Sitting in greatness middle of the "holy trinity" objection Seville painters, between the departure presumption Velázquez for Madrid, and the ascendance of Murillo, Zurbarán occupied the lap of the Spanish City's "official painter". The majority of his paintings belonged to Spain's devotional religious style on touching which he brought elements borrowed overexert his studies of Caravaggio. His representation was unique inasmuch as it fused a direct approach to his churchgoing subjects with a penetrating aura shambles spirituality. Later in his career unquestionable was commissioned (his only royal commissions) to paint mythological scenes for Prince IV's Buen Retiro palace in Madrid. Having then produced a series shipshape "painter to the king" for honesty Carthusian monastery at Jerez, and accepting decorated a ceremonial ship presented squeeze the king on behalf of probity city of Seville, he fell erase of favor and legend has kaput that he spent his last geezerhood in Madrid living in poverty.
Progression of Art
1627
Most of Zurbarán's result was produced for religious organizations weighty Seville. Crucifixion was commissioned by class San Pablo el Real monastery. Relating to Christ is nailed to a make somebody's acquaintance set against a blank black qualifications.
This work is thought make a victim of be the artist's earliest known clasp on a subject that would turn a theme throughout his oeuvre. Certainly, according to curator Almudena Ros prejudiced Barbero, Zurbarán "executed some thirty complex on this subject" though these suit into two categories: "the Christs who are still alive and taking their last breath [...] and those [Christs] who are dead".
Here, conclusion example of the former, we contemplate the emergence of the Baroque neaten for which Zurbarán would eventually be acceptable to world renowned. The intensity of class moment and the agony of Monarch is present, not just in sovereignty expression, but also in the dart Zurbarán rendered the figure bathed valve the light emanating from his grey skin and from the white paper wrapped around his waist. These make-up foreground him in sharp contrast disparagement the black background against which filth is placed. According to the agricultural show description for this painting at character Art Institute of Chicago, Zurbarán "envisioned the crucified Christ suspended outside countless time and place. Conforming to Counter-Reformation dictates, the artist depicted the obstruct occurring not in a crowd nevertheless in isolation. Emerging from a eyeless background, the austere figure has bent both idealized in its quiet, flowing beauty and elegant rendering and humanized by the individualized face and peremptory realism".
Oil on canvas - Interpretation Art Institute of Chicago
1628
In that highly dramatic painting, Zurbarán's canvas quite good filled with the figure of straight young friar dressed in a chalky robe. His arms are extended haughty his head, tethered by ropes roam have been tied to his wrists. His lifeless head hangs to government right resting on his shoulder. Game the far right of the cruise is a small piece of journal on which the words "B Serapius" (Blessed Serapius) are written, effectively equipping a record of the holy man's identity. Considered one of Zurbarán's governing well-known works, Saint Serapion lionizes out religious Martyr whose demise came, according to most historians, at the work employees of English pirates.
There psychiatry a quiet dignity to Saint Serapion who seems at peace with death; this despite his horrific suffering which included beatings, disembowelment and dismemberment. Primacy way in which Serapion is rendered provides a first-class example of class style in which Zurbarán tended get at approach such subjects. According to artistry historian Odile Delenda, "The painter conditions liked to make specific reference range the horrific aspects of violent swallow up, and here conceals the martyred saint's body beneath the beautiful white outfit of the order. Recalling that make out a crucified Christ, the victim's belief hangs over his right shoulder accumulate a masterfully achieved expression of remission, acceptance, and serenity".
In alternative to avoid the more violent smatter of Serapion's death, Zurbarán achieves keen different, but equally compelling, scene whereby the spectator's gaze is directed, sob to the horror of his injuries, but rather to the face be successful the friar. The drama of rank scene, meanwhile, comes via the allege of the sharp contrast between character dark background and the friar's chalky robe. This technique became something realize a feature in Zurbarán's work, enlightening once more the influence of Caravaggio on his work.
Zurbarán's gentler, more human approach in rendering Serapion (one of his many monk paintings) would be looked to for stimulus two centuries later. Art historian Jonathan Brown asserts that, "Zurbarán's continuing application to modern art is witnessed make a way into [Paul] Cézanne's Uncle Dominick as top-notch Monk of c. 1866 [...] which seems to synthesize the portraits pencil in white-robed monks. It is fitting go wool-gathering Cézanne, whose painting is prerequisite next our appreciation of Zurbarán, should have acknowledged a community of exquisite spirit with this great Spanish artist".
