《镜前的维纳斯》（西班牙文：La Venus del espejo）是西班牙画家迭戈·罗德里格斯·德·席尔瓦·委拉斯凯兹1656年创作的油画作品，现收藏于伦敦国立美术陈列馆。
画作描绘了裸体的希腊神话爱神维纳斯和小爱神丘比特。作品采用了横向斜线的构图，以墨绿色和红色金丝绒的大块背景，衬托出女性形体的圆润和柔美。画面上的女性姿势优雅而从容，形体的微妙起伏，构成了光与色的交响。
裸身的维纳斯横躺于一张床上，背向观看者，一边披上蓝带的丘比特，一条腿蹲一条腿跪，手扶一面镜子，镜框上悬绕着粉红丝带，镜面则呈现一个美丽的影像，那是维纳斯的脸，可以看到维纳斯的长相。
出生于塞维利亚的委拉斯凯兹，从小展现出不凡的绘画天分，他先后在弗朗西斯科·德·埃雷拉与弗朗西斯科·帕切柯两位地方画家那儿当学徒，1623年入宫为西班牙国王菲利普四世工作，几年之后，和另外一名到西班牙的宫廷画家鲁本斯相遇，两人不但没有任何的嫉妒与纷争，还展现了君子的风范。因鲁本斯的劝说，委拉斯凯兹决定在1628年开始一次意大利之旅，在旅行期间，观摩了画家提香的希腊罗马女神的系列画作，这次旅行激发了委拉斯凯兹，将近20年后，他画了《镜前的维纳斯》。
在这幅画中，维纳斯未戴任何的珠宝，一旁没有玫瑰，也没有仿桃金娘科植物；传统的维纳斯，头发大都是金黄色，但这儿却上了深棕色；一般的丘比特会拿一副弓箭，这儿不但没有，取而代之的，是只握着悬在镜框上的粉红色缎带；过去的裸女通常躺在白色的被褥上，在这里画家却铺上了一条深灰的绸缎布。这几个特点，不同于传统的维纳斯与丘比特的组合。没有珠宝，没有玫瑰，没有桃金娘，表示维纳斯的美不需世间的物质来衬托。深棕色的发丝，则诉说她的深沉、她的神秘，浓郁得化不开。而丘比特的粉红色缎带一般是用来蒙上人的眼睛，有镣铐之意，说明爱情的盲目，但在此，维纳斯没被蒙蔽，反而自信地躺着，丘比特的表情忧郁，暗示美战胜了爱。画家用深色的绸缎布来对比维纳斯白里透红的肌肤，进而凸显她白皙的肌肤。
作品的中心处，是爱神丘比特扶着的镜子，镜子里的维纳斯安祥中带着淡淡的忧郁。面对着自己无比姣好的形体，画面中的这位女性流露出的这种淡淡的忧郁，很自然地把读者的目光从优美的女性形体转向对其命运的思考。
此画在造型上，充分表现了女性的线条美。女性背部的冰肌玉肤刻画得富有生气，洋溢着女性的青春美。
从画面的构图看，浓重的天鹅绒帷幕把这个优雅而美丽的世界与外在的现实隔绝开来，而那一个深褐色镜框里的维纳斯更是象征着现实对优美和愉悦的限制和压抑。从某种意义上说，镜前的维纳斯也就是处于被观看位置上的维纳斯。因此，这一美丽的形象唤起了观看者对孤立无援的善良人们的深深同情。
此画原名《梳妆的维纳斯》，最先摆存西班牙宫廷里，直到1813年被人带到英围约克郡，挂在洛克比厅的墙上，因此又被称为《洛克比维纳斯》。1906年伦敦国家美术馆通过国家艺术收藏基金购入了此画。
迭戈·罗德里格斯·德·席尔瓦·委拉斯凯兹（1599-1660），出生于塞维利亚一个破落贵族家庭，父亲很早就发现了他的绘画才能，送他去当地画帅师那里学画。1622年委拉斯凯兹来到马德里，成为王室宫廷画家。1628年委拉斯凯兹在国王腓力四世那里遇见了鲁本斯，并受其鼓舞到意大利深造，从此拓宽了眼界，超越了西班牙本土的画风。他在真实观察、悉心体会中形成了自己的艺术风格。他的代表作有《酒神巴库斯》、《镜前的维纳斯》、《卖水的老人》、《教皇英诺森十世像》、《布列达的投降》、《纺织女》、《火神的锻造房》、《宫娥》、《菲力四世像》、《穿猎装的菲力四世》和《菲力四世骑马像》等。
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"Venus de Espejo in the Mirror" (Spanish: La Venus del espejo) is an oil painting created by Spanish painter Diego Rodrigues de Silva Velasquez in 1656. It is now in the National Gallery of Art in London.
