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Críticas en otras lenguas

Portrait of the artist as a samurai warrior

Steven Poole - The Guardian - 24/11/2015

Arturo Pérez-Reverte's claustrophobic meditation on art and violence, The Painter of Battles, impresses Steven Poole.

Sonate a trois temps

Bruno Frappat. La Croix - 11/12/2013

Qu’il ne soit pas nécessaire de s’identifier aux héros d’un roman pour être entraîné dans la danse, le dernier livre de l’écrivain espagnol Arturo Pérez-Reverte en fournit la magistrale démonstration. Bien malin qui dénicherait dans la panoplie de personnages qui circulent dans les pages de cet épais roman des gens sympathiques, fréquentables, à citer en modèles aux jeunes filles de bonne famille.

Colloquial Castigation of the French, the Russians, the Spaniards and Napoleon in Arturo Pérez-Reverte’s La sombra del águila

John C. Mc Intyre, Independent researcher, University of Strathclyde. Revista Tejuelo, Universidad de Extremadura - 08/9/2010

La sombra del águila

Summary: In 1812, a Spanish battalion is part of Napoleon‟s army invading Russia. In a major battle, when the Spaniards intend to surrender to the Russians, the French cavalry „saves‟ the Spaniards. The Spaniards abandon their original plan and re-engage on the French side. They perform superbly well. In October, Napoleon‟s Grande Armée begins the retreat and crosses the river Beresina in late November 1812. Eleven Spaniards enter Spain in April 1814. The narrator, speaking on behalf of the battalion, describes the French as 'franchutes' and 'gabachos'. French commanders are mocked pitilessly. The Russian ('ruski') artillery and Cossack cavalry fight well, though their commander is a disaster. The French consider the Spaniards to be patriotic, violent -and unfit for modern government. Napoleon is to the Spaniards 'el Petit Cabrón', 'el Petit', 'el Enano', 'el Ilustre' and 'el Monstruo'. Pérez-Reverte develops an impressive variety of pejorative designations for individuals and social groups. He also delivers a great many examples of familiar speech. In other texts and in La sombra del águila Pérez-Reverte displays profound knowledge and mastery of colloquial and vulgar speech.

· Sigue leyendo el artículo aquí (pdf).

The Spanish Empire and “los tercios” as seen in Arturo Pérez-Reverte’s El sol de Breda

John C. Mc Intyre (University of Strathclyde). E-journal FULGOR, vol 4, December 2009 - 20/5/2010

Pérez-Reverte‟s Alatriste novels seek to educate young Spaniards about their Golden Age. In El sol de Breda, set in 1624-1625, Spanish armies fight to suppress the Dutch Protestant revolt. Narrator Íñigo is a teenage page to the experienced soldier, Alatriste. Traditional commentators like Elliott already see imperial decline, whereas Kamen emphasises that the Spanish Crown could always raise loans and armies. Pérez-Reverte‟s series favours the traditional interpretation. The narrator accuses monarchy, aristocracy and clergy of major failures of leadership. American silver brought only extravagance, the conquistador‟s „get-rich-quick‟ mentality rejected honest work and aristocratic favourites as ministers failed to halt the widespread corruption and incompetence, while Spain persisted in seeing itself as crusading guardian of Catholicism. By 1624 Spain‟s crack regiments were a superb military machine. Soldiers mainly from Germany, Lombardy and Sicily fought brilliantly in Italy, France and Flanders in spite of appalling conditions - including the non-payment of wages, which triggered numerous campaign-weakening mutinies. Spanish military skill could not finally resist the humour and doggedness of the Dutch revolt: in 1648 the Provinces will gain independence from Spain. In 1634 the witness-narrator advises Velázquez on the huge court painting „The Siege of Breda‟, also known as "Las lanzas".

El pintor de batallas, en Waterstone’s y la prensa italiana


«Una trágica historia de amor, guerra y de la crueldad entre los hombres... en un estilo que recuerda a Milan Kundera, el autor se pregunta el sentido de la guerra, el uso de la violencia, y cómo ésta oscuridad de la humanidad se relaciona con nuestra capacidad para el arte y el amor. Este irresistible pas de deux es la obra más conmovedora de Arturo Pérez-Reverte hasta ahora»: así describe El pintor de batallas Mike Cooper, de la cadena de librerías Waterstone's.

La crítica anglosajona ensalza las aventuras de Alatriste


«Arturo Pérez-Reverte confirma de nuevo su lugar como gran maestro del thriller histórico en esta magistral novela que conjuga secretos sepultados bajos las cenizas de un pasado funesto que no quiere pasar, reflexiones filosóficas y una endiablada intriga. ¡Apasionante!»

El semanario canadiense Voir elogia El pintor de batallas de Arturo Pérez-Reverte


«Arturo Pérez-Reverte confirma de nuevo su lugar como gran maestro del thriller histórico en esta magistral novela que conjuga secretos sepultados bajos las cenizas de un pasado funesto que no quiere pasar, reflexiones filosóficas y una endiablada intriga. ¡Apasionante!»

The Battle-Scarred Hero’s (Near) Legacy in Art (El Sol de Breda)

JANET MASLIN | New York Times - 30/3/2007

In the midst of the Dutch and Spanish dignitaries in the foreground of Diego Velázquez's war tableau "The Surrender of Breda," there is a small open space beneath one soldier's horizontal weapon. It appears to depict the back of the soldier beside him. But it is the suggestion of Arturo Pérez-Reverte's latest installment in his grandly entertaining Captain Alatriste series that Alatriste, he of the cold gray-green eyes and dauntless courage, was once part of the picture - although his likeness has since been excised.

The Pen And the Sword

DONALD MORRISON | Time Europe Magazine - 29/5/2006

Spain's swashbuckling fictional hero, Captain Alatriste, is fighting his way to global glory.

Purity of blood (Limpieza de sangre)


"He has been known to flirt with higher literary flights, notably in The Club Dumas, but in his hardboiled, mordantly funny, unapologetically entertaining Captain Alatriste series (of which this is the second volume), Pérez-Reverte firmly buckles on his swash and swaggers into the muddy, bloody streets of 17th century Madrid."
Time 16 de enero de 2006

Foto de Arturo Pérez-Reverte

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