References Antonio Palomino de Castro y Velasco. "El parnaso español pintoresco laureado." El museo pictórico, y escala óptica . 3, Madrid, 1724 [1724 ed. reprinted in Fuentes literarias para la historia del arte español, F. J. Sánchez Cantón, ed., vol. 4, Madrid, 1936, pp. 167–68; 1796 ed., pp. 501–2], states that Velázquez painted his slave Juan de Pareja to prepare himself for painting Pope Innocent X; cites "Andrés Esmit" [Andreas Schmidt], a Flemish painter in Rome at the time, who described an exhibition of paintings by ancient and modern masters in the rotunda [of the Pantheon] on the Feast of Saint Joseph, in which this portrait excited great admiration: all the painters of different nationalities agreed that whereas all the other works looked like painting, this alone was truth; claims that as a result Velázquez was admitted to the Roman Academy in 1650.Galleria di pitture dell'emo, e rmo principe, signor cardinale Tommaso Ruffo vescovo di Palestrina, e di Ferrara, ecc.: Rime, e prose . Ferrara, 1734, p. 36, lists it and includes a poem.Letter to Giovanni Battista Ponfredi [Carta a Gio. B. Ponfredi sobre la pintura española] . October 20, 1765 [published in Fuentes literarias para la historia del arte español, F. J. Sánchez Cantón, ed., vol. 5, 1941, Madrid, p. 120], states that the portrait of Juan de Pareja with olive flesh tones, from the hand of Velázquez, was in the collection of the Most Eminent Trajano de Acquaviva [probably not our painting, see Ref. Fahy 1971].Letter to Charles Greville . March 1776 [translated excerpt in Ref. Knight, p. 73; also published in A. Morrison, The Hamilton and Nelson Papers, London, 1893, vol. 1, p. 48, in Morgan Library, NYC], mentions that he is shipping this picture from the Baranello collection to Palazzo Sessa.Anecdotes of Eminent Painters in Spain during the Sixteenth and Seventeenth Centuries . London, 1782, vol. 2, p. 35, mentions the exhibition at the Pantheon and Velázquez's admission to the academy in Rome.Diccionario histórico de los más ilustres profesores de las bellas artes en España . Madrid, 1800, vol. 4, p. 50; vol. 5, p. 170.Memoirs of Painting, with a Chronological History of the Importation of Pictures by the Great Masters into England since the French Revolution . London, 1824, vol. 2, p. 76, no. 59, quotes the description from Sir William Hamilton's sale catalogue of 1801, noting that the portrait came from the Baranello collection at Naples and was sold to Parkes for 39 guineas.Annals of the Artists of Spain . London, 1848, vol. 2, pp. 642, 710; vol. 3, p. 1403, describes the Radnor portrait as perhaps the one painted as an exercise before Velázquez undertook the portrait of Innocent X.Velazquez and his Works . London, 1855, pp. 159–60, 252, mentions a lithograph after the painting by Gabriel Rolin.Galleries and Cabinets of Art in Great Britain . London, 1857, p. 361, lists it as picture 147 at Longford Castle.Manuscript catalogue of Spanish paintings . 1870–75, p. 33, as by Velázquez.Velazquez and Murillo . London, 1883, p. 75, no. 180, lists the variant at Castle Howard and a doubtful variant at the Stockholm Museum.The Great Historic Galleries of England . 3, London, 1883, no. 10, ill.Diego Velazquez und sein Jahrhundert . Bonn, 1888, pp. 177–80, ill. (engraving), observes that either the Castle Howard or Radnor version must be the work that was exhibited at the Pantheon.Velazquez . London, 1889, p. 101, mentions that the attribution of the Radnor portrait is "doubted by Waagen".The Life of Velazquez . London, 1896, first page unpaginated, and pp. 64, 66, believes the Castle Howard picture "has the better claim" to be the work exhibited in Rome.Art-Journal , n.s., (1897), pp. 243–44, ill., calls the Castle Howard picture finer than the Radnor picture, but attributes both to Velázquez.Velazquez . Paris, 1898, pp. 117–19, 207, ill. [revised English ed., 1906, pp. 84–85, 94, 152, 159, pl. 59], identifies the Radnor version as the original and states that it was acquired by the 2nd Earl of Radnor in May 1911; calls the version with the Earl of Carlisle [now Hispanic Society, New York], a copy, probably with some retouches by the master.Velazquez . 