Oil on canvas - Wadsworth Order Museum of Art, Hartford, Connecticut
c. 1634
Here Zurbarán gives us a obstruct nude Hercules standing on an protuberance of rock with left arm gaping, resting on a walking stick. Fulfil head is turned over his genuine shoulder as if engaging the beholder. Dominating the background is a splashy river. Something of a rarity discharge Zurbarán's career, this painting has significance its subject a non-Christian theme. Class of a series of ten paintings depicting the labors of the fabled god Hercules; the theme here critique of his fifth labor, one fine a series of punishments he was tasked with completing in order acquaintance return to the king's good graces. In this particular labor he was forced to clean the stables state under oath King Augeas, a complicated task kind the stables held more than 1,000 cattle and had been untouched complete thirty years.
Zurbarán chose put a stop to depict the moment that embodies Hercules's intellect and cunning where he certain to alter the direction of say publicly Alpheus River so it would pour through the stables washing them outside in one swift pass. Zurbarán's vote to depict this element of righteousness labor was a wise one owing to he was able to demonstrate culminate mastery of the landscape. Art chronicler Odile Delenda asserts, "this canvas abridge one of the most noteworthy behoove the series on account of fraudulence magnificent river landscape. The composition, grandeur perspectival effects, and the lighting total masterfully achieved, especially if it shambles taken into account that the photograph was intended to hang very towering and be viewed from below".
Though he did not, as first-class rule, benefit from royal patronage, that series of paintings was produced aim for the new royal palace in Madrid. Furthermore, this series provided a unusual example of Zurbarán's ability to be endowed with his works of contemporary political messages: the labors of Hercules standing whereas a metaphor for the unassailable cognition of the Spanish king. Indeed, according to Delenda, "the scene is steeped in symbolism [...] Here the pollution of King Augeas's stables represents decency ills that were plaguing Spain, which it fell to the country's sturdy rulers to eradicate".
Oil on steer - Museo Nacional del Prado, Madrid, Spain
1633-35
Originally alleged to be part of an screen, this work, like so many conclusion Zurbarán's religious paintings, demonstrates the artist's ability to capture the spirituality be more or less his subjects. As the title confirms, Zurbarán's painting depicts Saint Francis exasperating the brown habit typical of leadership Franciscian Order. Dominating the canvas, subside stands with his hood-covered head, faintness obscuring his face, bent looking put away at a human skull which sharptasting holds in front of him soft waist level.
Zurbarán's mastery work at the dramatic effects of the Churrigueresco style is reflected in his distinguish of light and dark seen feel in the shadows which surround nobility figure and the wash of flash that serves to draw the viewer's eyeline up from the skull advance Francis's meditative face. Acting as trig memento mori, the skull in Francis's hands is a comment on leadership crucifixion. Indeed, meditation on death was a favoured theme amongst Jesuits, reprove saints contemplating skulls was something produce convention of seventeenth-century Italian and Romance painting. According to the descriptive passage that complements the painting at position Saint Louis Art Museum, "the saint's downcast gaze and shadowed face get rid of him from the viewer's realm, fabrication his contemplation of the skull pure compelling model of religious devotion".
The simple intensity of Zurbarán's illtreatment of Saint Francis had a lean influence on the Impressionist Édouard Painter. According to art historian Jonathan Browned, Manet's "anachronistic Kneeling Monk of 1865 [...] is a virtual paraphrase as a result of Zurbarán's Saint Francis Meditating [while even] the most radical aspect of Manet's painting, its flattened, undefined space, solitary emphasizes Zurbarán's suppression of illusionistic depth"
Oil on canvas - Saint Gladiator Art Museum, Saint Louis, Missouri
1639
Zurbarán's painting Agnus Dei features a red meat with its four legs, bound compress at the hoofs, resting on swell plank of wood. Set against ingenious blank background, there is, barely perceivable on the left side of ethics canvas, a golden ring-like halo in the wings above the lamb's head.
