fbpx
Wikipedia

Francisco de Zurbarán

February 06, 2023

Francisco de Zurbarán (/ˌzʊərbəˈrɑːn/ ZOOR-bə-RAHN, Spanish: [fɾanˈθisko ðe θuɾβaˈɾan]; baptized 7 November 1598 – 27 August 1664[3]) was a Spanish painter. He is known primarily for his religious paintings depicting monks, nuns, and martyrs, and for his still-lifes. Zurbarán gained the nickname "Spanish Caravaggio", owing to the forceful use of chiaroscuro in which he excelled.

Francisco de Zurbarán
Probable self-portrait of Francisco de Zurbarán as Saint Luke, c. 1635–1640[1][2]
Born
Francisco de Zurbarán

baptized (1598-11-07)7 November 1598
Fuente de Cantos, Badajoz, Extremadura, Spain
Died27 August 1664(1664-08-27) (aged 65)
Madrid, Spain
NationalitySpanish
Known forpainting
MovementBaroque
Caravaggisti
Patron(s)Philip IV of Spain
Diego Velázquez

He was the father of the painter Juan de Zurbarán.[4]

Biography

 
1633 portrait of Francisco Zumel

Zurbarán was born in 1598 in Fuente de Cantos, Extremadura; he was baptized on 7 November of that year.[5][6][7] His parents were Luis de Zurbarán, a haberdasher, and his wife, Isabel Márquez.[6][7] In childhood he set about imitating objects with charcoal.[8] In 1614 his father sent him to Seville to apprentice for three years with Pedro Díaz de Villanueva, an artist of whom very little is known.[9]

Zurbarán's first marriage, in 1617, was to María Paet who was nine years older. María died in 1624 after the birth of their third child. In 1625 he married again to wealthy widow Beatriz de Morales. On 17 January 1626, Zurbarán signed a contract with the prior of the Dominican monastery San Pablo el Real in Seville, agreeing to produce 21 paintings within eight months.[10] Fourteen of the paintings depicted the life of Saint Dominic; the others represented Saint Bonaventura, Saint Thomas Aquinas, and the four Doctors of the Church.[11] This commission established Zurbarán as a painter. On 29 August 1628, Zurbarán was commissioned by the Mercedarians of Seville to produce 22 paintings for the cloister in their monastery.[12] In 1629, the Elders of Seville invited Zurbarán to relocate permanently to the city, as his paintings had gained such high reputation that he would increase the reputation of Seville. He accepted the invitation and moved to Seville with his wife Beatriz de Morales, the three children from his first marriage, a relative called Isabel de Zurbarán and eight servants. In May 1639 his second wife, Beatriz de Morales, died.[13]

Towards 1630 he was appointed painter to Philip IV, and there is a story that on one occasion the sovereign laid his hand on the artist's shoulder, saying "Painter to the king, king of painters".[14] After 1640 his austere, harsh, hard-edged style was unfavorably compared to the sentimental religiosity of Murillo and Zurbarán's reputation declined. Beginning by the late 1630s, Zurbarán's workshop produced many paintings for export to South America.[3]Jacob and his twelve sons, a series depicting the patriarch Jacob and his 12 sons, seems to have been aimed at the South America market, but the originals were acquired for Auckland Castle in Bishop Auckland, Co. Durham, England.[15]

On 7 February 1644, Zurbarán married a third time with another wealthy widow, Leonor de Torder. It was only in 1658, late in Zurbarán's life, that he moved to Madrid in search of work and renewed his contact with Velázquez.[3] Popular myth has Zurbarán dying in poverty, but at his death the value of his estate was about 20,000 reales.[16]

Style

 
St. Francis, 1632, Museo Nacional de Bellas Artes, Buenos Aires

It is unknown whether Zurbarán had the opportunity to see the paintings of Caravaggio, only that his work features a similar use of chiaroscuro and tenebrism (dramatic lighting). The painter thought by some art historians to have had the greatest influence on his characteristically severe compositions was Juan Sánchez Cotán.[17] Polychrome sculpture—which by the time of Zurbarán's apprenticeship had reached a level of sophistication in Seville that surpassed that of the local painters—provided another important stylistic model for the young artist; the work of Juan Martínez Montañés is especially close to Zurbarán's in spirit.[17]

