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Amir’s Mother
Diego Velázquez was a 17th-century Spanish painter. Emily paints a portrait of Amir in the image of Velázquez’s 1685 portrait of his assistant (formerly his slave), entitled Portrait of Juan de Pareja. Emily’s and Velázquez’s paintings embody an Orientalist approach to non-white people: both condescendingly depict their subjects as exotic outsiders trying to assimilate into affluent white culture.
Diego Velázquez Quotes in Disgraced
The Disgraced quotes below are all either spoken by Diego Velázquez or refer to Diego Velázquez . For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
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I think it’s a little weird. That you want to paint me after seeing a painting of a slave.
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Let me get this straight: Some waiter is a dick to me in a restaurant and you want to make a painting. But if it’s something that actually might affect my livelihood, you don’t even want to believe there could be a problem.
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Moor? Haven’t heard that word in a minute.
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So there you are in your six-hundred-dollar Charvet shirt, like Velázquez’s brilliant apprentice-slave in his lace collar, adorned in the splendors of the world you're now so clearly a part of… And yet... […] The question remains […] Of your Place.
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The expression on that face? Shame. Anger. Pride. Yeah. The pride he was talking about. The slave finally has the master’s wife.
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Diego Velázquez Quotes in Disgraced
The Disgraced quotes below are all either spoken by Diego Velázquez or refer to Diego Velázquez . For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
).
Scene 1
Quotes
I think it’s a little weird. That you want to paint me after seeing a painting of a slave.
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Explanation and Analysis:
Scene 2
Quotes
Let me get this straight: Some waiter is a dick to me in a restaurant and you want to make a painting. But if it’s something that actually might affect my livelihood, you don’t even want to believe there could be a problem.
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Scene 3
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Moor? Haven’t heard that word in a minute.
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So there you are in your six-hundred-dollar Charvet shirt, like Velázquez’s brilliant apprentice-slave in his lace collar, adorned in the splendors of the world you're now so clearly a part of… And yet... […] The question remains […] Of your Place.
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The expression on that face? Shame. Anger. Pride. Yeah. The pride he was talking about. The slave finally has the master’s wife.
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