Each table has its secret history in many whimsical and sometimes unknown. It was flooded, withdrew from the cult and, most likely, was stacked in the warehouse of a convent in Seville, where was forgotten. It is confirmed that came to the USA in the second half of the nineteenth century and their owners donated it to Yale University, where he came into his catalog number 1900.43 and a generic (and apathetic) definition: “Oil Painting on canvas, Spanish, Style Murillo, religiously themed “. Well, the fabric in question, The Education of the Virgin talk, maybe it’s the first that Velázquez painted.
thinks so, at least, its discoverer, John Marciari, Chief Curator of European Art at the Museum of Fine Arts in San Diego, he ran into her in mid-2010 in the basement of Yale. The expert says that Velázquez executed it around 1617 , ie shortly after leaving the workshop of Francisco Pacheco, for the Carmelite nuns of Santa Ana in Seville. Attribution, not surprisingly, has caused a huge stir in the scientific world, with fervent and emphatic rejections adhesions. Jonathan Brown, for example, settled the debate with a resounding kick: “It’s a pastiche”
Table of Yale is now on display at the convent of Santa Clara in Seville wrapped by a large artifact. studies, x-rays and pictures that come to ratify the authorship of Velázquez. The exhibition is therefore a compendium of the works of the Sevillian youth, as was seen at the Centro Andaluz de Arte Contemporaneo (CAAC) in 1999 Hardly. It is, instead, a scientific sample, perhaps uncomfortable for the audience, but informative will obviously conceived by its curator, Benito Navarrete, one of the first proponents of the thesis Marciari.
In this line, the exposure-introduced by the Mayor of Sevilla, Juan Ignacio Zoido, fluttering happily around the table, with the director of the gallery Yale Art, Jock Reynolds is not in doubt about who actually painted the picture. Rather confirms that emerged from the brush of Velasquez, who executed him 18 or 19 years. “There is ample evidence of their responsibility” said, outright, the restorer of the fabric, Carmen Albendea. Among them, the expert cited the stroke, the underlying drawing, materials and regrets “as Velázquez”, which jump out at the head of Santa Ana.
Canvas accompany only two works in the exhibition that inspired the author, Juan and Luis Tristán de Roelas
The education Virgin is designed somehow, like A sacred monumental still life . The viewer enters the scene through the piercing gaze of the virgin girl, which seems to ignore the book of the Scriptures you hold in your hands Holy Ana No looks.; just point the finger. San Joaquin, with belted front, on the left, near some household items: a coffee table, a clay pot, a basket of sewing, a dog, a cat … In the upper arm is guessed an angel of the little known, because the fabric is mutilated, especially in the top where missing up to 25 inches.
Canvas -restored concerned with the support of Banco Santander only accompany the exhibition two works similar iconography that inspired the author: The Education of the Virgin Juan de Roelas, lent by the Museum of Fine Arts in Seville, and The Holy Family of Luis Tristan, courtesy of the Minneapolis Institute of Art. “With these paintings highlight the realistic components and naturalists who have the box and Velázquez Yale took over the course of their training, revolutionizing the history of painting in Seville with his new visual language, “said Commissioner Benito Navarrete.
With them may also be Imposition of the Chasuble to St Ildefonso , the only velázquez owned by the City of Seville, executed towards 1622-1623. The work is to illustrate what the evolution of the painter in a decisive years, from painting The Education of the Virgin until he abandoned his hometown to settle in Madrid. “In both paintings the same naturalistic models are in place, but much better now matured and perfected” says Navarrete. It’s just that moment became Velázquez Velázquez.
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