He painted his figures directly from nature, and he made great use of the lay-figure in the study of draperies, in which he was particularly proficient. He had a special gift for white draperies; as a consequence, the houses of the white-robed Carthusians are abundant in his paintings. To these rigid methods, Zurbarán is said to have adhered throughout his career, which was prosperous, wholly confined to Spain, and varied by few incidents beyond those of his daily labour. His subjects were mostly severe and ascetic religious vigils, the spirit chastising the flesh into subjection, the compositions often reduced to a single figure. The style is more reserved and chastened than Caravaggio's, the tone of color often quite bluish. Exceptional effects are attained by the precisely finished foregrounds, massed out largely in light and shade.[14] Backgrounds are often featureless and dark. Zurbaran had difficulty painting deep space; when interior or exterior settings are represented, the effect is suggestive of theater backdrops on a shallow stage.[18]

Zurbaran's late works, such as the Saint Francis (c. 1658–1664; Alte Pinakothek) show the influence of Murillo and Titian in their looser brushwork and softer contrasts.[19]

Artistic legacy

 
The Flight into Egypt, late 1630s, Seattle Art Museum

In 1631, he painted the great altarpiece of The Apotheosis of Saint Thomas Aquinas, now in the Museum of Fine Arts of Seville; it was executed for the church of the college of that saint.[20] This is Zurbarán's largest composition,[21] containing figures of Christ, the Madonna, various saints, Charles V with knights, and Archbishop Deza (founder of the college) with monks and servitors, all the principal personages being more than life-size.[14] It had been preceded by numerous pictures for the retable of St. Peter in the cathedral of Seville.[22]

Between 1628 and 1634, he painted four scenes from the life of St. Peter Nolasco for the Principal Monastery of the Calced Mercedarians in Seville.[23] In Santa Maria de Guadalupe he painted multiple large pictures, eight of which relate to the history of St. Jerome;[3] and in the church of Saint Paul, Seville, a figure of the Crucified Saviour, in grisaille, creating an illusion of marble. In 1639, he completed the paintings of the high altar of the Carthusians in Jerez.[24] Also in the 1630s he was commissioned to provide canvases representing the Labours of Hercules, the only group of mythological subjects from the hand of Zurbarán, which were installed in the Hall of Realms in Madrid.[25] A fine example of his work is in the National Gallery, London: a whole-length, life-sized figure of a kneeling Saint Francis holding a skull.[26]

In 1835, paintings by Zurbarán were confiscated from monasteries and displayed in the new Museum of Cádiz.[citation needed]

His principal pupils were Bernabé de Ayala, Juan Caro de Tavira, and the Polanco brothers; others included Ignacio de Ries.[citation needed]

Zurbarán was the subject of a major exhibition in 1987 at the Metropolitan Museum of Art in New York, which traveled in 1988 to Galeries nationales du Grand Palais in Paris.[27] In 2015, the Thyssen-Bornemisza Museum in Madrid presented Zurbarán. A New Perspective.[28]

