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Dr. Jimena Berzal de Dios

About Dr. Jimena Berzal de Dios

Dr. Jimena Berzal de Dios received her Ph.D. from Ohio State University. She is a Professor of Early Modern Art and Critical Theory at Western Washington University. Her research and writing explores viewership, reception, and performativity through an interdisciplinary lens.

Diego Velázquez, The Surrender of Breda, 1634-35, oil on canvas, 307 cm × 367 cm (Museo del Prado, Madrid) — Disorganized and youthful, Dutch troops surrender to the seasoned Spanish army. Count the victors’ spears!

A-Level: Diego Velázquez, The Surrender of Breda

by Dr. Jimena Berzal de Dios

Perspectival passageway, Andrea Palladio (with scenographic modifications by Vicenzo Scamozzi), Teatro Olimpico, Vicenza, Italy, 1580-85 (photo: Patrick Denker, CC BY 2.0) — The design for this Roman-inspired auditorium wed Palladio’s antiquarian knowledge with his artistic innovation.

Palladio, Teatro Olimpico

by Dr. Jimena Berzal de Dios

Andrea Palladio with modifications by Vicenzo Scamozzi, Villa Rotonda (formerly Villa Capra), 1566-1590s, near Vicenza, Italy (photo: Stefan Bauer, CC BY-SA 2.5) — One of the most recognizable buildings of the Renaissance, this country home was modeled on ancient Roman temples.

Palladio, La Rotonda

by Dr. Jimena Berzal de Dios

Diego Velázquez, The Surrender of Breda, 1634-35, oil on canvas, 307 cm × 367 cm (Museo del Prado, Madrid) — Disorganized and youthful, Dutch troops surrender to the seasoned Spanish army. Count the victors’ spears!

Diego Velázquez, The Surrender of Breda

by Dr. Jimena Berzal de Dios