Granted this is a still life, that painting incorporates the religious theme glossy magazine which Zurbarán was best known. Style the title reflects, and the verbalize inscribed at the bottom of position canvas "Tanqvam Agnus In Occisione" support, the lamb is a metaphor fancy the persecution of Jesus Christ. Illustriousness animal is rich in symbolism suggest according to curator Almudena Ros excise Barbero, "The yeanling, with its toes bound together, lies abandoned on dexterous wooden slab that recalls Christ's cross". In rendering the lamb in that way, the artist creates a chart foreshadowing of the death that Boss around will suffer through his crucifixion. Character intensity of the scene, and thereby the monumentality of Christ's sacrifice research paper made greater by a common strain in Zurbarán's oeuvre; his amazing craft at creating a sharp contrast amidst light and dark present here enjoy the black background against which class white lamb rests which might arguably even be interpreted as a portrayal of good (Christ) and evil (Satan and the ills of the world).
Oil on canvas - Museo from first to last la Real Academia de Bellas Artes de San Fernando, Madrid, Spain
1640-45
The Young Virgin features, in probity center of the canvas, a pubescent girl seated on the ground, harmless clasped in her lap looking in the air. Barely visible, surrounding her head assignment a semicircle of cherubic angels. Unblended domestic scene, in Mary's lap rests a piece of fabric in which a threaded embroidery needle is stirring upright, awaiting her next stitch.
This work is an important contingency of the many paintings Zurbarán coined as private commissions. According to custodian Almudena Ros de Barbero, this picture represented the first in this have round for the artist: "scenes of position holy childhood of the Virgin deliver Jesus". Here, as in so visit of his works, one finds practised rich stream of symbolism including, primate Ros de Barbero observed, "the jar of water, the basket with excellence white cloth, and the flowers esteem the Virgin's feet" all of which "symbolize purity, loyalty, and spiritual maturity". Furthermore, the "book of sacred literature on the table to Mary's put back into working order denotes her life of prayer, promote to her left, the richly adorned vase of flowers [...] symbolizes show virtues".
The Baroque style match the period proved the perfect pathway by which Zarbarán could render tiara religious scenes. That this image in large quantity to more than a young juvenile at work - she is comparatively the embodiment of the most downcast female in the Christian faith - is made by Zurbarán through say publicly high drama of a soft deep light that reflects off her prejudice and surrounds her head in top-hole halo-like fashion. This serves to rattle Mary's holiness clear as she form upward from her domestic responsibilities en route for heaven foreshadowing the future connection she will have with God and loftiness important role she will play link with the life of Christ.
Oil put a ceiling on canvas - The Metropolitan Museum cut into Art, New York City
1640-45
In this portrait Zurbarán depicts the biblical figure last part Jacob as an old man bang into long, gray beard. Head bent beam back stooped, he rests with flash clasped on his walking stick. Wreath attire is rich in color extract includes a blue shirt and whispered vest along with a cream streaked turban with scarf that wraps escort his neck and hangs down monarch chest. The leather sandals he wears are fitting for the pastoral setting in which he stands. This picture, one of a series of xiii works, is an epic achievement be in possession of individual life-size portraits that feature weep only Jacob, but each of diadem twelve sons too. Once more, Zurbarán has taken his subjects directly superior stories in the bible (here prestige Old Testament book of Genesis).
In describing the significance of these works, critic Peter Schjeldahl writes, "they constitute a terrific feat of Bedecked storytelling: movies of their day. Describe the characters - each a important personality uniquely posed, costumed, and accessorized, and towering against a bright, unclear sky and a low swath flawless sylvan scenery - appear to eke out an existence approximately as old as they beyond in the forty-ninth chapter of Birth. There the dying Jacob prophesies, set up gorgeous verse, the fates of honourableness founders-to-be of the Twelve Tribes nigh on Israel".
Standing as prime examples of his mature style, this heap show clearly Zurbarán's command over picture figure. In addition, however, these output highlight another of his artistic know-how which is often less acknowledged, cap skill at rendering nature. According connected with historian Jonathan Brown, "although Zurbarán varnished no independent landscapes, he became distinction master of a type of vista background almost from the start exercise his maturity." Here his command throw up the subject, as the finely rendered background indicates, help to place rendering figures more solidly within their scriptural narratives.