Selected works

Gallery

References

Citations

  1. ^ Bussagli & Reiche 2009, p. 95.
  2. ^ Pérez 2004, p. 147.
  3. ^ a b c d Ressort & Jordan 2003.
  4. ^ "Two new paintings now on display". National Gallery. 2018. Retrieved 18 March 2021.
  5. ^ Harris 2005, p. 208.
  6. ^ a b Gállego & Gudiol 1977, p. 135.
  7. ^ a b Baticle 1987, p. 53.
  8. ^ Rossetti 1911, p. 1056.
  9. ^ Gállego & Gudiol 1987, p. 13.
  10. ^ Gállego & Gudiol 1987, p. 16.
  11. ^ Gállego & Gudiol 1987, p. 73.
  12. ^ Gállego & Gudiol 1987, p. 127.
  13. ^ Gállego & Gudiol 1987, p. 18.
  14. ^ a b c Rossetti 1911, p. 1057.
  15. ^ "Zurbarán paintings : Art and exhibitions at Auckland Castle". The Auckland Project. Retrieved 20 January 2020.
  16. ^ Goodwin 2015, p. 474.
  17. ^ a b Gállego & Gudiol 1987, p. 15.
  18. ^ Gállego & Gudiol 1987, pp. 60–61.
  19. ^ Gállego & Gudiol 1987, pp. 20, 67.
  20. ^ Gállego & Gudiol 1987, p. 82.
  21. ^ Mallory 1990, p. 116.
  22. ^ Gállego & Gudiol 1987, pp. 79–80.
  23. ^ Gállego & Gudiol 1987, p. 74.
  24. ^ Gállego & Gudiol 1987, p. 86.
  25. ^ "Hercules as a Symbol of the Spanish Monarchy". Splendor, Myth, and Vision: Nudes from the Prado. Retrieved 20 January 2020.
  26. ^ MacKenzie (2018). "Write on Art:"Saint Francis"". Art UK.
  27. ^ Gilbert 1987.
  28. ^ "Exposición – Zurbarán. A New Perspective". Museo Nacional Thyssen-Bornemisza. Retrieved 20 January 2020.
  29. ^ "Santo Domingo in Soriano". artehistoria.com (in Spanish). 2017. Retrieved 20 January 2020.

Sources

  • Baticle, Jeannine (1987). "Francisco de Zurbaran: A Chronological Review". In Baticle, Jeannine (ed.). Zurbaran. Metropolitan Museum of Art.
  • Bussagli, Marco; Reiche, Mattia (2009). Baroque & Rococo. New York and London: Sterling. ISBN 978-1-4027-5925-3.
  • Gállego, Julián; Gudiol, José (1977). Zurbarán, 1598-1664. Secker & Warburg. ISBN 9780436172205.
  • Gállego, Julián; Gudiol, José (1987). Zurbará. London: Alpine Fine Arts Collection, Ltd. ISBN 0-88168-115-6.
  • Gilbert, Creighton (December 1987). "Zurbarán, for the most part". The New Criterion.
  • Goodwin, Robert (2015). Spain: The Centre of the World 1519–1682. Bloomsbury. ISBN 978-1-4088-4357-4.
  • Harris, Ann Sutherland (2005). Seventeenth-century Art and Architecture. Laurence King. ISBN 978-1-85669-415-5.
  • Mallory, Nina A. (1990). El Greco to Murillo: Spanish Painting in the Golden Age, 1556-1700. Harper & Row. ISBN 978-0-06-435531-5.
  • Pérez, Javier Portús (2004). The Spanish Portrait: From El Greco to Picasso. Museo Nacional del Prado. ISBN 978-1-85759-374-7.
  • Ressort, Claudie; Jordan, William B. (2003), "Zurbarán, de family", Grove Art Online, doi:10.1093/gao/9781884446054.article.T093699, ISBN 9781884446054
  •   This article incorporates text from a publication now in the public domain: Rossetti, William Michael (1911). "Zurbaran, Francisco". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 28 (11th ed.). Cambridge University Press. pp. 1056–1057.

External links

 
Wikimedia Commons has media related to Francisco de Zurbarán.
  • Zurbarán, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF)