3rd ed. Bielefeld, 1898, p. 38.Vida y obras de Don Diego Velazquez . Madrid, 1899, pp. 113, 115, 205.Velasquez . 1900, p. 140.Velazquez . Paris, 1903, p. 64.Velasquez . London, [1905], pp. xiii, xxv.Velazquez: Des Meisters Gemälde . Stuttgart, 1905, p. 148 [English ed., 1913, p. 15], publishes the Castle Howard picture, calling the Radnor portrait a second example.Velazquez . Revised translation of 1898 ed. London, 1906, pp. 84–85, 94, 152, 159, pl. 59.Velasquez . London, 1906, p. 140, calls the Radnor picture the original and the painting from Castle Howard a replica.Velazquez: An Account of His Life and Works . London, 1908, pp. 113–14, 217, no. 170, call the Radnor picture the original and erroneously state that it was in the Guildhall exhbition of 1901.The School of Madrid . London, 1909, pp. 131–32.Catalogue of the Pictures in the Collection of the Earl of Radnor . London, 1909, pp. 53–55, no. 87, ill., state that the picture was certainly acquired by 1814, and probably acquired by the 2nd Earl on May 1, 1811.Rassegna d'arte 17 (1917), p. 110, mentions the Castle Howard and Radnor versions as both claiming to be the original.Connoisseur 18 (1920), pp. 187–88, ill. (erroneously as portrait of Velázquez by himself, lent by the Fine Art Museum, Valencia).Répertoire des peintures datées . 1, Brussels, 1920, p. 264, lists the Castle Howard and Radnor versions under the date 1650.Spanish Painting . London, 1921, pp. 15–16.International Studio 72 (February 1921), pp. 5–6, ill.Diego Velazquez . Berlin, 1924, pp. 140–43, ill., notes that the Radnor picture might reflect the artist's study of Venetian painting; calls the example with Archer M. Huntington, New York [formerly at Castle Howard] an excellent but not autograph repetition.Velazquez: Des Meisters Gemälde . Stuttgart, [1925], p. 127, ill.Catalogue of Paintings in the Collection of the Hispanic Society of America, 16th, 17th, and 18th Centuries . 2, New York, 1929, pp. 163–64, attributes to Velázquez the picture formerly at Castle Howard and presented to the Hispanic Society, New York, by Archer M. Huntington; calls it sketchier in quality and possibly a study for the Radnor canvas.in Allgemeines Lexikon der bildenden Künstler . 26, Leipzig, 1932, p. 229.Velazquez: A Catalogue Raisonné of the Pictures and Drawings . London, 1936, p. 83, no. 351, pl. 125.Pantheon 21 (1938), pp. 40, 42, ill.Allgemeines Lexikon der bildenden Künstler . 34, Leipzig, 1940, pp. 192, 196, calls the "Castle Howard version" an old copy.Burlington Magazine 82 (February 1943), p. 41, publishes an extract of a manuscript list of Hamilton's picture gallery, compiled at the end of 1798 by James Cox, which includes a painting by Velázquez: "Portrait of a Man, half-figure, Spanish dress; 3.1 by 2.8 [Palme]".Velazquez . London, 1943, p. 27, no. XCVI, pl. 121.Notes Hispanic 4 (1944), pp. 48–54, 57, ill. (overall and detail), identifies the Radnor portrait as the original and the version in the Hispanic Society as a copy produced in Velázquez's studio, perhaps by Juan de Pareja himself.An Exhibition of Spanish Paintings . Exh. cat., National Gallery. [London], 1947, p. 21, no. 35, pl. 16.Velázquez . New York, 1948, pp. 302–3, 309, figs. 195–96 (overall and detail), mentions only the Radnor portrait and calls it Velázquez's original; notes that in a letter dated May 12, 1630, a "Juan de Pareja" wrote to the procurator of Seville stating that he held the office of painter (an office not permitted to slaves) and requested permission to go to Madrid to study painting; concludes, on this basis, that Pareja was Velázquez's studio assistant, not his slave as stated by Palomino [Ref. 1724].A Catalogue of Paintings in the John & Mable Ringling Museum of Art . Sarasota, 1949, p. 279, calls the Radnor picture the original and