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When the great Velázquez was painting his masterpieces at the Spanish court in the seventeenth century, his colors were expertly mixed and his canvases carefully prepared by his slave, Juan de Pareja. In a vibrant novel which depicts both the beauty and the cruelty of the time and place, Elizabeth Borton de Treviño tells the story of Juan, who was born a slave and died an accomplished and respected artist.
Upon the death of his indulgent mistress in Seville, Juan de Pareja was uprooted from the only home he had known and placed in the charge of a vicious gypsy muleteer to be sent north to his mistress's nephew and heir, Diego Velázquez, who recognized at once the intelligence and gentle breeding which were to make Juan his indispensable assistant and companion―and his lifelong friend.
Through Juan's eyes the reader sees Velázquez's delightful family, his working habits and the character of the man, his relations with the shy yet devoted King Philip IV and with his fellow painters, Rubens and Murillo, the climate and customs of Spanish court life. When Velázquez discovers that he and Juan share a love for the art which is his very life, the painter proves his friendship in the most incredible fashion, for in those days it was forbidden by law for slaves to learn or practice the arts. Through the hardships of voyages to Italy, through the illnesses of Velázquez, Juan de Pareja loyally serves until the death of the painter in 1660.
I, Juan de Pareja is the winner of the 1966 Newbery Medal.
Latino Interest.
- Sales Rank: #75826 in Books
- Brand: Square Fish
- Published on: 2008-04-29
- Released on: 2008-04-29
- Original language: English
- Number of items: 1
- Dimensions: 7.60" h x .54" w x 5.51" l, .34 pounds
- Binding: Paperback
- 192 pages
Review
“The author creates a fresh and different approach to biographical fiction. The novel is also an eloquent testimonial to the bonds between races.” ―School Library Journal, Starred Review
“This brilliant novel captures and holds the attention from its rhythmic opening sentence--‘I, Juan de Pareja, was born into slavery'--all the way through to the end. . . . A splendid book, vivid, unforgettable.” ―The New York Times Book Review
“The book is full of memorable scenes . . . Many paths of interest lead from this original, beautifully written story.” ―The Horn Book Magazine
“An excellent novel, written in the form of an autobiography, about the painter Velázquez and his Negro slave and assistant, Juan de Pareja . . . [who] was legally prohibited from painting because he was a slave.” ―The Bulletin of the Center for Children's Books
About the Author
Elizabeth Borton de Treviño (1904-2000) was the highly acclaimed author of many books for young people. Born in California, it was her move to Mexico in the 1930s that inspired many of her books, including El Güero: A True Adventure Story and Leona: A Love Story. She won the Newbery Medal in 1966 for I, Juan de Pareja.
From AudioFile
This 1965 publication won a Newbery Medal and top awards in England and France. De Trevino's masterpiece is enhanced by Ward's glorious narration. The colorful text is presented so artistically that simply listening to all of the different voices and accents is a great pleasure. Juan is an African slave who assists Spanish painter Vel‡zquez and himself becomes an accomplished artist in spite of the prohibition against a slave learning to paint. The diverse European accents, as well as Juan's African speech patterns as a child and an adult, are masterfully recreated. The book closes very interestingly with de Trevino explaining the art of creating a biography. S.G.B. (c)AudioFile, Portland, Maine
Most helpful customer reviews
27 of 27 people found the following review helpful.
NOT an "Uncle Tom"
By Sharon Huston
One reason the story is so powerful is because it is NOT an adrenaline-packed full-bodied cry against social injustice. It's a quiet, beautiful story, and these very qualities highlight why slavery was such an insidious institution.
Some reviewers claim the book is slow. They are right, but let's examine the slowness in a little more detail. First of all, the book is intended to be a realistic look at a fictional person (not a biography as reviews state), which forced the author to cut back on the "page-turner" syndrome we're affected with today. (I'm going to sound preachy here, but most people don't lead perilous lives!! We aren't secretly spies, we don't get lost on islands populated by enigmatic others, and we don't become pop stars on American Idol.)
The book lacks whips, and bloodhounds, and chases across Southern swamps in the moonlight with a baby strapped to the hero's back.
But that doesn't make the book any less of a voice against slavery.
The sheer genius of the book is that it shows why slavery was an accepted part of life, and also shows why slavery is wrong. Juanico (he's referred to by a child's name for almost the entire book) is well-fed, he's loved, he's taken care of. He's a model slave leading a perfect life of servitude. At the time people would point to slaves like Juanico and say slavery clearly wasn't evil because Juan was well-treated.