February 06, 2023
francisco, zurbarán, ʊər, ɑː, zoor, rahn, spanish, fɾanˈθisko, θuɾβaˈɾan, baptized, november, 1598, august, 1664, spanish, painter, known, primarily, religious, paintings, depicting, monks, nuns, martyrs, still, lifes, zurbarán, gained, nickname, spanish, cara. Francisco de Zurbaran ˌ z ʊer b e ˈ r ɑː n ZOOR be RAHN Spanish fɾanˈ8isko de 8uɾbaˈɾan baptized 7 November 1598 27 August 1664 3 was a Spanish painter He is known primarily for his religious paintings depicting monks nuns and martyrs and for his still lifes Zurbaran gained the nickname Spanish Caravaggio owing to the forceful use of chiaroscuro in which he excelled Francisco de ZurbaranProbable self portrait of Francisco de Zurbaran as Saint Luke c 1635 1640 1 2 BornFrancisco de Zurbaranbaptized 1598 11 07 7 November 1598Fuente de Cantos Badajoz Extremadura SpainDied27 August 1664 1664 08 27 aged 65 Madrid SpainNationalitySpanishKnown forpaintingMovementBaroque CaravaggistiPatron s Philip IV of Spain Diego VelazquezHe was the father of the painter Juan de Zurbaran 4 Contents 1 Biography 2 Style 3 Artistic legacy 4 Selected works 5 Gallery 6 References 6 1 Citations 6 2 Sources 7 External linksBiography Edit 1633 portrait of Francisco Zumel Zurbaran was born in 1598 in Fuente de Cantos Extremadura he was baptized on 7 November of that year 5 6 7 His parents were Luis de Zurbaran a haberdasher and his wife Isabel Marquez 6 7 In childhood he set about imitating objects with charcoal 8 In 1614 his father sent him to Seville to apprentice for three years with Pedro Diaz de Villanueva an artist of whom very little is known 9 Zurbaran s first marriage in 1617 was to Maria Paet who was nine years older Maria died in 1624 after the birth of their third child In 1625 he married again to wealthy widow Beatriz de Morales On 17 January 1626 Zurbaran signed a contract with the prior of the Dominican monastery San Pablo el Real in Seville agreeing to produce 21 paintings within eight months 10 Fourteen of the paintings depicted the life of Saint Dominic the others represented Saint Bonaventura Saint Thomas Aquinas and the four Doctors of the Church 11 This commission established Zurbaran as a painter On 29 August 1628 Zurbaran was commissioned by the Mercedarians of Seville to produce 22 paintings for the cloister in their monastery 12 In 1629 the Elders of Seville invited Zurbaran to relocate permanently to the city as his paintings had gained such high reputation that he would increase the reputation of Seville He accepted the invitation and moved to Seville with his wife Beatriz de Morales the three children from his first marriage a relative called Isabel de Zurbaran and eight servants In May 1639 his second wife Beatriz de Morales died 13 Towards 1630 he was appointed painter to Philip IV and there is a story that on one occasion the sovereign laid his hand on the artist s shoulder saying Painter to the king king of painters 14 After 1640 his austere harsh hard edged style was unfavorably compared to the sentimental religiosity of Murillo and Zurbaran s reputation declined Beginning by the late 1630s Zurbaran s workshop produced many paintings for export to South America 3 Jacob and his twelve sons a series depicting the patriarch Jacob and his 12 sons seems to have been aimed at the South America market but the originals were acquired for Auckland Castle in Bishop Auckland Co Durham England 15 On 7 February 1644 Zurbaran married a third time with another wealthy widow Leonor de Torder It was only in 1658 late in Zurbaran s life that he moved to Madrid in search of work and renewed his contact with Velazquez 3 Popular myth has Zurbaran dying in poverty but at his death the value of his estate was about 20 000 reales 16 Style Edit St Francis 1632 Museo Nacional de Bellas Artes Buenos Aires It is unknown whether Zurbaran had the opportunity to see the paintings of Caravaggio only that his work features a similar use of chiaroscuro and tenebrism dramatic lighting The painter thought