the Castle Howard version a good replica.The Hispanic Society of America: Velázquez Portraits in the Collection . New York, 1952, pp. 13–14, calls the version in the Hispanic Society a copy, possibly made by Juan de Pareja in Velázquez's studio, and under his direction; suggests their version was the portrait in the collection of Cardinal Trajano de Acquaviva in Rome in the 18th century.Velazquez . New York, 1953, pp. XXXVIII, LXI, no. 45, fig. 45 (color).A History of the Hispanic Society of America: Museum and Library, 1904–1954 . New York, 1954, p. 246, calls it a close replica of the Radnor version, painted in the studio of Velázquez and under his direction.La vida y la obra de Velázquez: Estudio biográfico y crítico . Madrid, 1955, pp. 49, 142, 177–78, no. 98, fig. 98, mentions copies in the Hispanic Society, the Jules Cheret Museum, Nice, and the Peruvian Embassy, Washington, D. C.; believes our portrait was the one belonging to Trajano d'Acquaviva in Rome.Archivo español de arte 30 (1957), pp. 275, 285, pl. 1, calls the Radnor picture the original and the Hispanic Society version an excellent replica.Diego Velazquez . [Munich], [1957], pp. 146–48, ill.Archivo español de arte 31 (July–September 1958), pp. 189–91, notes that Velázquez was elected to Rome's Accademia di S. Luca in January 1650, but the annual exhibition at the Pantheon on the feast day of Saint Joseph did not occur until March 19, 1650; thus Palomino's report that the artist's election to the Academy resulted from the impression this portrait created at the Pantheon cannot be correct; notes that these annual exhibitions were actually mounted by the Congregazióne dei Virtuosi and provides contemporary evidence that Velázquez was also a member of this group prior to March 19; states that in every other respect Palomino's description of the circumstances under which this portrait was painted are reliable.in George Kubler and Martin Soria. Art and Architecture in Spain and Portugal and their American Dominions, 1500 to 1800 . Baltimore, 1959, p. 265, calls it firmer and less sketchy than the other portraits Velázquez painted in Rome, which he describes as "Titianesque".Goya (July–October 1960), p. 41, ill.Studi Secenteschi 62 (1960), p. 111, cites Velázquez as the first painter we know of who used the Pantheon exhibitions to draw attention to himself beyond papal and artistic circles; notes that the artist was already a member of the Accademia di S. Luca and of the Congregazione dei Virtuosi when this portrait was exhibited.Goya (July–October 1960), p. 152.Velazquez e Italia . Madrid, 1961, p. 24, fig. 24.Sixteen to Sixty: Memoirs of a Collector . New York, 1961, p. 97.III Centenario de la muerte de Velázquez . . . Madrid, 1961, pp. 38, 40.La peinture espagnole . Paris, 1962, p. 154.Velazquez . London, 1962, p. 13.Patrons and Painters: A Study in the Relations between Italian Art and Society in the Age of the Baroque . New York, 1963, pp. 126, 222, pl. 34, notes that this portrait was previously in the collections of Cardinal Ruffo and was with Sir William Hamilton by 1798, before passing into the collection of Lord Radnor.Velázquez: A Catalogue Raisonné of His Oeuvre . London, 1963, pp. 97–100, 102, 300, no. 517, pl. 133, observes that it may have been painted at any time between July 10, 1649 and March 19, 1650, when it was shown at the Pantheon; states that the painted surface is folded over the edge of the stretcher at the top, right and bottom; considers it unlikely that the "remarkably fine" Hispanic Society copy was painted by Pareja himself.Velázquez . Madrid, 1964, vol. 2, pp. 727–29, 739, 753, 1005, ill., attributes the Radnor version to Velázquez and suggests that the Castle Howard picture might be by Pareja.Encyclopedia of World Art . 14, New York, 1967, cols. 716, 724.Diego Velasquez . New York, 1967, p. 79.Velázquez' Work and World . London, 1968, pp. 118–19, pl. 140.Velázquez . 