Explore the History of this artwork.
Although the precise date is still unknown, historians believe the work was made after Velázquez's return from Italy, in the period of 1632 through 1638. Due to numerous replications particularly on funeral cards and devotional stamps, it is difficult to find information of the works location. There is evidence of the painting being located in the oratory of the Benedictine convent of San Placido in Madrid. It is likelihood the work was donated by the convent founder, Jerönimo de Villanueva, the prothonotary of Aragon and one of the King Phillip IV's secretaries.
Velazquez did not have full experience with religious paintings compared to his traditional works. Due to his employment under King Phillip IV, the painter was encouraged to paint more historical, religious and mythological works due to traditional understanding of prestigious paintings.  Under King Phillip IV, Velazquez's work depicted portraits of the king, his secretaries, his family, his ministers, his servants, jesters, and dwarves. King Phillip IV described Velazquez working pace, "phlegmatic nature", which referred to him being slow; however he believed Velazquez's work was legendary and introduced the artist to his royal court and inner circle. Velazquez being introduced to this environment, invited him to new opportunities and resources.
Due to the influence of King Phillip IV, Velazquez works became proficient in religious and mythological works. Velázquez made various nude studies he used in later paintings, such as Apollo at the Forge of Vulcan (1630) and Joseph's Tunic (1630). Art critics assert that the nude study for this painting is exceptional and masterly in its fusion of serenity, dignity and nobility. It is a life-size frontal nude, without the support of a narrative scene.
Joseph's Tunic Italy King Phillip IV's 1632 Madrid King Phillip IV Apollo at the Forge of Vulcan