File:Nativity of mary.jpg
Original file (3,054 × 2,115 pixels, file size: 1.58 MB, MIME type: image/jpeg)
Captions
Summary
[edit]Author | |
Object type |
painting object_type QS:P31,Q3305213 |
Description |
Español: nacimiento de la virgen, oleo sobre lienzo, 101x142cm;
Este cuadro se produjo en el siglo 17 según análisis de lienzo y de colores. Se representa un nacimiento real con un recién nacido justamente viniendo al mundo, los rayos del sol disuelven al niño en cierto modo de manera impresionista. El cuadro entero está pintado en colores claros. El lugar: el interior de un monasterio con vista y una franciscana sirviente (novicia?) que viene corriendo. La señora de avanzada edad en el centro parece ser la abadesa, a la derecha una señora de casa noble lujosamente adornada, a la izquierda la conserje con llaves. Si se asocia la abadesa con Jeronima de la Fuente, el cuadro se puede fechar temporalmente y localmente: por una parte en el Convento de Santa Isabel de los Reyes en Toledo – quizás como reminiscencia de Jeronima -, donde se cuidó caritativamente en particular a los recién nacidos y a los niños pequeños, donde incluso la reina Margarethe participó ayudando. Por la otra en el convento franciscano en Sevilla donde Jeromina debió esperar la salida para Manila, y donde Velazquez la retrató. También el convento clarisa en Manila que Jeromina había fundado, en el cual se le dio entrada solamente a señoritas de origen español y de buena familia, se podría tomar en consideración; los nativos tuvieron solamente permiso para ayudar allí. No obstante los utensilios en primer plano son típicos de Sevilla, sobre todo el brasero encendido. Lo que salta a la vista es el carácter acentuadamente martriarchal: se representan solamente mujeres, que además para el espectador, se encuentran a un mismo nivel; las distinciones sociales son neutralizadas. En el momento del nacimiento, todas tienen el mismo valor respecto a la ayuda que prestan. Los cuatro elementos se muestran ocultamente: el fuego (carbón encendido, calor), el agua (baño, limpieza, bautismo), el aire (velo ondeando), la tierra (el nacimiento terrenal). En primer plano es un nacimiento realista, pero el escenario está manifestado este momento de una manera impresionista. En España del siglo 17 había solamente un solo pintor quien habría podido llevar a cabo una representción así compleja.
Français : nativité de la Vierge, huile sur toile, 101x142cm;
Ce tableau date du 17ième siècle selon analyse de la toile et de la peinture. Le tableau représente une naissance réelle avec un nouveau-né, qui est en train de voir le jour, les rayons de soleil englobent l’enfant d’un fondu quasi impressionniste. Le tableau entier est peint en couleurs claires. Le lieu : l’intérieur d’un monastère avec échappée et une soeur franciscaine servante (novice ?) arrivant en courant. La dame la plus âgée au milieu paraît être la soeur cellérière, à droite une dame richement vêtue d’origine noble, à gauche la concierge avec des clés. Si on associe la cellérière avec Jeronima de la Fuente, le tableau se laisse classer en vue du temps et de l’espace: d’une part il paraît s’agir du Convento de Santa Isabel de los Reyes à Toledo – peut-être comme réminiscence de Jeronima -, où on se chargeait de manière caritative spécialement des nouveau-nés et petits enfants et où même la reine Margarethe s’engageait bénévolement. D’autre part du couvent des Franciscaines à Sevilla où Velazquez avait portraituré Jeronima attendant le départ pour Manila. Et enfin il s’agit peut-être du couvent des Clarisses à Manila que Jeronima avait fondé et où seulement des jeunes dames d’origine espagnole et noble étaient acceptées; les natifs y aidaient seulement. Cependant les ustensiles au premier plan sont typiques de Sevilla, surtout le brasero encendido. Ce qui est frappant c’est le caractère tout à fait matriarcal : seules des femmes y sont représentées qui en outre, pour le contemplateur, se trouvent sur un même rang; les différences inégalitaires sont résiliées, au moment de la naissance toutes se valent en aidant. Les quatre éléments se révèlent à l’écart: le feu (charbon en train de brûler, chaleur) l’eau (bain, nettoyage, baptême), l’air (voile flottant), la terre (la naissance terrestre). De prime abord une naissance très réaliste, mais le cadre peint pour le moment de manière impressionniste. Dans l’Espagne du 17ième siècle il n’y avait qu’un seul artiste peintre qui aurait pu maîtriser une représentation tellement complexe.