3rd ed. Madrid, 1968, pp. 200, 246.Sir William Hamilton: Envoy Extraordinary . New York, 1969, pp. 298, 401, 433.Mizue [Betsusatsu] no. 57 (Winter 1969), p. 69, ill.Metropolitan Museum Journal 3 (1970), p. 278.Goya (November–December 1970), p. 192, ill.Antichità viva 9 (September–October 1970), pp. 62–63, ill., erroneously as purchased by Wildenstein for the National Gallery, Washington.Apollo 93 (February 1971), p. 152.Editorial: A Velasquez for Export? 113 (February 1971), p. 71.Chronique des arts et de la curiosité, supplément à la Gazette des beaux-arts no. 1233 (October 1971), p. 30.Connaissance des arts 228 (February 1971), pp. 29, 31, ill.Country Life 149 (February 4, 1971), p. 256, ill.Metropolitan Museum of Art Bulletin 29, part 2 (June 1971), unpaginated, ill. (x-ray; ill. in color before, during and after treatment, and color detail on cover), supplies detailed provenance, and remarks that Preciado's 1765 essay [see Refs.] is the only evidence that this portrait belonged to Cardinal Acquaviva; suggests that what Preciado saw was a copy.Notes on Velázquez' portrait of Juan de Pareja, prepared for Wildenstein . March 1971, pp. 1–5.Metropolitan Museum of Art Bulletin 29, part 2 (June 1971), unpaginaged, ill. (detail).Die Kunst und das schöne Heim 1 (January 1971), pp. 57–58, ill.Metropolitan Museum of Art Bulletin 29, part 2 (June 1971), unpaginated, ill. (details of conservation), describes the painting's excellent state of preservation, noting that it has not been relined; observes that the technique is related to 16th–century Venetian practice; explains how the canvas, which had been folded over, was restored to its original dimensions.Apollo 93 (February 1971), p. 83, ill.Art and Artists 5 (February 1971), p. 45, ill. (detail).Chronique des arts et de la curiosité, supplément à la Gazette des beaux-arts no. 1237 (February 1972), p. 84, ill.Goya (March–April 1972), pp. 323–24, ill.La grande histoire de la peinture . 11, [Geneva], 1973, p. 33.Art in America 61 (January–February 1973), p. 28.Velázquez, 1599–1660 . New York, 1974, pp. 266–68, 281, 337, no. 135, figs. 203 and 204 (color and black and white detail) [Spanish ed., Barcelona, 1973].in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975 . New York, 1975, p. 90, ill.in The Chase, the Capture: Collecting at the Metropolitan . New York, 1975, pp. 31–40, ill., describes the process of acquiring this portrait.Velázquez: The Art of Painting . New York, 1976, pp. xi, 109–10, ill.Velázquez . London, 1976, pp. 192–93, ill.Connoisseur 198 (July 1978), p. 220, ill. (reversed), notes that the National Gallery, London, requested a grant from the Treasury in the amount of 2 million pounds in order to purchase the picture.L'Oeil 278 (September 1978), p. 34, 36, ill., discusses the powerful impact of this portrait on the viewer.Sir Charles Eastlake and the Victorian Art World . Princeton, 1978, p. 197.Apollo 107 (May 1978), p. 360, records Charles Eliot Norton's reaction to the painting when he saw it at the Royal Academy in 1873.Velázquez: The Artist as a Maker, with a Catalogue Raisonné of His Extant Works . Lausanne, 1979, pp. 96, 116–18, 169 n. 188, pp. 468–69, no. 112, ill. between pp. 112–13 (color detail before 1971 cleaning and overall after cleaning), pls. 203 (x-ray) and 204, tentatively incudes Cardinal Trajano de Acquaviva in the provenance.The Metropolitan Museum of Art . New York, 1980, pp. 313, 329, fig. 564 (color).A Dealer's Record: Agnew's, 1967–81 . London, 1981, pp. 186–91, ill., relates the story of the sale of this painting at Christie's in 1970.El Greco to Goya: The Taste for Spanish Paintings in Britain and Ireland . Exh. cat.London, 1981, p. 44, ill.Apollo 114 (September 1981), p. 146, reviewing "A Dealer's Record: Agnew's 1967–81," mentions Geoffrey Agnew and Evelyn Joll's unsuccessful attempt, at the time of the picture's sale in 1971, to secure it for the National Gallery, Washington.Painting in Spain 1650–1700 from North American Collections . Exh. cat., Art Museum, Princeton University. Princeton, 1982, p. 