As privileged readers, however, we know Juan doesn't like his permanent childlike state. He wants to paint. He wants it bad enough to steal from a man who has served as his father figure. Bad enough to risk death.
That's what slavery is all about -- limiting someone's life based on the color of their skin. By showing us Juan's pain Tervino shows that even the mildest form of slavery is wrong.
Juan writes his memoir after Vasquez's death, but (if memory serves) we never know precisely how long after the death. Personally I think the death is recent, and Juan is still processing the injustice of what happened to him. Without modern therapy to help him touch his inner rage he might never rail against Diego Velasquez, who he loved.
Other reviewers don't like how Velasquez "forgot" to free Juan. To me that is one of the most realistic parts of the book. Velasquez saw Juanico as a child, as a slave, for almost the entire book. He never frees Juan because he doesn't see Juan as a man and an equal. This mindset lasts right up to the point when he sees Juan's paintings. At that moment their relationship shifts. Diego suddenly sees Juan as an equal, and in that moment he frees Juan.
Several reviewers also seem to want some retribution; a better, more climatic ending. I personally like the ending because it's realistic. Juan comes to terms with what life has dealt him, maintaining the quiet dignity that makes him such a strong character.
23 of 24 people found the following review helpful.
Truth in Art and Loyalty in Friendship
By Plume45
Trevino's 1966 Newbery winner may seem a sleeper by today's standards of violence and adult themes in YA literature. Nevertheless, I consider it an excellent representative for both Biography and Historical Fiction genres. Careful research yields authentic 17th century detail as Trevnio recreates the Baroque court of Spain, from the viewpoint of the royal painter, Diego Velasquez, and his faithful Black slave, Juan de Pareja.
Narrated in the first person by Juanico from his sheltered childhood, this gently-paced book relates the historical events and reconstructed dialogue and emotions for much of his life. The poor boy suffered horribly at the hands of a cruel gypsy mule driver, but once he reached the haven of his new master in Madrid, such torture would never be inflicted on him again. Juan disovers that he also possesses artistic talents and ambitions, but in Baroque Spain it was illegal for a slave to practice any form of art. Thus he had to steal colors and paint in secret, as the punishment for disobedience to this particular law was most severe--even unto death.
During this partial biography of the great court painter, Velasquez, we meet two other famous artists who visited the master: Rubens and Murillo. We are treated to private, behind-the-scenes glimpses of the blond King and his pompous entourage. As Juan travels in Italy with his famous Master, he receives conflicting impressions of Italians and their artistic style. Yet he earns the respect of those around him with his impressive, folkoric healing skills. But art is his private passion; he refuses to stop painting on the sly. Since he is an honest man, such deception causes him great guilt and shame. Otherwise, his life as a slave is almost enviable, since he does not chafe at the yoke of slavery--he merely resents the unfair restrictions on talent based on inherited bondage.
I was impressed by his loyalty to and sincere devotion for the Master, even after Velasquez changed their status. This story reveals the meaning of true friendship, which knows no racial or ethnic barriers. This is an excellent book for Black History relations; it includes a brief discussion of mankind's great curse: slavery. There are different ways to accomplish the goal of peaceful coexistence between races; this book leads introspective readers to reflect on the philosophy of Life.
11 of 11 people found the following review helpful.
A thoughtful read
By Amazon Customer
I just finished reading this novel to my children. The prose is beautiful and my children are too young to appreciate sentence structure and word usage, but not too young to hang on every lovely phrase, even when not quite knowing what it means. This was a gentle introduction to the world of slavery. Children in the U.S. often think of it as just a part of our history and not part of the history of the world (in this case, Spain) which continues to this day in many parts of the globe. It is good for them to know that respect for human freedom is something that people have been fighting for many years before our civil war (in this case the mid-17th century).
As for the critics who needed more action, good literature is not a comic book. There are some stories which unfold on dark, velvety canvases like Velazquez, subtle and rich. Others complain that Juan didn't seem to mind being a slave..where was the outrage? Toward the end of the book another slave provides a contrast in attitude, and throughout the book it is clear that Juan is strangely at peace with his life as a servant. In my daughter's opinion, Juan felt loved and his masters were kind and never whipped him like you usually hear. He enjoyed his work and it was in his persona to be content and not dwell on the negative-the fictionalized character of Juan de Pareja is one we came to care for.
In addition, this was a great choice for art appreciation. After reading the book, we looked at works by Velazquez and by Juan de Pareja on the internet and instead of being old works by Spanish masters, it was like meeting old friends.
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