In 1623, thanks to his father-in-law's connections, Velázquez was asked to paint a portrait of the young King Philip IV. Philip was so delighted with the result that he immediately appointed Velázquez as one of his court painters, and from then on would allow no one else to paint him.

The move to the royal court in Madrid gave Velázquez access to the impressive royal collection. Velázquez studied the Italian paintings, particularly those by Venetian artists such as Titian.

In 1628, Rubens arrived in Madrid on a diplomatic mission. Generally dismissive of Spanish painting, Rubens immediately recognised the potential of the young Velázquez, and helped convince Philip that he should visit Italy to study Italian painting.

Velázquez painted 'Apollo at the Forge of Vulcan' while in Italy. It shows Vulcan, blacksmith to the Gods, being told by Apollo that his wife, Venus is having an affair with his brother Mars, the God of War.

The unified composition and Velázquez's improved use of perspective show the artist learning from what he saw.

However, he continued to portray his figures - even if they are gods - with all the psychological realism of the characters in his bodegones. Vulcan may have an idealised body, but his posture, and bulging-eyed anger are engagingly human - as is the open-mouthed amazement of his assistant.

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