This painting was one of the earliest ones completed by Diego Velazquez. Despite its completion about 40 years earlier it still shares many striking themes of the painting Las Meninas. In both masterpiece's Velazquez utilizes a mirror like vehicle to add an element of mystery and significance to his paintings. In Christ in the House of Martha and Mary, the upper right hand corner is either a mirror or the frame of a door to an adjacent room. This ambiguity is also another strong theme in Las Meninas.
Background
Diego Rodríguez de Silva y Velazquez (1599-1660) was born in Seville Spain. Velazqueze showed an early aptititude for art and at the age of 11 began to study under Francisco de Herrera. After only a year with Herrera he became an apprentice under Francisco Pacheco, whom he worked under for 5 years.
Las Meninas was commissioned by King Philip IV of Spain. Velaquez had a close relationship with the King and was appointed palace chamberlain in 1651. This was an uncommon prestige awarded to a painter since it unfortunately kept Velazquez quite busy. He produced few works of art after receiving this important post. In 17th century Spain, unlike music and poetry, painting was considered more of a craft than an art. Because of this, Velazquez enjoyed high status primarily from his charge as palace chamberlain, irrespective of his incredible artistic ability.
Inspired by Van Eyck, the Arnolfini Portrait
Both contain mirrors placed on the back wall which “bring into the experience of viewing the picture an awareness of the area that lies between the canvas and the onlooker.” Other similarities include, dog placement and light entering through lateral windows.