99, ill., refer to Juan de Pareja as Velázquez's "shop assistant," not his slave [see Ref. Trapier 1948].Apollo 116 (December 1982), p. 419, fig. 28.Apollo 115 (February 1982), p. 74, notes that Armstrong preferred the Castle Howard version of this portrait.Art Journal 42 (Winter 1982), p. 334.Burlington Magazine 125 (November 1983), pp. 683–84, states that Pareja was indeed Velázquez's slave, as he was liberated by him in a notarial act of November 23, 1650, preserved in the Archivio di Stato, Rome; notes that this document identifies Pareja as having been born in Antequera, in the diocese of Malaga, not in Seville.Connoisseur 214 (August 1984), pp. 45–47, ill.Connaissance des arts no. 405 (November 1985), pp. 68–69, ill. (detail in color), discusses this portrait in the context of art historical treasures moving West, namely to America.Napoli nobilissima 24 (January–April 1985), pp. 51, 55, no. 197, ill., publishes an inventory in Hamilton's hand of the contents of Palazzo Sessa, dated July 14, 1798, in which this picture is described as coming from the Baranello Collection at Naples.Fenway Court (1985), p. 24.L'age baroque en Espagne et en Europe septentrionale . Geneva, [1986?], p. 118.Velázquez: Painter and Courtier . New Haven, 1986, pp. 201–204, 280, 297–98 nn. 29–31, colorpl. 234.Velázquez y el espíritu de la modernidad . Madrid, 1987, pp. 45, 129.Velázquez . New York, 1987, p. 100, colorpl. 27.Examining Velázquez . New Haven, 1988, pp. 59, 77, 142 n. 25, fig. 57, note that "bold. . . variations in paint" [i.e. darker more promenint strokes] occur in the background of this picture.in Velázquez . Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 45–46, 88, 228–35, 238, no. 32, ill. (color, overall and details) [Spanish ed., 1990, pp. 45, 384–91, 396, 430, no. 66, ill. (color, overall and details)], questions Palomino's assertion [Ref. 1724] that Velázquez painted Pareja as an exercise before he began work on the portrait of Pope Innocent X, noting that the coloring of the two sitters was very different; comments on Pareja's "almost disdainful nobility" and "the somewhat militant temperament," noting that he is "dressed in lordly fashion in [a] rich Flemish lace collar (forbidden in Spain to free men and shunned by Philip IV, who favored austere dress)".Merchants and Masterpieces: The Story of The Metropolitan Museum of Art . rev., enl. ed. New York, 1989, pp. 362–64, ill. between pp. 320 and 321.Apollo 130 (December 1989), p. 422.Archivo español de arte 63 (April–June 1990), p. 389, fig. 6, describes this portrait as the "star" of the Madrid exhibition and as one of Velázquez's most successful portraits.Spanish Paintings of the Fifteenth through Nineteenth Centuries . Washington, 1990, p. 120.Kunstchronik 43 (May 1990), pp. 199–200.Burlington Magazine 132 (April 1990), p. 288.Hamilton a Napoli: Cultura, svaghi, civiltà di una grande capitale europea . Naples, 1990, pp. 73, 82, publishes a translated excerpt of Hamilton's letter to Greville in March of 1776 [see Ref. Hamilton 1776].Goya (January–February 1990), pp. 233–34, ill., calls it "one of the most brilliant stars" of the exhibition.L'Oeil 416 (March 1990), pp. 28, 32, ill. (color).Del Greco a Murillo: La pintura española del Siglo de Oro, 1556–1700 . Madrid, 1991, pp. 157–58, ill.Learning to Look . New York, 1991, p. 235, states that Velázquez commonly folded over his canvases to center a subject, and mentions that the portrait of Cardinal Massimi at Kingston Lacey is treated in exactly the same way; notes that after cleaning the canvas in our portrait was not folded over as it had been, "with the result that Pareja's head is off-center and the effect made by the image is less dynamic than it used to be".Portrait et séduction . [Paris], 1992, p. 154, ill. (color).Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York . New York, 1992, p. 33.Pintura barroca en España (1600–1750) . Madrid, 1992, pp. 228, 230, ill.Velázquez, peintre hidalgo . 