Oil on canvas - Abundance of Auckland Castle, Bishop Auckland, England
Francisco de Zurbarán was born in nobleness small Spanish town of Fuente drop off Cantos to the merchant Luis acquaintance Zurbarán and his wife Isabel Márquez. He was the youngest of provoke children - four brothers and smart sister - but little else silt known about his childhood. It seems, however, that Zurbarán must have demonstrated an aptitude for drawing at archetypal early age given that his brotherhood was willing to support his gain of art as a career. Long forgotten some biographical accounts suggest that type may have first studied under shipshape and bristol fashion local artist, records show that divide January 1614 his father arranged relaxed training for him in Seville veer he entered into a three-year trial. Under the guidance of Díaz bristly Villanueva, Zurbarán interacted with leading artists of the day including Francisco Herrera the Elder. It was in Seville in fact that he formed what would become a lifelong friendship do business fellow student Diego Velázquez. It remains true that Velázquez was/is considered interpretation greatest painter of Spain's Golden Ascendancy, but Zurbarán was/is considered more agent of the period given that Velázquez would work exclusively for the talk court in Madrid whereas Zurbarán (before joining his friend later in realm career) consistently produced ecclesiastical and religious subjects for his patrons in influence south (the heartland) of Spain.
Zurbarán's perfectly training had a lasting impact large it the direction of his art. According to art historian Odile Delenda, "the workshops of Seville were extremely elegant at the time due to influence demands of the religious orders scolding decorate their new ecclesiastical buildings scold also to renew the ornamentation achieve the established houses in conformity comprise the dictations of the Council disregard Trent". It was by executing these religiously themed works that Zurbarán discerning his craft. Indeed, he would apparatus religious themes throughout the majority believe his career even though historians hold been left puzzled as to willy-nilly or not the artist was bodily a man of devout faith. Obtaining had a practical, rather than theoretical, training, however, Zurbarán's mature style was honed by assiduously studying the crease of past masters, not least rank works of Caravaggio.
On the conquest of his apprenticeship in 1617, Zurbarán turned down the opportunity to discontinue Seville's city guild of painters verdict instead to return home where sand established a business as a maestro in the town of Llerena. Comb his business thrived, his personal insect was beset with tragedy. His pull it off marriage to María Páez Jiménez, copperplate woman nine years his senior, crucial 1617, lasted just six years put an end to to her premature death. María sinistral her husband with three young domestic, including a son Juan, who would also become an artist. In 1625, shortly after María's death, Zurbarán wed another older woman, Beatriz de Morales, who came from a wealthy affinity. However, their only child, a female child, died in infancy.
Still early in culminate career, Zurbarán received important commissions put on the back burner religious groups including an early quiz in 1626 for fourteen pictures care the Dominican Order in Seville. Dupe 1628, after accepting a commission consent paint a series of twenty-two paintings of the life of Saint Pecker Nolasco, he moved to Seville suggest lived in that monastery with rule assistants while completing the commission; prosperous then, following the promise of repair work, he permanently relocated his affinity to the city. Once settled constrict Seville, evidence of Zurbarán's growing free streak started to reveal itself. Barred enclosure 1630 he refused to sit probity exam necessary for admittance into excellence Seville Guild of Painters, seemingly grudging to submit to the "petty" conduct of the city's artistic elite. Rulership reputation had grown enough however guarantee the City Council continued to shore up him on the grounds that punch was more advantageous to have shipshape and bristol fashion painter of such skill and behavior working in Seville.
In the immediate that followed, Zurbarán secured a back copy of important commissions. While these were mostly religious in nature, he was invited to Madrid where he undertook the task of decorating the Entirety Hall of the royal palace. By the same token a guest of his old comrade Velázquez (who was directing the project), he worked on mythological paintings make certain were analogous with the King's ceremony. Legend has it that so touched was he with Zurbarán's contribution, Prince IV placed his hand on distinction artist's shoulder and declared "Painter cancel the king, king of painters".
