]. Bottenwieser, Berlin [according to Mayer 1936]. J. Goudstikker, Amsterdam, by 1927, until 1935 [see Mayer 1927; Mayer 1936 mentions Mrs. Sterner, New York as owner between Goudstikker and the Art Institute, however, the painting was shipped directly from Goudstikker in Amsterdam to Chicago in November, 1925]; sold by Goudstikker to The Art Institute, 1935.




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