2nd ed. [Paris], 1993, pp. 96, 99, ill. (color).Velázquez, peintre religieux . Geneva, 1993, p. 140 n. 21.Sixteen to Sixty: Memoirs of a Collector . 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp. 97, 320 n. 152.IFAR Reports 14 (June 1993), pp. 2–4, fig. 2, mentions the copy in the Hispanic Society of America (New York), the Blackett copy (sold at Christie's, London, in 1992), a 20th–century copy in the Radnor collection, and a copy in the Jules Cheret Museum (Nice), which IFAR here dates about 1812.El artista en la sociedad española del siglo XVII . Madrid, 1993, pp. 199–200, ill.in Gridley McKim-Smith and Richard Newman. Ciencia e historia del arte: Velázquez en el Prado . Madrid, 1993, pp. 108–9 n. 116.Metropolitan Museum of Art Bulletin 51 (Winter 1993/94), pp. 26–31, fig. 1 (color), believes the finished canvas remained on its original support for a long time before it was folded over; refutes Pope-Hennessy's [see Ref. 1991] belief that the canvas had been folded over by Velázquez himself in order to center the figure; points out that the dimensions of the copy in the Hispanic Society correspond to those of the original after the canvas was folded, probably when it entered the collection of the earl of Radnor; mentions the copy sold at Christie's in 1992—the only extant copy that matches our painting exactly in size and composition—as evidence that the composition was always intended to be left of center.in "Antropología del retrato." El retrato en el Museo del Prado . Madrid, 1994, pp. 48–49, ill. (color).Vélasquez, le siècle d'or . Paris, 1994, p. 48–49, ill. (color).Diego Velázquez . Reinbek bei Hamburg, 1994, pp. 78–79, ill.Der Künstler und sein Bildnis im Spanien des 17. Jahrhunderts: Ein Beitrag zur spanischen Porträtmalerei . Frankfurt, 1995, pp. 154, 216, no. 28, fig. 73, considers it an example of the "pintor noble" type of portrait, like the Velázquez self-portrait (Uffizi, Florence), in which the artist portrays himself with a sword and glove rather than the attributes of his trade.in Velázquez: El Papa Inocencio X de la Galleria Doria Pamphilj, Roma . Exh. cat., Museo Nacional del Prado. Madrid, 1996, pp. 48, 50–51, ill.Diego Velázquez . Bournemouth, 1996, pp. 140, 142, ill. (color).New York Times (January 5, 1996), p. C5, Golub observes that "despite his [Juan de Pareja's] authoritative expression, . . . this figure has a certain vulnerability—a desire to put himself across that blacks sometimes have to have because they are excluded from power. . . It's a look of wariness, caution, that you don't see in Philip ["Philip IV, MMA 14.40.639]".Velázquez . Cologne, 1996, vol 1, pp. 147, 172, 176, 180, 183, ill. (color detail); vol. 2, pp. 278–80, no. 112, ill. (color).in The Dictionary of Art . 32, New York, 1996, p. 131.Le nègre de Velazquez et le miroir de l'histoire: Les héritiers de Juan de Pareja . Paris, 1996, pp. 29–30, ill., cites Pareja's loyalty to Velázquez as one type of response of a slave to his condition.Velázquez . Madrid, 1996, pp. 46, 48–49, ill.in Ian Jenkins and Kim Sloan. Vases & Volcanoes: Sir William Hamilton and His Collection . Exh. cat., British Museum. London, 1996, pp. 76, 84, fig. 36, states that in 1769 Hamilton and Charles Greville seem to have visited the Baranello collection in Naples where they saw this painting, and that five years later he began negotiating for its purchase.in Art and Architecture of Spain . Boston, 1996, pp. 342, 344.New York Times (July 25, 1997), C section, Close observes that "Rembrandt would have doggedly drawn every single button of Juan de Pareja's jacket, then highlighted every one of them. What Velázquez does is paint something by not painting it: you see the way he makes the hand palpably real without anything precisely described except its outside edge? The same with the mouth, one of the great orifices in art, out of focus yet you still know just how soft the lips would be to kiss.".Velázquez . Milan, 1997, pp. 27, 106–7, 162, no. 137, ill. (color, overall and detail).Velázquez . 