English: nativity of mary, oil on canvas, 101x142cm,
Based on canvas and paint analyses, this picture was painted in the 17th century. An actual birth is portrayed, with a newborn beholding the light of the world for the first time; the rays of sunshine all but dissolve the child in an impressionistic manner. The whole picture is painted in bright colours. The location: Inside a convent, with a view and a Franciscan nun (a novice?) in service hurrying past. The older woman in the middle appears to be the Abbess; on the right a richly-jewelled woman from a noble house; on the left, the housekeeper with keys. If we associate the Abbess with Jeronima de la Fuente, the picture can be categorised both in terms of time and place: For the latter as the Convento de Santa Isabel de los Reyes in Toledo - perhaps in memory of Jeronima - , where charitable help was offered in particular to newborns and small children, where even Queen Margaret got involved in helping. Or as the Franciscan convent in Sevilla, where Jeronima had a wait for departure to Manila, where Velazquez painted her portrait. The Clarissan convent in Manila, founded by Jeronima, which only accepted young women of Spanish descent and from good families, could also be a possibility; locals were only allowed to help there. However, the utensils in the foreground are typically Sevillian, in particular the Brasero encendido (brazier). The markedly matriarchal character is striking: only women are portrayed, and in the addition, for the viewer, all at one height; social differences are set aside, at the moment of the birth all help equally. The four elements can be found tucked away: fire (burning coals, heat), water (bath, cleaning, baptism), air (fluttering veils), earth (earthly birth). In the foreground, a realistic birth that does, however, record the scene in that moment impressionistically. In the Spain of the 17th century, there was only one single artist who could have mastered such a complex presentation.
Русский: Диего Веласкес де Сильва. «Рождество Богородицы»; холст, масло, 101x142см
На основании проведенного анализа холста и красок было установлено, что время создания этого полотна восходит к XVII в. Реалистически представлена сцена рождения ребенка. Новорожденный только что появился на свет, его тело будто растворяется в освещающем его солнечном свете, что изображено почти в импрессионистической манере. Вся композиция решена в светлой палитре. Действие изображенной сцены происходит в интерьере монастыря. К основной группе фигур, зображенной в центре, торопливо присоединяется монахиня францисканского Ордена (послушница?). Пожилая женщина посередине - возможно, аббатиса. Справа богато наряженная дама из зажиточных слоев. Слева привратница с ключами. Если допустить, что в образе аббатисы представлена Иеронима де ла Фуэнте (Jeronima de la Fuente), то изображение может быть соотнесено с определенным временем и местом. Это может быть либо монастырь святой Изабеллы (Convento de Santa Isabel de los Reyes) в Толедо - возможно, как указание на Иерониму - где особое внимание уделялось благотворительной помощи новорожденным и младенцам и в деятельности которого непосредственно участвовала сама королева Маргарет. Либо это может быть францисканский монастырь в Севилье, в котором Иеронима останавливалась, ожидая своего отъезда в Манилу, где Веласкес должен был написать ее портрет. Не исключено также, что местом действия может являться монастырь Ордена святой Клары в Маниле, который основала Иеронима. В этот монастырь принимались только молодые дамы испанского происхождения из знатных семей, а служанками им служили местные женщины. В любом случае, утварь, изображенная на переднем плане, явно севильского происхождения, в частности, это касается жаровни с раскаленными углями. Обращает на себя внимание подчеркнуто матриархальный характер сцены: изображены только женщины, в облике которых, кроме того, не наблюдаются признаки принадлежности к разным социальным слоям: в момент рождения ребенка все они помощницы, равные перед людьми и богом. Исподволь прочитывается мотив четырех стихий: огонь (горящий уголь, тепло), вода (ванна, очищение, крещение), воздух (трепещущая вуаль), земля (земное рождение). Явно реалистическая трактовка сцены рождения ребенка несет на себе импрессионистические черты находящегося в движении и непрерывном изменении момента жизни. В Испании семнадцатого века был только один художник, способный справиться с такой сложной задачей – Диего Веласкес де Сильва.