by some art historians to have had the greatest influence on his characteristically severe compositions was Juan Sanchez Cotan 17 Polychrome sculpture which by the time of Zurbaran s apprenticeship had reached a level of sophistication in Seville that surpassed that of the local painters provided another important stylistic model for the young artist the work of Juan Martinez Montanes is especially close to Zurbaran s in spirit 17 He painted his figures directly from nature and he made great use of the lay figure in the study of draperies in which he was particularly proficient He had a special gift for white draperies as a consequence the houses of the white robed Carthusians are abundant in his paintings To these rigid methods Zurbaran is said to have adhered throughout his career which was prosperous wholly confined to Spain and varied by few incidents beyond those of his daily labour His subjects were mostly severe and ascetic religious vigils the spirit chastising the flesh into subjection the compositions often reduced to a single figure The style is more reserved and chastened than Caravaggio s the tone of color often quite bluish Exceptional effects are attained by the precisely finished foregrounds massed out largely in light and shade 14 Backgrounds are often featureless and dark Zurbaran had difficulty painting deep space when interior or exterior settings are represented the effect is suggestive of theater backdrops on a shallow stage 18 Zurbaran s late works such as the Saint Francis c 1658 1664 Alte Pinakothek show the influence of Murillo and Titian in their looser brushwork and softer contrasts 19 Artistic legacy Edit Still Life with Lemons Oranges and a Rose 1633 Norton Simon Museum The Flight into Egypt late 1630s Seattle Art Museum In 1631 he painted the great altarpiece of The Apotheosis of Saint Thomas Aquinas now in the Museum of Fine Arts of Seville it was executed for the church of the college of that saint 20 This is Zurbaran s largest composition 21 containing figures of Christ the Madonna various saints Charles V with knights and Archbishop Deza founder of the college with monks and servitors all the principal personages being more than life size 14 It had been preceded by numerous pictures for the retable of St Peter in the cathedral of Seville 22 Between 1628 and 1634 he painted four scenes from the life of St Peter Nolasco for the Principal Monastery of the Calced Mercedarians in Seville 23 In Santa Maria de Guadalupe he painted multiple large pictures eight of which relate to the history of St Jerome 3 and in the church of Saint Paul Seville a figure of the Crucified Saviour in grisaille creating an illusion of marble In 1639 he completed the paintings of the high altar of the Carthusians in Jerez 24 Also in the 1630s he was commissioned to provide canvases representing the Labours of Hercules the only group of mythological subjects from the hand of Zurbaran which were installed in the Hall of Realms in Madrid 25 A fine example of his work is in the National Gallery London a whole length life sized figure of a kneeling Saint Francis holding a skull 26 In 1835 paintings by Zurbaran were confiscated from monasteries and displayed in the new Museum of Cadiz citation needed His principal pupils were Bernabe de Ayala Juan Caro de Tavira and the Polanco brothers others included Ignacio de Ries citation needed Zurbaran was the subject of a major exhibition in 1987 at the Metropolitan Museum of Art in New York which traveled in 1988 to Galeries nationales du Grand Palais in Paris 27 In 2015 the Thyssen Bornemisza Museum in Madrid presented Zurbaran A New Perspective 28 Selected works EditChrist on the Cross 1627 Art Institute of Chicago Hercules and the Hydra St Hugh in the Carthusian Refectory 1630 1635 Museum of Fine Arts of Seville Still Life with Pots 1650 Museo del Prado autographed version Gallery Edit Santo Domingo en Soriano 1626 Santa Maria Magdalena Seville 29 Saint Serapion 1628 Wadsworth Atheneum Vision de San