The fall into oblivion of the works of the slave painter Juan de Pareja

Fracchia, C. and Macartney, H. (2012) The fall into oblivion of the works of the slave painter Juan de Pareja. Art in Translation, 4(2), pp. 63-84. (doi:10.2752/175613112X13309377913043)

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Abstract

This thought-provoking article focuses on the reception of the Spanish artist Juan de Pareja, the slave and collaborator of Velázquez, who developed a career at the court of Philip IV after his manumission in 1650. Fracchia examines the writings of significant commentators on Pareja, such as Antonio Palomino, Carl Justi, and Gaya Nuño. The historiography is marked by ethnic prejudices, emphasis on Pareja’s social status, and comparison with Velázquez, all of which ultimately contributed to the neglect of Pareja’s work until recently. In addition, Fracchia’s analysis of Pareja’s Calling of St Matthew reveals his own efforts to present himself in a way that would be acceptable to the seventeenth-century beholder.

Item Type:Articles
Status:Published
Refereed:Yes
Glasgow Author(s) Enlighten ID:MacArtney, Dr Hilary
Authors: Fracchia, C., and Macartney, H.
College/School:College of Arts > School of Culture and Creative Arts > History of Art
Journal Name:Art in Translation
Publisher:Berg Publishers
ISSN (Online):1756-1310
Copyright Holders:Copyright © 2012 Berg Publishers
First Published:First published in Art in Translation 2012 4(2):63-84
Publisher Policy:Reproduced in accordance with the copyright policy of the publisher

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