Deutsch: Mariengeburt, Öl auf Lwd., 101x142cm;
Dieses Gemälde entstand nach Leinwand-u. Farbanalyse im 17. Jahrhundert. Dargestellt ist eine reale Geburt mit einem gerade das Licht der Welt erblickenden Neugeborenen, die Sonnenstrahlen lösen das Kind quasi impressionistisch auf. Das ganze Bild ist in hellen Farben gemalt. Der Ort: ein Klosterinneres mit Durchblick und herbeieilender dienender Franziskanerin (Novizin?). Die ältere Dame in der Mitte scheint die Äbtissin zu sein, re. eine reich geschmückte Dame aus vornehmen Haus, li. die Hausmeisterin mit Schlüsseln. Assoziiert man die Äbtissin mit Jeronima de la Fuente, läßt sich das Bild zeitlich und räumlich einordnen: zum einen in den Convento de Santa Isabel de los Reyes in Toledo - vielleicht als Reminiszenz an Jeronima -, wo man sich caritativ besonders um Neugeborene und Kleinkinder bemühte, wo sich sogar Königin Margarethe helfend mit einbrachte. Sodann in das Franziskanerinnenkloster in Sevilla,wo Jeronima auf die Ausreise nach Manila warten mußte, wo Velazquez sie porträtierte. Auch das Klarissenkloster in Manila, das Jeronima gegründet hatte, in das nur junge Damen spanischer Abstammung und aus gutem Hause aufgenommen wurden, käme in Frage; Einheimische durften dort nur mithelfen. Typisch sevillanisch sind allerdings die Utensilien im Vordergrund, vor allem der Brasero encendido. Auffallend der betont matriarchale Charakter: dargestellt sind nur Frauen, die sich zudem für den Betrachter auf einer Höhe befinden; soziale Unterschiede sind aufgehoben, im Augenblick der Geburt sind alle helfend gleichwertig. Versteckt offenbaren sich die vier Elemente: Feuer (brennende Kohle, Wärme), Wasser (Bad, Reinigung, Taufe), Luft (flatternder Schleier), Erde (die irdische Geburt). Vordergründig eine realistische Geburt, die Szenerie aber im Augenblick impressionistisch erfaßt. Es gab im Spanien des 17. Jahrhunderts nur einen einzigen Maler, der eine so komplexe Darstellung hätte bewältigen können. |
Date | 14 July 2014, 18:33:33 |
Source/Photographer | Own work |
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Camera manufacturer | SAMSUNG |
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Camera model | GT-I9505 |
Exposure time | 1/594 sec (0.0016835016835017) |
F-number | f/2.2 |
ISO speed rating | 50 |
Date and time of data generation | 18:33, 14 July 2014 |
Lens focal length | 4.2 mm |
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Width | 4,128 px |
Height | 2,322 px |
Orientation | Normal |
Software used | I9505XXUDMH5 |
File change date and time | 18:33, 14 July 2014 |
Y and C positioning | Centered |
Exposure Program | Normal program |
Exif version | 2.2 |
Date and time of digitizing | 18:33, 14 July 2014 |
Meaning of each component |
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APEX shutter speed | 9.2344055175781 |
APEX aperture | 2.28 |
APEX brightness | 7.5 |
APEX exposure bias | 0 |
Maximum land aperture | 2.28 APEX (f/2.2) |
Metering mode | Center weighted average |
Light source | Unknown |
Flash | Flash did not fire |
Supported Flashpix version | 1 |
Color space | sRGB |
Sensing method | One-chip color area sensor |
Scene type | 49 |