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Francisco de Zurbaran
1598-1664
Spanish Francisco de Zurbaran Galleries
Spanish baroque painter, active mainly at Llerena, Madrid, and Seville. He worked mostly for ecclesiastical patrons. His early paintings, including Crucifixion (1627; Art Inst., Chicago), St. Michael (Metropolitan Mus.), and St. Francis (City Art Museum, St. Louis), often suggest the austere simplicity of wooden sculpture. The figures, placed close to the picture surface, are strongly modeled in dramatic light against dark backgrounds, indicating the influence of Caravaggio. They were clearly painted as altarpieces or devotional objects. In the 1630s the realistic style seen in his famous Apotheosis of St. Thomas Aquinas (1631; Seville) yields to a more mystical expression in works such as the Adoration of the Shepherds (1638; Grenoble); in this decade he was influenced by Ribera figural types and rapid brushwork. While in Seville, Zurbur??n was clearly influenced by Velazquez. After c.1640 the simple power of Zurbaran work lessened as Murillo influence on his painting increased (e.g., Virgin and Child with St. John, Fine Arts Gall., San Diego, Calif.). There are works by Zurbar??n in the Hispanic Society of America, New York City; the National Gallery, Washington, D.C.; and the Philadelphia Museum of Art..
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the defense of caadiz against the english
1634
oil on canvas302x323cm
se
Painting ID:: 65630
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the_defense_of_caadiz_against_the_english
1634
oil on canvas302x323cm
se
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hercules fighting the hydra of lerna
1634,
oil on canvas, 133x167cm
Painting ID:: 65631
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hercules_fighting_the_hydra_of_lerna
1634,
oil on canvas, 133x167cm
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still life
1633
oil on canvas, 60x107cm
se
Painting ID:: 65632
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still_life
1633
oil on canvas, 60x107cm
se
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hercules and the cretan bull
1634
oil on canvas, 133x152cm
se
Painting ID:: 65633
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hercules_and_the_cretan_bull
1634
oil on canvas, 133x152cm
se
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lorenzo
1636
oil on canvas, 292x226cm
se
Painting ID:: 65635
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lorenzo
1636
oil on canvas, 292x226cm
se
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Francisco_de_Zurbaran
1598-1664
Spanish Francisco de Zurbaran Galleries
Spanish baroque painter, active mainly at Llerena, Madrid, and Seville. He worked mostly for ecclesiastical patrons. His early paintings, including Crucifixion (1627; Art Inst., Chicago), St. Michael (Metropolitan Mus.), and St. Francis (City Art Museum, St. Louis), often suggest the austere simplicity of wooden sculpture. The figures, placed close to the picture surface, are strongly modeled in dramatic light against dark backgrounds, indicating the influence of Caravaggio. They were clearly painted as altarpieces or devotional objects. In the 1630s the realistic style seen in his famous Apotheosis of St. Thomas Aquinas (1631; Seville) yields to a more mystical expression in works such as the Adoration of the Shepherds (1638; Grenoble); in this decade he was influenced by Ribera figural types and rapid brushwork. While in Seville, Zurbur??n was clearly influenced by Velazquez. After c.1640 the simple power of Zurbaran work lessened as Murillo influence on his painting increased (e.g., Virgin and Child with St. John, Fine Arts Gall., San Diego, Calif.). There are works by Zurbar??n in the Hispanic Society of America, New York City; the National Gallery, Washington, D.C.; and the Philadelphia Museum of Art..
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ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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