The young in the picture is a girl, Pepita Errázuriz Alvear painted at the same time than his mother Madame Josefina de Alvear de Errázuriz, an Argentine lady, married to the Chilean ambassador in Buenos Aires, Matías Errázuriz Ortúzar. Pepita Errázuriz Alvear de Gomez was my cousin and friend, so I know well the history of this painting.
Oh? How very interesting - thank you for that information!
But there seems to be a discrepancy here. The parents of Pepita - née Josefina, correct? - appear to have been married in April of 1897. And the painting above is very clearly dated 1891. I've seen another Boldini portrait online that is said to be of your cousin. It is very, very similar; could this be the painting you mean?
No, the young in the picture is clearly a boy. Josefina "Pepita" Errazuriz was born after 1897, and the picture "Giovinetta Errazuriz" by Boldini, dated 1892 and then exhibited in Paris portrays Emiliana Subercaseaux de Errazuriz, and was commited initially by chñailean consul in France at the occasion, Ramon Subercaseaux Vicuña, husband to Amalia Errazuriz Subercaseaux. The confusion about this identification arised from Boldini expedient of naming the mentioned picture, in the parisian exhibition, simply as "Mademoiselle E." Please note that initial E fits both in the name Emiliana and in the surname Errázuriz. About the painting of Josefina de Alvear de Errázuriz, also in 1892, by Boldini, who identified it just as"Madam E" at the afore mentioned parisian exhibition of 1892, a somehow annoying fact should be unveiled in order to understand the situation: Josefina had been a widower since 1885, and was further introduced to younger Matías Errázuriz in Paris by Consul Subercaseaux and his wife; they established then a romantic but not public relationship, and the painting was a gift to commemorate the first completed year of such love union. Officialy, however, only towards 1896 Matías and Josfina became engaged to one another, and finally got married in Buenos Aires Cathedral in 1897. Nowadays, these secrets have no more reason to be hidden from public and from regional history on both sides of The Andes. Vale! De Castro Silva, Th. Bw.
Love you Eye, Mister!
ReplyDeleteGlorious Boldini.
ReplyDeleteThank you for introducing me to Boldini !
ReplyDeletehe could make anyone appear glamorous.
ReplyDeleteThe young in the picture is a girl, Pepita Errázuriz Alvear painted at the same time than his mother Madame Josefina de Alvear de Errázuriz, an Argentine lady, married to the Chilean ambassador in Buenos Aires, Matías Errázuriz Ortúzar. Pepita Errázuriz Alvear de Gomez was my cousin and friend, so I know well the history of this painting.
ReplyDeleteOh? How very interesting - thank you for that information!
DeleteBut there seems to be a discrepancy here. The parents of Pepita - née Josefina, correct? - appear to have been married in April of 1897. And the painting above is very clearly dated 1891. I've seen another Boldini portrait online that is said to be of your cousin. It is very, very similar; could this be the painting you mean?
http://3.bp.blogspot.com/-AygxbIHJd1k/Ubvnli3T43I/AAAAAAAADCI/9j-qG9s1Tj4/s1600/Boldini-Giovinetta-Errazuriz1.jpg
No, the young in the picture is clearly a boy. Josefina "Pepita" Errazuriz was born after 1897, and the picture "Giovinetta Errazuriz" by Boldini, dated 1892 and then exhibited in Paris portrays Emiliana Subercaseaux de Errazuriz, and was commited initially by chñailean consul in France at the occasion, Ramon Subercaseaux Vicuña, husband to Amalia Errazuriz Subercaseaux. The confusion about this identification arised from Boldini expedient of naming the mentioned picture, in the parisian exhibition, simply as "Mademoiselle E." Please note that initial E fits both in the name Emiliana and in the surname Errázuriz. About the painting of Josefina de Alvear de Errázuriz, also in 1892, by Boldini, who identified it just as"Madam E" at the afore mentioned parisian exhibition of 1892, a somehow annoying fact should be unveiled in order to understand the situation: Josefina had been a widower since 1885, and was further introduced to younger Matías Errázuriz in Paris by Consul Subercaseaux and his wife; they established then a romantic but not public relationship, and the painting was a gift to commemorate the first completed year of such love union. Officialy, however, only towards 1896 Matías and Josfina became engaged to one another, and finally got married in Buenos Aires Cathedral in 1897. Nowadays, these secrets have no more reason to be hidden from public and from regional history on both sides of The Andes. Vale! De Castro Silva, Th. Bw.
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