The writer argues that Velázquez's 1656 masterpiece, Las meninas, reveals transatlantic connections linking Amerindian laborers in the New World to Spanish courtiers in Madrid. This argument is based on an in-depth analysis of three Mexican colonial objects in the painting: a red ceramic vessel, a silver tray this vessel rests on, and a red curtain reflected in a mirror at the back of the room. From this analysis, the writer concludes that the painting can be included in the the field of colonial studies.
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