Pedro Nolasco 1629 Museo del Prado Immaculate Conception 1630 Museo del Prado The Death of St Bonaventure The Body of St Bonaventure in the Presence of Pope Gregory X and James I of Aragon 1629 1630 Louvre Museum The Young Virgin 1630 Metropolitan Museum of Art St Margaret as a shepherdess 1631 National Gallery The Defence of Cadiz against the English 1634 Museo del Prado A Doctor of Law 1635 Isabella Stewart Gardner Museum Santa Isabel de Portugal c 1635 Museo del Prado Saint Luke as a Painter before Christ on the Cross c 1635 1640 Museo del Prado The Annunciation 1637 1639 Museum of Grenoble France Saint Rufina c 1635 1640 National Gallery of Ireland The Adoration of the Shepherds 1638 Museum of Grenoble Saint Francis of Assisi in His Tomb 1630 34 Milwaukee Art Museum Saint Francis in Meditation 1639 National Gallery Christ and the Virgin in the House at Nazareth c 1631 1640 Cleveland Museum of Art The Holy Family 1659 Szepmuveszeti Muzeum Christ recovering clothing after flagellation c 1661 Jadraque Spain Christ at the Column 1661 National Museum Wroclaw Saint Francis c 1658 1664 Alte Pinakothek The Martyrdom of Saint Sebastian MNHA Luxembourg Agnus Dei c 1635 1640 Museo del PradoReferences EditCitations Edit Bussagli amp Reiche 2009 p 95 Perez 2004 p 147 a b c d Ressort amp Jordan 2003 Two new paintings now on display National Gallery 2018 Retrieved 18 March 2021 Harris 2005 p 208 a b Gallego amp Gudiol 1977 p 135 a b Baticle 1987 p 53 Rossetti 1911 p 1056 Gallego amp Gudiol 1987 p 13 Gallego amp Gudiol 1987 p 16 Gallego amp Gudiol 1987 p 73 Gallego amp Gudiol 1987 p 127 Gallego amp Gudiol 1987 p 18 a b c Rossetti 1911 p 1057 Zurbaran paintings Art and exhibitions at Auckland Castle The Auckland Project Retrieved 20 January 2020 Goodwin 2015 p 474 a b Gallego amp Gudiol 1987 p 15 Gallego amp Gudiol 1987 pp 60 61 Gallego amp Gudiol 1987 pp 20 67 Gallego amp Gudiol 1987 p 82 Mallory 1990 p 116 Gallego amp Gudiol 1987 pp 79 80 Gallego amp Gudiol 1987 p 74 Gallego amp Gudiol 1987 p 86 Hercules as a Symbol of the Spanish Monarchy Splendor Myth and Vision Nudes from the Prado Retrieved 20 January 2020 MacKenzie 2018 Write on Art Saint Francis Art UK Gilbert 1987 Exposicion Zurbaran A New Perspective Museo Nacional Thyssen Bornemisza Retrieved 20 January 2020 Santo Domingo in Soriano artehistoria com in Spanish 2017 Retrieved 20 January 2020 Sources Edit Baticle Jeannine 1987 Francisco de Zurbaran A Chronological Review In Baticle Jeannine ed Zurbaran Metropolitan Museum of Art Bussagli Marco Reiche Mattia 2009 Baroque amp Rococo New York and London Sterling ISBN 978 1 4027 5925 3 Gallego Julian Gudiol Jose 1977 Zurbaran 1598 1664 Secker amp Warburg ISBN 9780436172205 Gallego Julian Gudiol Jose 1987 Zurbara London Alpine Fine Arts Collection Ltd ISBN 0 88168 115 6 Gilbert Creighton December 1987 Zurbaran for the most part The New Criterion Goodwin Robert 2015 Spain The Centre of the World 1519 1682 Bloomsbury ISBN 978 1 4088 4357 4 Harris Ann Sutherland 2005 Seventeenth century Art and Architecture Laurence King ISBN 978 1 85669 415 5 Mallory Nina A 1990 El Greco to Murillo Spanish Painting in the Golden Age 1556 1700 Harper amp Row ISBN 978 0 06 435531 5 Perez Javier Portus 2004 The Spanish Portrait From El Greco to Picasso Museo Nacional del Prado ISBN 978 1 85759 374 7 Ressort Claudie Jordan William B 2003 Zurbaran de family Grove Art Online doi 10 1093 gao 9781884446054 article T093699 ISBN 9781884446054 This article incorporates text from a publication now in the public domain Rossetti William Michael 1911 Zurbaran Francisco In Chisholm Hugh ed Encyclopaedia Britannica Vol 28 11th ed Cambridge University Press pp 1056 1057 External links Edit Wikimedia Commons has media related to Francisco de Zurbaran Zurbaran an exhibition catalog from The Metropolitan Museum of Art fully available online as PDF Retrieved from https en wikipedia org w index php title Francisco de Zurbaran amp oldid 1136721034, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.