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French to English: Traduction de cartel Saint Thomas, Velazquez General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - French Diego VELAZQUEZ
(Séville, 1599 – Madrid, 1660)
Saint Thomas
1619 – 1620
Huile sur toile
Acquis entre 1828 et 1843, inv.1556.A
Le Saint Thomas d’Orléans est, avec un Démocrite conservé au musée des Beaux-Arts de Rouen, l’un des seuls tableaux de Velázquez conservés dans un musée français. Le peintre a une vingtaine d’années lorsqu’il le peint : l’austérité de la composition et sa palette monochrome sont caractéristiques de ses œuvres de jeunesse, à Séville. L’œuvre faisait peut-être partie d’un Apostolado (série de tableaux représentant individuellement les douze apôtres et le Christ) mais seul ce saint Thomas et un saint Paul (Barcelone, musée national d’art de Catalogne) semblent avoir été conçus.
Le peintre adopte une iconographie singulière : saint Thomas est d’ordinaire représenté comme un vieillard incrédule, touchant les plaies du Christ pour être convaincu de sa résurrection. Ici, Velázquez opte pour une effigie juvénile, la bouche ouverte en train de prêcher, tenant un livre comme symbole de son rôle de prédicateur ainsi qu’une lance, allusion à son martyre.
Ce tableau est un marqueur essentiel dans l’évolution artistique du jeune peintre et témoigne de ses multiples sources d’inspiration. Il emprunte au Greco le principe de l’Apostolado, selon une formule de portraits juvéniles, sans nimbe et plein de vigueur, dans un goût réaliste qui le rapproche de l’art de Juseppe de Ribera qui avait déjà expérimenté la pose de profil, ou de Caravage, proposant une lecture personnelle des puissants effets de clair-obscur du célèbre peintre italien.
Si les circonstances de la commande et la destination du tableau restent inconnus, le jeune Velázquez réalise un bel exemple de peinture contre-réformiste, montrant un homme simple avec ses défauts, un pêcheur parvenu au plus haut degré par ses vertus, modèle à imiter pour le spectateur pieux. Cette effigie témoigne également de la conception originale du peintre dans le domaine de la peinture religieuse : Velázquez aborde l’hagiographie en refusant les artifices du baroque, préférant montrer des hommes du peuple élevés à la sainteté, dans le naturalisme cru de leur simple humanité.
Translation - English Diego VELAZQUEZ
(Séville, 1599 – Madrid, 1660)
Saint Thomas
1619-1620
Oil on canvas
Acquired between 1828 and 1843, inv.1556.A
The Saint Thomas of Orléans is, along with a Democritus kept at the museum of Fine-Arts of Rouen, one of the only paintings of Velasquez stored in a French museum. The painter was 20 when he made it: the austerity of the composition and the monochrome palette are typical of his youth works in Seville. The painting might have been part of an Apostolado (a series of paintings representing individually the 12 apostles and the Christ) but only this saint Thomas and a saint Paul (Barcelona, Museu Nacional d'Art de Catalunya) seem to have been painted.
The painter chose a particular iconography: Saint Thomas is usually represented as an incredulous old man, touching the wounds of the Christ to convince himself of his resurrection. Here, Velazquez opted for a juvenile effigy, mouth open as he prays, holding a book like a symbol of his preacher role as well as a spear, a veiled reference to the martyr.
This painting is an essential step in the artistic evolution of the young painter and shows multiple inspiration sources. He borrowed from Greco the Apostolado principle, in accordance with a formula of juvenile pictures, without halo and full of vigor, in a realistic taste that brings him close to the art of Juseppe de Ribera who had already experimented on the profile pose or of Caravage, proposing a personal reading of the powerful chiaroscuro effects of the famous Italian painter.
If the circumstances of the order and the destination of the painting are unknown, the young Velasquez realized a good example of counter reformist painting, showing a simple man with his flaws, a sinner elevated to the highest degree with his virtues, a model to be imitated by the devout viewer. This effigy is also the proof of the original conception of the painter in the religious painting domain: Velazquez flirted with hagiography by refusing the artifices of the baroque and preferred to show men of the people rising to holiness in the raw naturalism of their simple humanity.
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Master's degree - Université d'Orléans
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Years of experience: 9. Registered at ProZ.com: Sep 2016.
During my few years of experience, I worked in several museums and web agencies, therefore I have acquired quite a bit of experience and vocabulary in those fields (mainly fine-arts and web). I'm also interested in many subjects such as films and series, cooking, zoology, science (general), astrophysics, IT or video games.
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