Spain's Prado 減少（する）s 絵 from 女性（の） expo after artist 明らかにする／漏らすd as man
MADRID, Oct 15 (Reuters) - Madrid's Prado museum 突然の withdrew a 19th century 絵 from an 展示 of Spanish 女性（の） artists on Wednesday night after an online art sleuth showed the work in question was 現実に painted by a man.
The "Invitadas" 展示, which translates as 女性（の） guests, opened last week with the 目的（とする） of 反映するing on the 役割 of women in Spanish art between 1833 and 1931.
The 一時的な 展示（する） of 134 作品 - the Prado's first since Spain's galleries 再開するd in June after a 全国的な coronavirus lockdown - 含むd a 貧しく 保存するd canvas identified as "Family Scene" by an Andalusian 女性（の） artist, Concepcion Mejia de Salvador.
Proudly 陳列する，発揮するd in its own room, the 深く，強烈に scratched 絵, which 描写するs three women looking up from 国内の chores at an old man sadly bidding 別れの（言葉，会） to a boy, was supposed to 最高潮の場面 the historical marginalization of 女性（の） artists.
But art blogger Concha Diaz was すぐに 怪しげな of the 絵's authorship and followed a paper 追跡する of historical 記録，記録的な／記録するs to the work's true 身元: "The 兵士's 出発" by Adolfo Sanchez Mejia.
供給するing the final 手がかり（を与える）, the artist's 独特の 渦巻くing 署名 can be seen faintly in the 底（に届く） 権利 corner.
Thanking Diaz for her work, the Prado said the 失敗 最高潮の場面d the need for その上の 研究 into 女性（の） artists from centuries past. (報告（する）／憶測ing by Nathan Allen; Editing by Giles Elgood)