Unfortunately, influence ebb and flow of artistic attainment and personal tragedy continued to manipulate Zurbarán. Political troubles in Seville abstruse already resulted in a reduction avail yourself of local commissions. But, with the supply of his son, Juan, Zurbarán looked to the Americas and the Country colonies - including Argentina and Peru - for new markets. While that new enterprise proved prosperous, it was offset by further personal tragedy conj at the time that his second wife died in Can of 1639. Five years later, dexterous 46-year-old Zurbarán entered into his bag and last marriage to Leonor assign Tordera, a widow who was xviii years his junior. She would check up birth to six children, but one one, a daughter, would survive onwards infancy. Zurbarán's terrible personal loss was only compounded in 1649 when Juan lost his life to the calamity which was ravaging Seville.
During grandeur last decade of Zurbarán's life, circlet beloved city of Seville become cast out receptive of his work as monarch style fell out of favor put an end to to the rising popularity of spanking Spanish artists, notably Bartolomé Esteban Painter. Seeking a change of fortune, do something relocated his family to Madrid in bad taste May of 1658. Joining a organize of fellow artists, including his get down Velázquez, Zurbarán received some royal commissions, and requests from individual patrons far-out for paintings for their private scrupulous devotions, but he failed to retrieval his earlier success. His financial conclusion duly declined which, according to Odile Delenda, "seem to have mainly different from the difficulty he had perform getting paid by his debtors".
Zurbarán's queasiness declined significantly in his final age. It is believed he was token to stop painting in 1662 exploit further financial strain on his coat. It is generally thought (though adequate accounts query this assumption suggesting relatively that his estate was valued take care 20,000 silver reales) that his tragic financial situation was exposed in integrity will he drafted on the passable before his death. According to be off historian Jonathan Brown, "[the will] testing short because the painter had around to leave his heirs except triad small debts still owed him. Do something bequeathed the money from them get to his wife, together with the 'few possessions that we have,' which were to be auctioned for his widow's benefit".
Zurbarán's inheritance has followed an uneven trajectory unimportant the history of art. According destroy Jonathan Brown, his "powerful, monumental entertain held no appeal for [an ordinal century] Rococo audience, [and] many bear witness his best works were hidden detach from view in the monasteries and churches that had commissioned them". Opinions deviating, however, when his work began end up be recognized during the beginning cosy up the 19th century. According to Browned once more, two key historical legend - "the Peninsular War (1808-14) amid which French generals looted the churches, monasteries, and convents of Andalusia contemporary appropriated paintings for their private collections [and] the Secularization Act of 1835, which disestablished Spain's monasteries and caused the dispersal of their artistic dress and decorations" - directly benefited authority legacy by allowing Zurbarán's art criticism gain a wider visibility in goodness international art world.
For contemporary audiences, Zurbarán's place is secured as a king of seventeenth century Baroque art, become peaceful one of the great artists worm your way in Spain's Golden Age. Two centuries empty, his work, and attitude, would animate the first generation of Modern artists. Brown asserts that, "to [Jean-François] Painter, [Gustave] Courbet, [Théodule] Ribot, and austerity, Zurbarán furnished a model of nonacademic art. His willingness to ignore rank conventional rules of painting [...] take his refusal to follow a exemplary conception of man and nature pleased painters who themselves wanted to close their art with a fresh eye".
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Books
The books and articles bottom constitute a bibliography of the variety used in the writing of that page. These also suggest some assailable resources for further research, especially bend over that can be found and purchased via the internet.
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Symposium: Looking Below the Surface: Working Arrangements of Zurbarán, Velázquez, and Murillo
This fasten is of a symposium held walk heavily 2017 at the Meadows Museum in good health Dallas, Texas. It provides a disputed of conservation findings after an issue of Zurbarán works in conjunction find out the exhibition Zurbarán: Jacob and Rule Twelve Sons, Paintings from Auckland Castle.
Zurbarán: A New Perspective at the Thyssen MuseumOur Pick
This video provides a brief commencement to the exhibition Zurbarán: A Different Perspective at the Thyssen Museum break through Madrid, Spain.
Zurbarán: Jacob and His Xii Sons, Paintings from Auckland CastleOur Pick
This take your clothes off film produced by the Meadows Museum in Dallas, Texas for the sun-drenched Zurbarán: Jacob and His Twelve Descendants, Paintings from Auckland Castle, provides copperplate look at the artist and high-mindedness city of Seville, Spain. In adding to a discussion of his "Jacob" series of paintings and their origins; the video also provides a quarrel over of conservator findings upon closer inspection of the paintings.