Antonio González Velázquez produced many paintings and frescoes for royal sites and religious buildings in Spain. Therefore, much of his work remains in situ. Several paintings by González Velázquez are held by the Museo Nacional del Prado in Madrid; these include paintings of religious subjects, such as his 1758^[2] Immaculate Conception, plus portraits and preparatory drawings. The Prado also holds paintings produced as modelli (preparatory studies) for frescoes. González Velázquez also completed fresco cycles for the Basilica of San Francisco el Grande, Madrid, between 1781 and 1783. Other Madrid churches with frescoes by the artist include the Iglesia de San Pascual and the Iglesia de las Comendadoras de Santiago. Outside Madrid, González Velázquez painted frescoes in the choir of the Cathedral of Cuenca. He also produced frescoes for the Royal Palace of Riofrío, near Segovia.

Antonio González Velázquez (1723^[2]-1793^[2]) was a Spanish^[2] painter of the late-Baroque period, active in Madrid. While he is better known for his fresco and oil paintings, prints played a significant role in Spanish art during his era. Printmaking offered artists, including Velázquez, a means of disseminating their work to a wider audience. During the 17th and 18th centuries, Spanish artists frequently used prints as compositional source material. Many artists maintained collections of prints in their workshops. These prints offered examples of artistic innovation from other regions. This was especially useful in Spain, where travel among artists declined in the 1600s. Ecclesiastical patrons sometimes gave artists prints to copy, ensuring the resulting work met their orthodox expectations. Therefore, the study of prints provides insight into the artistic practices of Velázquez and his contemporaries.

Antonio González Velázquez (1723^[2]-1793^[2]) was a Spanish^[2] painter of the late-Baroque or Rococo period. A member of an artistic family, he trained with his father, Pablo González Velázquez, and later at the Real Academia de Bellas Artes de San Fernando. He became a court painter, producing religious works, portraits, and decorative frescoes. His style shows Italian influence, particularly that of Corrado Giaquinto and Giovanni Battista Tiepolo. González Velázquez's importance lies in his contribution to the development of Spanish painting during a transitional period. His work represents a move away from the earlier Baroque style toward a more refined, lighter aesthetic that would come to define Neoclassicism in Spain. Although not as widely recognised as some of his contemporaries, his artistic output offers insight into the cultural and artistic climate of 18th-century Spain. His frescoes, in particular, are significant examples of Spanish decorative painting, demonstrating technical skill and an understanding of contemporary European trends.

Antonio González Velázquez was a Spanish^[2] painter who brought Italian quadratura to Spanish ceilings. Born in Madrid in 1723^[2], he studied under Corrado Giaquinto and in Rome. González Velázquez served as director of the Real Academia de Bellas Artes de San Fernando.

Antonio González Velázquez was a Spanish^[2] painter of the late-Baroque period. He was active during the reigns of Philip V, Ferdinand VI, and Charles III. Velázquez studied in Rome, where he won a first-class prize from the Accademia di San Luca in 1746^[2]. While there, he mastered fresco painting. His Roman training influenced his later work in Spain. Back in Madrid, Velázquez worked for the royal family. He painted frescoes in the Royal Palace, often depicting mythological or religious subjects. These included ceilings in the Queen's dressing room (1763) and the King's dining room (1765). He also produced easel paintings, such as "The Virgin Apparition to Saint Simon Stock". Velázquez became director of painting at the Real Academia de Bellas Artes de San Fernando in 1765. He used his mastery of fresco and oil techniques in both religious works and royal portraiture.

Antonio González Velázquez appears to have been most influenced by earlier artists. It is argued that Diego Velázquez was responsive to the styles of other artists; his paintings from the Seville period share characteristics with works by Caravaggio, such as format, composition, pictorial space, lighting, and the use of rustic figures. Caravaggio was a specialist in half-length format, which Velázquez also used in his genre paintings, usually called bodegones. Velázquez's later masterpiece, The Spinners, was largely made to proclaim himself as a worthy successor to the tradition established by Titian and continued by Rubens. Velázquez was an impressionable artist, and he surely did not develop his distinctive naturalism without artistic models.

Antonio González Velázquez's influences included other artists and writers. Velázquez initially followed Tristan, moving away from the style of his master Pacheco. He also admired El Greco, particularly his portraiture. Velázquez found Pacheco's style too tame for his own artistic inclinations. Contemporaries even called Velázquez a second Caravaggio, because he depicted nature with accuracy. His paintings from the Seville period share similarities with Caravaggio regarding format, composition, pictorial space and lighting. Many of Velázquez's genre paintings from this time, called bodegones, employed the half-length format that Caravaggio was known for. Later in his career, after his first trip to Italy in the 1630s, Velázquez responded to the styles of Rubens and Titian. His later work, The Spinners, shows him as a successor to the tradition established by Titian and continued by Rubens. Velázquez also trained himself by reading books on the art of painting.

Antonio González Velázquez was a Spanish^[2] painter, active during the 18th century. He is best known for his fresco cycles. These decorations can be seen in numerous Spanish churches and palaces. His most famous work is generally considered to be the frescoes in the Basilica of Saint Francis the Great in Madrid. He completed these paintings between 1781^[2] and 1783. The frescoes adorn the cupola and depict scenes from the life of Saint Francis of Assisi. They are characterised by their Neoclassical style, with a careful attention to detail and a balanced composition. González Velázquez also created frescoes for the Royal Palace of Madrid. These include decorations in the Queen's Chamber and the Hall of Ambassadors. Additionally, he produced paintings for the Cartuja de Aula Dei in Zaragoza. His work can also be found in other religious buildings such as the Toledo Cathedral. Although he produced easel paintings and portraits, his large-scale decorative projects are what secured his reputation.