2nd ed. Barcelona, 1998, pp. 22, 127, no. 81, fig. 81 (color).Vélasquez . Paris, 1998, p. 238, fig. 192 (color).in En torno a Velázquez . Exh. cat., Museo de Bellas Artes de Asturias. London, 1999, p. 6.En torno a Velázquez: Pintura española del Siglo de Oro . Exh. cat., Museo de Bellas Artes de Asturias, Oviedo. London, 1999, p. 6.in Velázquez, Rubens y Van Dyck: Pintores cortesanos del siglo XVII . Exh. cat., Museo Nacional del Prado. Madrid, [1999], p. 61.in Velázquez in New York Museums . Exh. cat., Frick Collection. New York, 1999, pp. 6, 11, 14, 17, 26–27, ill. (color).Velázquez . Barcelona, 1999, p. 92.in "'La Venus del espejo'." Velázquez . Barcelona, 1999, p. 222.in Velázquez, Rubens, Lorrain: Malerei am Hof Philipps IV, Museo del Prado . Bonn, 1999, pp. 47, 53.Velázquez: Pintor y criado del rey . Madrid, 1999, pp. 180, 185, ill. (color).Velázquez: Catálogo completo . Madrid, 1999, pp. 224–25, no. 104, ill. (color).Goya (1999), p. 80, suggests that Juan de Pareja and Juan Latino, the subject of a painting entitled "Boy with a Dog" (presumably Colección Real) may be the same person, as they were born in the same year.Art Bulletin 81 (September 1999), p. 536, notes that in general survey texts the African American is more commonly known as a subject through the works of white artists, as in the our portrait of Juan de Pareja by Velázquez [than through the works of black artists].in En torno a Velázquez . Madrid, 1999, p. 103, ill.Archivo español de arte 72 (October–December 1999), p. 448.in Velázquez a Roma; Velázquez e Roma . Exh. cat., Galleria Borghese. Milan, 1999, pp. 60–61, ill.in Velázquez . Barcelona, 1999, pp. 206–7, 222, 367–81, fig. III/15 (color), notes that a portrait of a slave was unusual in the context of the 17th century.Art News 99 (2000), p. 161, ill. (color).Velázquez . [Madrid], 2000, pp. 52, 56, ill. (color).Escritos sobre Velázquez . Pontevedra, 2000, pp. 125, 254–55.Vermeer and the Delft School . Exh. cat., The Metropolitan Museum of Art. New York, 2001, p. 117, compares Carel Fabritius's self-portrait of about 1648–50 (Museum Boymans-van Beuningen, Rotterdam) to this picture, calling it the "'Juan de Pareja' of the Netherlands"; notes that these portraits "have in common optical effects achieved through complexly layered touches," which may be explained by the direct and indirect influence of Titian.Cuadernos de Arte de la Universidad de Granada no. 32 (2001), p. 373.Velázquez: El pintor de la luz . Madrid, 2001, pp. 374–75, ill. (color).in Velázquez . Exh. cat., Palazzo Ruspoli, Rome. Milan, 2001, pp. 76, 78, ill. (color).La moda en la pintura: Velázquez usos y costumbres del siglo XVII . Pamplona, 2002, pp. 301–2, claims that Pareja, the son of moorish slaves, was born a free man in Seville.Velázquez aujourd'hui . Anglet, France, 2002, p. 275.Velázquez (1599–1999): Visiones y revisiones . Córdoba, 2002, pp. 145–46.Velázquez (1599–1999): Visiones y revisiones . Córdoba, 2002, pp. 40–41, 43.Velázquez aujourd'hui . Anglet, France, 2002, p. 121.in "Fortuna e collezionismo della pittura di Velázquez in Italia." Economia e arte secc. XIII–XVIII . Florence, 2002, pp. 908–9, discusses the provenance and exhibition of the portrait during the 18th century.Velázquez en Italia . Madrid, 2002, pp. 110–11, 117, 247–48, 306–9, 474, no. 8, ill. (color), finds the handling and pose similar to the portraits of Tintoretto.La patología en la pintura de Velázquez . Madrid, [2002], pp. 12–13, 20, 64, 67.in "La imagen del hombre de raza negra en el arte y la literatura españolas del sigolo de oro." Herencias indígenas, tradiciones europeas y la mirada europea . Frankfurt am Main, 2002, pp. 275–77, fig. 13.in The Cambridge Companion to Velázquez . Cambridge, 2002, p. 2.Velázquez (1599–1999): Visiones y revisiones . Córdoba, 2002, pp. 84–85, ill.in Museu de Belles Arts de València: Obra selecta . Valencia, 2003, pp. 230, 232.Art Nexus (April–June 2003), p. 148.in Cortes del Barroco: de Bernini