Excerpt coming from Term Daily news:
The reason for this becomes greatly, sadly crystal clear at the end in the novel wherever all is definitely revealed, not merely the back-story of the piece of art. All information and details about skill pale in comparison to the stunning thought provided by Rendir that Julia’s beloved older guardian was actually bubbling and seething with resentment against Alvaro’s reinsertion into Julia’s life. The man had messed up, Cesar said, two years of Julia’s lifestyle, and Alvaro had characterized Cesar’s presence in Julia’s life as “unhealthy and obsessive” (273). Although the target audience is not likely to enjoy Alvaro with the same intensity that Julia once would, Cesar’s emotions about his old ward seem evenly intense, bad, and obsessive as the good feelings she once harbored for her old flame.
Soon it might be clear the old truth about various mystery books holds true inside the Flanders -panel – one of the most sympathetic and unlikely killers is in fact the original source of all of the hardship depicted in the novel. Art-obsessed (and Julia-obsessed) Cesar explains that this individual platonically fantasized that Julia and this individual “would reveal in the study and resolve the enigma together… and it would suggest fame intended for you” along with increase the benefit of the painting. Cesar, this individual reveals, have been diagnosed with a tumor, and only has 8 weeks to live, and intends to kill him self with Prussic acid (279). Thus Cesar is the gentleman whom Julia has been looking for all of this period, the man which she thought was her dearest good friend, boon associate, and Doctor Watson in her Sherlockian struggle pertaining to the truth.
The conclusion revelation is usually sad for the reader and also Julia, while what is previously a dark and knotty mystery will end with another fatality, the death of one with the more compellingly drawn characters in the novel. There also seems to be a particular latent homophobia in the pining depiction of Cesar, plus the author’s portrayal of the gentleman as a sort of death-driven specific only considering art, certainly not humanity. In terms of its atmospherics, the new is mainly compelling due to its portrait from the European skill community, though it occasionally digresses into long-winded discussions of history, art criticism, and the placing of the chess board inside the painting. Julia herself is almost as enigmatic as the mystery she’s attempting to solve, more of a conduit for the story than a actual, fully-fledged and fully developed character. Cesar’s illness will not seem to hit her with as much power as one may possibly imagine, presented their close relationship. The Flanders Panel is a potboiler, a dark but ultimately escapist go through, and no work of art, although it efforts to deal with the implications of masterworks of art of all time.
Perez-Reverte, Arturo. The Flanders