The painting depicts the naked Greek mythology Venus and Cupid, the little god of love. The composition of horizontal diagonal lines is adopted in the work, with a large background of dark green and red golden velvet, which sets off the round and soft beauty of women's body. The graceful and calm posture of the women in the picture and the subtle fluctuation of the body constitute the symphony of light and color.
Naked Venus lay on a bed with his back to the viewer, Cupid in blue belt, kneeling on one leg, holding a mirror in hand. Pink ribbon hung around the frame, and the mirror presented a beautiful image. It was Venus'face, and Venus' appearance could be seen.
Born in Venezuela, Seville, he showed great talent in painting. He was an apprentice to two local painters, Francisco de Erera and Francisco Pacheco. He entered the palace in 1623 and worked for King Philip IV of Spain. Several years later, he and another palace painter came to Spain. Family Rubens met, they did not have any jealousy and disputes, but also showed a gentleman's demeanor. Upon Rubens'persuasion, Velasquez decided to embark on an Italian tour in 1628, during which he visited a series of paintings by Titian, the Greek and Roman goddess, which inspired Velasquez. Nearly 20 years later, he painted Venus in the Mirror.
In this picture, Venus wears no jewelry, no roses on one side, no mimic Myrtle plants; traditional Venus has golden hair, but dark brown here; Cupid usually takes a pair of bows and arrows, which are not, instead, pink hanging on a mirror frame. Colored ribbons; nude women used to lie on white bedding, where painters laid a dark grey satin. These characteristics are different from the traditional combination of Venus and Cupid. No jewelry, no roses, no myrtle, that means the beauty of Venus does not need the material world to foil. Dark brown hair, then tell her deep, her mystery, rich can not be melted. Cupid's pink ribbon is usually used to blindfold people's eyes, which means that love is blind, but here Venus is not blinded, but lie confidently, Cupid's expression is melancholy, suggesting that beauty triumphs over love. The painter uses dark satin cloth to contrast Venus'white, reddish skin, and to highlight her fair skin.
At the center of the work is the mirror held by Cupid, the God of love, in which Venus is peaceful with a touch of melancholy. Faced with her perfect body, the light melancholy of the woman in the picture naturally turns the reader's eyes from the beautiful female body to the thinking of her fate.
This painting fully expresses the beauty of women's lines in shape. Women's back is vividly depicted with the beauty of youth.
From the composition of the picture, the dense velvet curtain separates the elegant and beautiful world from the external reality, and the Venus in the dark brown frame symbolizes the restriction and depression of reality on beauty and pleasure. In a sense, Venus in front of the mirror is Venus in the viewing position. Therefore, this beautiful image evokes the deep sympathy of the viewer for the helpless and isolated people.
The painting, originally named "The Venus of Dressing", was first placed in the Spanish court until it was taken to Yorkshire in 1813 and hung on the wall of the Lockerbie Hall. It is also known as "Lockerbie Venus". In 1906, the National Gallery of Art in London bought the painting through the National Art Collection Fund.
Diego Rodrigues de Silva Velasquez (1599-1660) was born in a ruined aristocratic family in Seville. His father discovered his painting talent very early and sent him to a local painting instructor to learn painting. In 1622, Velasquez came to Madrid and became a royal court painter. In 1628, Velasquez met Rubens at King Philip IV and was inspired to study in Italy. From then on, he broadened his horizons and surpassed the painting style of Spain. He formed his own artistic style through real observation and careful experience. His representative works include Bakus, Venus in the Mirror, Old Man Selling Water, Pope Innocent X, Brida's Surrender, Textile Girl, Forging House of Fire, Gong'e, Phillip IV, Phillip IV in Hunting Dress and Phillip IV Riding Statue. And so on.