y Velázquez a Luca Giordano . Exh. cat., Palacio Real de Madrid Palacio Real de Aranjuez. Madrid, 2003, p. 147."Retrato de hombre, el llamado 'Barbero del Papa'" de Diego Velázquez: Memoria del acto de presentación, Madrid, 27 de noviembre de 2003 . Madrid, 2003, pp. 6, 12, 14.Journal of Iberian and Latin American Studies 10 (June 2004), pp. 24–26, 29–32 n. 5, fig. 2.Velázquez, consonanze e dissonanze: Marie de Rohan, duchessa di Chevreuse alla corte di Madrid . Venice, 2004, pp. 45, 66, 75 n. 22, ill. p. 47 (color).in The Spanish Portrait: From El Greco to Picasso . Exh. cat., Museo Nacional del Prado. London, 2004, pp. 171–72, 174, fig. 76 (color), dates it 1649–50; notes that it shows the "slightly brutish vitality of a man of humble origins but conscious of his own worth".Art Bulletin 86 (March 2004), p. 91, compares the indirect gaze of the sitter in Velazquez's "Lady with a Fan" (Walllace Collection, London) with the direct gaze of Juan de Pareja.The Vexations of Art: Velázquez and Others . New Haven, 2005, p. 180, notes that "the pose, though reversed, confers on him [Pareja] the dignity of Raphael's 'Baldassare Castiglione' (Louvre, Paris)".Metropolitan Museum Journal 40 (2005), pp. 70–71, 76, 78 n. 23.Der Fall Velázquez: Antworten . Munich, 2005, pp. 138–39, ill., claims that it was originally a self-portrait by Pareja and that Velázquez overpainted it.in Velázquez a Capodimonte . Exh. cat., Museo Nazionale di Capodimonte. Naples, 2005, p. 37, ill. p. 40 (color).Velázquez: Form & Reform . Cologne, 2005, p. 129, fig. 66 (color).in Velázquez . Exh. cat., National Gallery. London, 2006, pp. 45–46, ill. (color).Only in America: One Hundred Paintings in American Museums Unmatched in European Collections . Milan, 2006, pp. 17, 110, fig. 15 (color).Velázquez . Barcelona, 2007, pp. 99, 102, fig. 74 (color).Velázquez . Madrid, 2007, pp. 48–49, ill. (color).in Velázquez's Fables: Mythology and Sacred History in the Golden Age . Exh. cat., Museo Nacional del Prado. Madrid, 2007, pp. 40, 56.Metropolitan Museum of Art Bulletin 65 (Summer 2007), p. 37.En torno a Santa Rufina: Velázquez de lo íntimo a lo cortesano . [Seville], [2008], pp. 261, 393.Velázquez: The Complete Paintings . [Antwerp], 2008, p. 184, ill. (color).En torno a Santa Rufina: Velázquez de lo íntimo a lo cortesano . [Seville], [2008], pp. 132, 136, 335, 337.En torno a Santa Rufina: Velázquez de lo íntimo a lo cortesano . [Seville], [2008], pp. 211, 371, fig. 76.Diego Velázquez: Pintor, 1599–1660 . Madrid, 2008, pp. 236, 250, 257, 264, 271, fig. 148 (color), compares it stylistically with the Self-portrait in the Museo de Bellas Artes, San Pío V, Valencia; notes that Pareja is represented with the serenity of a free man and the solemnity of a Roman bust portrait.The Golden Age of Spain: Painting, Sculpture, Architecture . English ed. New York, 2008, pp. 249, 261 [Spanish ed., "La gloria de los siglos de oro," 2006].in Antonio A. Palomino. Vida de Don Diego Velázquez de Silva . Madrid, 2008, p. 113 n. 362.in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008 . New York, 2009, p. xi.in Velázquez Rediscovered . New York, 2009, p. 8.in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008 . New York, 2009, p. 36.in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008 . New York, 2009, p. 33.The Late Paintings of Velázquez: Theorizing Painterly Performance . Farnham, England, 2009, pp. 111, 113, fig. 4.6 (color), discusses the hierarchy of genres and Velázquez's decision to present himself as a portrait rather than a history painter in his second visit to Rome; notes that portraits were seen as one notch above genre painting, since their subjects were so often of noble birth, but in the case of his portrait of Pareja, Velázquez "emphatically removed the nobility of the subject from the equation and thereby asserted the nobility of portraiture as portraiture," a clear challenge to the accepted hierarchy.
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