But today have become a joy to me with news of a great Van Dyck re-discovered among the funds Real Academia de San Fernando . The picture is a gem, attractive to seeing only the pictures that illustrate the story. Apart
the value of the painting itself - a Van Dyck's always a treat, either Portrait, pious or mythological fable - the canvas of the Academy adds iconographic interest, for its rare theme, Uncommon: A Madonna with Saints ex-sinners, who are the SS. David, Magdalene y. .. The Prodigal Son! Concerning to
eloquent trio, I miss the presence of a parable character, fictional, even though both evangelical and narrative making mismísmo Jesus Christ. In the character (the young center, between Mary Magdalene and the Holy King David) Prodigal Son assumed, I guess even a possible portrait of the young Van Dyck, who seems by the factions and the haircut, but who is distinguished by the color of the hair and skin, which are sallow and brunette paint and were very courteous blond teacher in the Van Dyck. But even so, I would not rule out a possible self-portrait of the master, as I say. For
disagree, to discuss, I would suggest before the Good Thief Dismas that the Prodigal Son. Of course there is the sartorial handicap: Dimas is depicted naked, napkin or perizoma, as was crucified, and no semi-clad in robes half subject to the shoulder and a staff in his hand. Because it seems that the character takes is a kind of wooden stick, the Cudgel of swineherd, the office had to play after their ruin the youngest son of the parable.
confirmation may depend on which character knew the work description on a verifiable and reliable documentary source, or some other version of the same table. For example, ABC page where I saw the news first has been fantastic until a few minutes a picture of another picture, I believe that a copy or replica with the same figures arranged in the same manner and with similar characterizations except for details.
Returning to the table, it is clear the influence of maestos Venetians, Titian in particular. Not only in the composition of the scene, but also in specific similarities, as the blonde Magdalene, as tizianesca.
On the subject of iconography, in the articulete El Pais (as often happens the better composed, informed and enlightened than the ABC (now worse than yesterday but less than tomorrow, you know)) states that the three characters would be typical embodiment of three sins: Lust, adultery and lavish. But I think such a hasty and too easy to comment, including the proximity and quasi-equivalence of lust adultery, especially where it refers to Mary Magdalene, whose lives are supposed poor and imagine many chapters that would fit many varieties of the sin of the flesh.
While it is true that the three characters, both real and parabolic, are implicated in the sins of vanity, sensuality and lust, being the common denominator to take into account the reasonable selection of them and not other possible (which any).
However, as nicely highlights the writer for El Pais, the scene would paint three repentant repentant three, all three with a story told in the Scripture , the three protagonists of a sincere sorrow of sins, contrite and humiliated the three, valid as three copies, conversion rates.
The three approach the Throne of Mercy, the headquarters of the Grace that is the Mother of the Redeemer, Jesus Christ, as in Figure tender and kind of restores and recreates Child grace lost innocence of sinners. The three - Magdalena, David and the Prodigal - they smile naive, static, do not cry, to live a later stage of repentance and the pain of guilt and penance, that already happened. The detail of the still life, vanitas with a skull and bottle myron (attributes of the Magdalena) left at the foot of the Child-God, it is the Virgin in the left corner of the canvas, suggests that step already been done the penitent to the state of grace and unity, as also about iconographic to the configuration of the mystical betrothal (th St Catherine of Alexandria, St ª Inés). In this case with the assistance of King David and the Prodigal Son as a witness of grace, invited to the wedding of the Lamb.
This is the Lord who repent their sins and cry in response to the grace which stimulates the pain of their mistakes and opens the appetite of the good, virtue and holiness with fear and love of God.
Just within a week, on Thursday of the Second Week of Lent, we pray at Mass at the fair this beautiful prayer, so characteristically Catholic Lenten:
ord S, T ú you love the innocence and give back to those who have lost appeals to you our hearts and nonflammable in the fire of your spirit to stand firm in faith and effective in well act. For Mr. J Ntr º esucristo ... A mén.
For this same sentence is painted on this beautiful painting by Van Dyck, Anthony Van Dyck the gentleman, an artist when faith and inspiration walking together and taught the art credendi lex-lex orandi , and with brushes and with gouges, with oil, wood, bronze or marble, all Ad Dei Gloriam maiorem .
That world that proves to us every time, as this pious picture, emerges from the filth and horrors of this time and atrocious miscreant, false art and impious apostasy.
We like the Prodigal Son when he kept pigs, ravaged by the orgies, consumed by the excesses and eating feed pigs.
God of grace with tears arrepetimiento for wanting to leave the crap and to be in a scene like the picture!
Now that Lent is a time of grace, the day of salvation.
+ T
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