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From Pacheco, Velázquez learned the technical skills of drawing and painting, still-life and portraiture and soon surpassed his master. Unlike the more traditional Pacheco, he responded to the techniques of modern innovators such as Caravaggio .
Between 1610 and 1616, he studied with Francisco Pacheco (1564 – 1654), the leading painter of the city. In 1618, he married Pacheco's daughter, Juana. Although profoundly influenced by Pacheco's commitment to the ideal of the learned painter, he did not imitate his master's dry, Italianate style.
Diego Velázquez first studied under Francisco Herrera the Elder, and then he was apprenticed to Francisco Pacheco for about six years. When Philip IV came to the throne in 1621, Velázquez sought to obtain royal patronage.
In Pacheco's school, Velázquez studied the classics, was trained in proportion and perspective, and witnessed the trends in the literary and artistic circles of Seville. [ 13 ] Vieja friendo huevos (1618, English: Old Woman Frying Eggs ).
Born in Seville, the son of a lawyer of Portuguese origin, he began a six-year apprenticeship in 1611 with the painter Francisco Pacheco, whose studio resembled an academy in which students—including Francisco de Zurbarán and Alonso Cano—learned the techniques of painting in an idealizing style grounded in Catholic propriety.
He spent most of his career at the court in Madrid, but he grew up in Seville, where in 1610/11 he was apprenticed to Pacheco (possibly following a brief period of study with Herrera the Elder). In 1617 he qualified as a master painter and in the following year he married Pacheco's daughter.
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His mentor, Francisco Pacheco, was a devout Catholic, a major figure in Seville’s cultural scene and author of a conservative treatise on art. For Pacheco, painting’s main purpose was to guide the faithful to “ love God and to cultivate piety ” (Brown, J 102b).
