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29 of 30 people found the following review helpful:
5.0 out of 5 stars
Supremely Intelligent and Well-Done, July 8, 2003
Based on "thin threads" of truth, "I, Juan de Pareja" explores the relationship between famous 17th-century Spanish painter Diego Velazquez and his black slave, Juan de Pareja. Written in first person as if Juan is really telling his story, it is the chronicle of much of Juan's life and and his colorful experiences as apprentice to a master painter. There are many excellent aspects of this book, yet I think that the "strength" of the character of Juan is the book's biggest asset. Many books that are simply first person narratives are dry and boring, yet one could never complain of boredom while reading "I, Juan de Pareja." Juan's intelligence shines through in every page and his intuitiveness fills the book with detail. Also, his struggle to paint (because Spanish slaves at the time were forbidden to practice the arts) is fascinating, suspenseful, and ultimately inspiring. This book would not be a 5-star read without a strong character like Juan. Historical detail also adds great richness to the book. Author de Trevino has captured the mood of 17th century Spain perfectly, and her accounts of Juan's Italian travels fascinate the reader as well. Art facts and descriptions are well-placed, and the reader will find themselves interested in the rich history presented in the book, rather than bored by it. Furthermore, supporting characters are excellent! The portrayal of Diego Velazquez was well-imagined by the author, and the master painter's comments ring with insight and truth. The nobles, the painter's family, the Spanish king, Dutch painter Ruebens...they all come to life in "I, Juan de Pareja." Finally, the end of the book is triumphant and fitting. I can't say much more without spoiling the book, but trust me, it's one of the most well-done endings you could find. It is hard to find a single flaw in this book. Vibrant history, excellent characters...why aren't more people reading this book?
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15 of 15 people found the following review helpful:
4.0 out of 5 stars
NOT an "Uncle Tom", December 22, 2006
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.
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18 of 19 people found the following review helpful:
3.0 out of 5 stars
Truth in Art and Loyalty in Friendship, February 25, 2000
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.
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